Kazimir Malevich

Introduction

Kazimir Malevich (1879–1935) changed what a painting could ask its viewer to see. Born in Kyiv, then in the Russian Empire, into a family of Polish origin, he worked across the artistic communities of Ukraine, Russia and Belarus. His career did not begin with an empty square. It passed through portraits, rural labour, book illustration, theatre, Cubo-Futurist movement and apparently irrational combinations of objects. In 1915, he made paintings of free-standing geometric forms and named the approach Suprematism. The first Black Square became its best-known image, but the range of work around it is the fuller story. Later he returned to figures and peasants, often carrying the formal decisions of his abstract years into bodies and landscapes. ^{[1], [2], [3]}

This artist guide follows those changes through particular works. It distinguishes the 1915 Black Square in the Tretyakov Gallery from later paintings of the motif; a 1916 Suprematist Composition from similarly titled works; and the Russian Museum's circa-1923 Black Circle from a different circle associated with 1915. Such distinctions matter because an image search can flatten several physical paintings into one familiar icon. The links below lead to focused pages for individual objects, a longer biography, a paintings guide, style and technique, and theory and writings. ^{[4], [5], [6], [7]}

At a Glance

• ArtistKazimir Severinovich Malevich
• Life1879–1935; older catalogues sometimes give 1878
• BirthKyiv, then part of the Russian Empire; family of Polish origin
• Artistic centresKursk, Moscow, Petrograd/Leningrad, Vitebsk and Kyiv, among other places
• Best-known workFirst Black Square, painted and exhibited in 1915; State Tretyakov Gallery, Moscow, inv. 11925
• Approach he namedSuprematism: nonobjective paintings built from colour, plane, line and a surrounding field
• Beyond paintingDrawings, prints and books, theatre designs, teaching, porcelain, architectural models and writing
• Key turning points1913 theatre collaboration; 1915 exhibition at 0.10; 1919–22 Vitebsk and UNOVIS; 1927 Warsaw and Berlin exhibitions; late figurative work

Malevich in context

The bands show approximate periods and documented moments, not exclusive styles. Select a work or source to follow its evidence.

Movements1908–1935Artists1908–1935Key works1908–1935

Movements context

190819131918192319281935

Early experiments ^[1]

c. 1908–11

Neo-Primitivist peasant pictures ^[1]

c. 1911–13

Cubo-Futurist movement ^[15]

c. 1912–14

Alogical painting ^[18]

c. 1914–15

Suprematist black and colour works ^[4]

1915–18

White phase and collective design ^[1]

c. 1918–22

Later figurative work ^[1]

c. 1928–35

Artists context

190819131918192319281935

Goncharova and Larionov ^[1]

Moscow exchanges, c. 1907–13

Kruchenykh and Matyushin ^[1]

Opera collaboration, 1913

Kliun and Suprematist circle ^[22]

1915 onward

Chagall and Vitebsk school ^[1]

1919–20

Ermolaeva and Lissitzky ^[1]

UNOVIS, c. 1920–22

Suetin and Chashnik ^[1]

Vitebsk to Petrograd, c. 1920–24

Malevich in Kyiv ^[1]

Teaching, c. 1928–30

Key works context

190819131918192319281935

The Woodcutter ^[13]

1912

The Knife Grinder ^[15]

1912–13

An Englishman in Moscow ^[18]

1914

Black Square ^[4]

1915

Suprematist Composition S-97 ^[7]

1916

White on White ^[5]

1918

Sportsmen ^[28]

1928–32

Red Cavalry ^[30]

c. 1932

Contents

1. Why Malevich matters
2. Beginnings: Kyiv, Kursk and Moscow
3. Peasants and motion before the square
4. The 1915 turn: 0.10 and Suprematism
5. Colour, construction and the white phase
6. Teaching, books and objects
7. The 1927 journey and the artworks left abroad
8. Figures return without erasing abstraction
9. Looking at the paintings as paintings
10. Where to go next

Watch: Kazimir Malevich

Three short films place Black Square, the 1915 exhibition and Malevich’s later work in context.

Kazimir Malevich | TateShots

Tate

A curator introduces Black Square, the 0.10 exhibition and Malevich’s later work.

Watch on YouTube

▶01 · Artist and exhibitionKazimir Malevich | TateShotsTate▶02 · Black Square explainedWhy is this painting of a black square famous?TED-Ed▶03 · Short introductionKazimir Malevich in 60 secondsTim Marlow

Why Malevich matters

Black Square is often reproduced as if it were a logo for abstract art. Its historical importance lies partly in Malevich's decision to exhibit an oil painting that had no depicted subject and then argue that colour and painted form could be a work's subject in themselves. He placed the first surviving canvas high across the corner of his room at the 0.10 exhibition in Petrograd in December 1915. A period photograph records the arrangement: the square above and many other geometric pictures around it. The position evoked the high domestic corner where an icon might hang, yet the work offered no recognisable saint, person or scene. It announced a different relation between an image and its viewer. ^{[4], [8]}

The painting was a physical experiment, too. Its quadrilateral is not perfectly regular, its pale surround is not an untouched blank and its present dark surface is crossed by craquelure. Technical examination has shown earlier compositions underneath. The original therefore asks two questions at once: what happens when a painting removes the depicted object, and what remains visible of the painter's making and the canvas's later life? Neither question is answered by drawing a black square in software. Malevich's own subsequent works changed the colours, scale and relations of forms; the single famous canvas is an opening into the sequence rather than a substitute for it. ^{[4], [9]}

His achievement also belongs to a network rather than an isolated burst of inspiration. He worked with poets and musicians, shared exhibitions with other avant-garde artists, wrote polemics and taught students. His experiments moved from painted canvases into printed pages, public graphics, porcelain and proposed architecture. In Vitebsk, the UNOVIS group formed around collective work and training. The later histories of Suprematism depend as much on those exchanges and on the movement of artworks across borders as on any one object. This is why the guide keeps the artist's works, writings and relationships in view together. ^{[1], [10], [11]}

Beginnings: Kyiv, Kursk and Moscow

Malevich's birth is frequently given as 1878 in older museum and exhibition catalogues. A reproduced Kyiv parish register and a scholarly Ukrainian historical entry support 11 February 1879 in the calendar then used locally, or 23 February 1879 in the Gregorian calendar. A single modern national label cannot describe every part of his career without losing the historical geography. Kyiv was then in the Russian Empire; his parents were of Polish origin; he later worked and taught in cities now in several different states. The wording here names places and circumstances rather than retrofitting a present-day border to every year of his life. ^{[2], [3]}

His father worked in the sugar industry, and the family moved among industrial and rural settings during Malevich's childhood. In the 1890s he lived in Kursk and worked for the railway, while making art with local companions. Trips to Moscow and eventual study in Ivan Rerberg's private studio brought him into contact with the city's collections and exhibition circles. The story matters to his paintings because the peasant labour and provincial scenes of the early 1910s were not simply imported themes from a Parisian school. At the same time, he saw modern European painting in Moscow collections and encountered artists who were actively testing new approaches to colour, form and popular visual culture. ^[1]

Early works resist a tidy label. The Malevich Society documents experiments with Impressionism, Symbolism, Fauvism and other approaches before the canvases usually called Neo-Primitivist or Cubo-Futurist. An early Self-Portrait uses strong contrasting colour to construct a face rather than a neutral likeness. It should be read as one of several portraits and self-images, not confused with the formally different 1933 portrait in Renaissance-like dress. A Tretyakov account dates a closely matching early self-portrait to 1911, although another reproduction has circulated under a 1912 label. This guide therefore leaves the pictured version undated pending a secure object match. ^{[1], [12]}

In Moscow, Malevich knew Natalia Goncharova and Mikhail Larionov. Their work and exhibitions gave him a setting in which vernacular images, icons and the lubok print could be reconsidered alongside modern European painting. That connection can be seen in thick contours, frontal figures and emphatic colour, but it should not be reduced to a claim that he merely copied their style. The works change markedly from one year to the next. The comparison is useful because it makes his geometric paintings appear as part of an extended inquiry into what forms and colours can do, rather than a miraculous break with a featureless past. ^[1]

Peasants and motion before the square

The Woodcutter and Taking in the Rye show why Malevich's early rural subjects deserve close attention. Bodies, tools and crops are recognisable, yet large planar areas of colour and forceful outlines dominate how the scene is read. Taking in the Rye is particularly useful for seeing the overlap of subject and construction: the Stedelijk's painting is a specific second version dated 1912, not a generic image of harvesting. A peasant theme could serve as a testing ground for colour, frontal composition and the breakup of naturalistic space. ^{[1], [13], [14]}

His 1912–13 Knife Grinder makes a different experiment. Yale's canvas repeats the worker's limbs and the wheel's forms across small facets; the grinding action appears as a sequence rather than one still pose. The picture has a person and a task, but it also asks how a canvas might show movement and duration. The overlapping shapes connect to Cubism and Futurism without becoming a simple translation of either movement. Malevich's Woman with Pails: Dynamic Arrangement at MoMA, dated 1912–13 by that museum, likewise keeps a carrying figure in view while the structure of colours and planes takes on growing force. The date painted on its reverse reads 1912 and should not be silently treated as a complete catalogue chronology. ^{[15], [16]}

The 1913 futurist opera Victory over the Sun brought Malevich into a collaboration with Aleksei Kruchenykh and Mikhail Matyushin. Costumes and stage designs used strong divisions of form and an unsettling theatrical space. Malevich later connected the black-square idea to this project. A surviving design relevant to the opera contains a divided dark and light square; it is not the Tretyakov's painted Black Square, which was first exhibited in 1915. The distinction gives the 1913 work its proper importance without inventing a two-year earlier display of the canvas. ^{[1], [4], [17]}

By 1914, the conventional logic of objects could be made to fail while fragments remained recognisable. In An Englishman in Moscow, a face, fish, church, tools and letters occupy an unstable arrangement. A viewer can name many parts but cannot turn them into a consistent event in one room. The Stedelijk's object record and its research on a newly identified drawing make this a particularly good comparison with the later square. A year before the most severe nonobjective gesture, Malevich was already asking what a painting could do once familiar relations of size and space were suspended. ^[18]

Follow Malevich’s career through four stages

c. 1907–14Subjects and visual languages1915–18Nonobjective painting1919–27Teaching, writing and applied formsc. 1928–35Figures return

c. 1907–14

Subjects and visual languages

Malevich moves among portraiture, rural subjects, Neo-Primitivism, Cubo-Futurist movement and alogical combinations. The 1913 theatre work is an important experiment, but is not the 1915 Black Square. ^{[1], [15], [18]}

1915–18

Nonobjective painting

The 0.10 exhibition presents Black Square among many new works. Coloured compositions and the later white phase test relations of plane, edge and open ground. ^{[4], [5], [7]}

1919–27

Teaching, writing and applied forms

Vitebsk and UNOVIS make artistic work collective. In Petrograd/Leningrad he develops writing, porcelain designs and architectons; 1927 exhibitions take his work to Warsaw and Berlin. ^{[1], [10], [27]}

c. 1928–35

Figures return

New peasant pictures and portraits combine recognisable subjects with strong geometric organisation under an altered political climate. Creation dates and retrospective inscriptions need object-level care. ^{[1], [28], [30]}

The 1915 turn: 0.10 and Suprematism

Malevich's Suprematist works were not all black on white. His 1915 paintings place red, blue, yellow and dark planes against open light grounds, testing orientation, balance and a sense of movement without illustrating a scene. Suprematist Composition: Airplane Flying is held by MoMA; its title suggests flight, but the canvas does not provide a literal airplane. The distinction between an evocative title and depicted content is central to reading these works. The painting's coloured masses and their surrounding field create their own spatial relationships. ^{[1], [19]}

At the December 1915 0.10 exhibition, the first Black Square was prominent but it was not alone. The period photograph shows a densely hung ensemble. Black Cross is an unusually useful companion because Centre Pompidou has identified its 1915 canvas, AM 1980-1, through distinctive irregularities visible in installation photographs. A later cross in the Russian Museum is a separate physical work. This matters whenever a current image is chosen for a page about 1915: the similar motif cannot establish that the photograph shows the same canvas. ^{[4], [8], [20]}

Red Square gives another route into the moment. The Russian Museum's 1915 painting carries the extended title Painterly Realism of a Peasant Woman in Two Dimensions. The words can surprise a viewer who sees only a red quadrilateral. They point toward Malevich's revision of what counted as painterly reality: the colour and plane are the work's reality, rather than an outline disguising a peasant portrait. The title should be handled as his historical formulation, not used to claim that an invisible woman can be located within the pigment. The painting also differs from a smaller private rectangular-field red-square version catalogued in the 2003 Guggenheim publication. ^{[6], [21]}

The word Suprematism enters Malevich's correspondence during 1915, while paintings and explanations were still taking shape. That order matters. The exhibition, the text and the canvases did not fall out of a complete system in one instant. Malevich issued writing around the first presentation and revised his account as the work developed. His language about objectlessness, form, feeling and a new painterly realism invites interpretation; a short English slogan can never replace a full edition with date and translation. The theory and writings guide follows those documents, while the broader Suprematism movement page places the movement among other makers. ^{[1], [4], [22]}

Colour, construction and the white phase

By 1916, Suprematism had produced complex arrangements far beyond one dark shape. The 1916 Suprematist Composition with a tilted blue plane, long green form, dark horizontal bar and smaller coloured elements is a specific canvas catalogued as Nakov S-97. Christie’s records its size as 88.7 by 71.1 centimetres and its subsequent exhibition and ownership history. The title has been used for many Malevich works; collection, catalogue number and appearance are required to keep this one distinct. Its overlapping forms make the light field active: small elements disperse across it while large forms suggest weight and motion. ^[7]

Tate's 1916 Dynamic Suprematism offers another kind of movement. The museum's painting T02319 is not the same object as a similarly named drawing at SFMOMA or another canvas at Museum Ludwig. Its diagonal arrangement makes the picture feel different from the more frontal 1915 squares. Suprematism, 18th Construction is associated with the November 1915 Moscow exhibition of decorative art; its possible inclusion at 0.10 requires a different level of evidence. The current painting's 2008 transfer from the Stedelijk to Malevich's heirs belongs to its own history. Such cases show how seemingly abstract shapes can have sharply individual object biographies. ^{[23], [24]}

Malevich explored how little visible difference a painting could contain while still making relationships legible. In the 1918 Suprematist Composition: White on White at MoMA, an angled pale quadrilateral lies within a differently toned white square field. The work is not a blank canvas. Looking longer reveals shifts of hue, edge and orientation; reading its dimensions and material history prevents an interpretation based only on a low-contrast thumbnail. The later white phase did not cancel the colour works. It pursued the relation between form and an apparently open, unbounded space by other means. ^[5]

Black, colour and white are sometimes presented as neat successive boxes. The objects warn against that diagram being too rigid. Malevich returned to earlier motifs, dated some works retrospectively, and made different versions of a form years later. The Russian Museum's Black Circle is dated circa 1923 by its owner; it should not be transported back to the 1915 0.10 room merely because a circle is associated with the early Suprematist vocabulary. Its large dark disc leaves an especially broad pale zone below. This physical painting is part of the story of the form's continuation, not evidence that all black-form canvases were made together. ^[25]

Teaching, books and objects

In 1919 Malevich moved to Vitebsk, where Marc Chagall had established an art school. Malevich's teaching attracted students and colleagues, including Vera Ermolaeva and El Lissitzky, and the group called UNOVIS formed in early 1920. It promoted collective artistic work and applied Suprematist ideas to printed matter, public decoration and everyday design. The group is often represented only by a black-square sign, but its significance lies also in a social experiment about how artists learn and work together. The relationships were historically specific: Chagall's role in founding the school, Malevich's arrival and the subsequent conflict should not be blurred into an easy story of one master passing a style to another. ^{[1], [10]}

Malevich wrote during this period, including On New Systems in Art and Suprematism: 34 Drawings. He treated drawing as a way of constructing and explaining new relations, not merely as a private outline to be discarded after a painting was finished. The Stedelijk's Khardzhiev research shows why work on paper matters to this corpus: its collection includes a large group of Malevich works, and its research has identified a preparatory drawing connected with An Englishman in Moscow. The site's drawings and prints guides distinguish original sheets, printed illustrations and later reproductions. Those categories can look alike in a browser image while having different makers, dates and media. ^{[10], [18], [26]}

The ideas also became things to hold and spaces to imagine. In Petrograd/Leningrad, Malevich worked with porcelain designs and with white architectural models he called architectons. A teapot, a drawing of a structure and an architecton are not simply oil paintings turned three-dimensional: they require different materials and users. The change of medium did not make geometry ornamental by default. It let Malevich test whether relations that had been made on a canvas could shape a cup, a page or a proposed built environment. Any claim about a specific object's author, workshop or date belongs with its owner record, especially when production involved students or factories. ^[1]

The 1927 journey and the artworks left abroad

Malevich travelled west in 1927, showing work in Warsaw and then Berlin. He visited the Bauhaus, and his German-language book Die gegenstandslose Welt appeared in the Bauhaus series. He returned to the Soviet Union and left a substantial group of paintings and documents in Germany. Their survival and later movement are an important part of how European and American audiences encountered his work. Some of the paintings passed into the Stedelijk Museum's collection; others have histories involving MoMA exhibitions and, much later, restitution. A single statement about “the Malevich collection” cannot stand in for the object history of every canvas. ^{[1], [7], [27]}

The 1916 Suprematist Composition provides a specific example. Christie’s account traces its exhibitions and its later passage through the Stedelijk context before a 2008 settlement with Malevich's heirs; it was sold in 2018. The facts explain why this painting appears in multiple museum, legal and market narratives. Its price is not the reason the 1916 composition mattered to Malevich's development. Similarly, MoMA's record of White on White shows an individual route from the 1927 European presentation into a New York collection. The objects have shared historical turning points but not interchangeable provenance. ^{[5], [7]}

The journey also complicates a simple national account of the artist. Malevich was born in Kyiv, formed a career in Russian Empire avant-garde circles, taught in Vitebsk and Kyiv, and displayed works in Poland and Germany. His paintings then circulated through museums and collectors far from those places. Recognising each context is more informative than choosing a single label that would be expected to explain all of them. The biography traces the chronology in greater detail. ^{[1], [2], [3]}

Figures return without erasing abstraction

Malevich painted figures again in the late 1920s and early 1930s. Some works revisit peasants, a theme present before Suprematism, but their bodies can be simplified into colour fields and repeated planes. The Russian Museum's Sportsmen (1928–32) places four faceless figures in divided colour; Head of a Peasant uses a different, more isolated encounter with the face. Head of a Peasant is especially easy to misidentify because the same museum has another painting with that title, similar reported dimensions and date but a different composition and support. Exact inventory numbers and images are essential. ^{[28], [29]}

Red Cavalry shows tiny red riders on a distant horizon, with extensive bands of earth and sky occupying the canvas. The Russian Museum dates the physical work circa 1932. The inscription “1918” on it is not a secure creation date, although it is evidence that needs interpretation. National Gallery of Art conservation research describes carefully varied surface effects in the bands; a digital image can show their arrangement but not reproduce the full gloss and texture. The scene may invite political readings, yet its construction also links late subject matter to long-standing questions about flat planes, distance and rhythm. ^{[30], [31]}

The later work unfolded under increasing political pressure. Malevich's institute was closed in 1926; he was arrested and imprisoned in 1930. It would nevertheless be too simple to describe every figurative painting as a forced abandonment of Suprematism. Works such as Girl with a Comb in Her Hair (1932–33) show sustained attention to paint, figure and surface, while some late images retain severe geometric organisation. Conversely, treating the political context as irrelevant would erase an important condition of his later life. The paintings and the documents should be read together rather than made to illustrate one all-purpose motive. ^{[1], [32]}

Malevich died in Leningrad in 1935. His black-square emblem remained part of the visual account of his career, including the late self-presentation described by specialist and museum histories. The persistence of that form does not mean that the late paintings were simply disguised versions of the 1915 canvas. It shows that he continued to think through earlier inventions while changing subject and medium. The early and late self-portraits are a concise example: both represent the artist, but their colour, pose and public claims about what an artist is could hardly be the same. ^{[1], [12]}

Looking at the paintings as paintings

Digital reproductions encourage a quick sweep from one recognisable design to another. Malevich's paintings deserve slower looking at scale. In Black Square, the off-white frame and cracked dark field interrupt the idea of a flawless symbol. In Red Square, the tilted red edge makes a simple shape feel made rather than mechanically generated. In White on White, small differences between light tones do almost all the compositional work. In the 1916 Suprematist Composition, crowded small elements set up a different tempo from the dominant blue and green planes. These are visual observations tied to specific images and objects, not a formula for every Suprematist picture. ^{[4], [5], [6], [7]}

The conservator Ann Hoenigswald examined Malevich paintings and found a varied, considered handling of support, ground, paint and coatings. Her study is particularly useful because it keeps the painter's material decisions visible in works frequently described only as ideas. It does not licence an unsupported claim that every canvas used the same pigments or surface treatment. The technique of Red Cavalry, for example, must be discussed as that work's treatment; the cracked 1915 Black Square has its own material history. The style and technique guide follows those object-specific studies. ^{[9], [31]}

The white ground, too, should not be treated as an empty backdrop in every picture. A colour plane's tilt, spacing and proximity to another form can make the surrounding light field seem to open, press or divide. A cross made from two painted bands differs from the square even when both are black; a circle's placement leaves changing amounts of light around it. These differences invite a viewer to attend to relations rather than search for a hidden pictured object. The claim is modest but powerful: looking carefully at shape, colour, edge and surface is already a way of reading the work. ^{[5], [20], [25]}

Essential works

Eight starting points across the transition to Suprematism. Each image opens at a larger size; each title leads to its researched artwork page.

Black Square

1915 · The cracked original made a severe new claim for painting without a depicted object.

White on White

1918 · Two differently toned whites create a quiet but active relation.

Suprematist Composition

1916 · Large blue and green planes gather smaller moving colour forms.

Red Square

1915 · A painted red quadrilateral carries Malevich’s provocative “painterly realism” title.

Black Cross

1915 · The Pompidou canvas is a distinct early black form identified in 0.10 photographs.

Black Circle

c. 1923 · The Russian Museum canvas continues the form in a later physical work.

Dynamic Suprematism

1916 · Diagonal forms test movement and balance beyond the square.

An Englishman in Moscow

1914 · Illogical relations among objects precede the nonobjective turn.

Where to go next

Begin with Black Square for the 1915 room, its later versions and the evidence beneath its cracked surface. Read Red Square and Black Cross beside it to see how different a primary form can feel. Black Circle extends that comparison but belongs to a later physical canvas. Suprematist Composition, Dynamic Suprematism and White on White show the range of colour, movement and reduction. Return to An Englishman in Moscow and the early rural paintings when the abruptness of 1915 begins to seem too tidy. ^{[4], [5], [6], [7], [18], [23], [25]}

For a life chronology, use the biography. For a browsable set of individual canvases, use the paintings guide. The drawings, prints and theory and writings pages make it possible to follow an idea across media. Malevich did not leave a single square and a single interpretation. He left works and documents that often disagree with an easy timeline, and that is part of what makes the artist worth studying closely. ^{[1], [10], [26]}

Documented Malevich collection records

Explore 665 catalogued source objects from museums and archives, including 87 exact links to local artwork pages. Records include works, print impressions, book components and archival items; they are not a deduplicated or complete oeuvre. Medium labels are grouped into broad English categories. Titles link to local artwork pages where available.

665 records

Search recordsBroad mediumAll recordsPaintingDrawingPrintBookSculpture or objectPhotographOtherReset

Artwork title	Date	Medium
"Front line soldier" (Ratnik 1-go razriada)	Δεκαετία 1920	Photograph
[Le Cheval blanc]	[circa 1930 - 1931]	Painting
[Sensation du danger]	[1930 - 1931]	Painting
A Game in Hell, Petrograd, 1913 (2nd expanded edition)	1913	Book
A Game in Hell: A Poem (Igra v adu: Poema)	1914	Book
A Peasant Woman Goes for Water	1913	Print
A pork-butcher came around to Lodz and we said "Good day." From Lodz to neighboring Radom he passed, and left behind one sorry ass. (Podoshel kolbasnik k Lodzi / my skazali : 'Pan dobrodzi!' Nu, a s Lodz'iu riadom Radom / i ushel s podbitym zadom.)	c. 1914	Print
Alogisme 1. Portret Moskovskoy Damy (Alogisme 1. Portret van een Moskouse dame)	1914	Drawing
Alogisme 2. Vis, zaag, lepel, telegraafpaal	1914	Drawing
Alogisme 22. Malorossiyanin (Alogisme 22. Een kleine Rus)	1915	Drawing
Alogisme 23. Sobol, koshka (Alogisme 23. Sabel, kat)	1915	Drawing
Alogisme 29. Derevnya	1915	Drawing
Alogisme 3. Chastichnoe zatmenie (Alogisme 3. Gedeeltelijke eclips)	1914	Drawing
Alogisme 4. Apteka (Alogisme 4. Apotheek)	1914	Drawing
Alpha	1923 / 1978	Sculpture or object
An Austrian was going to Radzivily	1914	Print
An Austrian was going to Radzivily	1914	Print
Analytical Chart	1924–27	Drawing
Analytical Chart	1924–27	Drawing
Analytical Chart	1924–27	Drawing
Analytical Chart	1924–27	Drawing
Analytical Chart	1924–27	Drawing
Announcement for Malevich's lecture in Orenburg	1917-1920	Print
Apple Tree in Blossom	c. 1930	Painting
Architecton Alpha	1920	Sculpture or object
Architecton Gota	1923 (?)	Sculpture or object
Architectonische constructie	1917 (versie ca. 1925)	Drawing
Architectons and Figurines	Späte 1920er Jahre	Sculpture or object
Architecturaal-kosmische compositie	1920 (latere versie (1927?))	Drawing
Architectural construction	ca. 1917	Drawing
Aritmetica	1913	Drawing
Aritmetica	1913	Drawing
Arkhitekton Zeta	1926	Photograph
At Harvesting (Marfa and Vanka)	1928-1929	Painting
Aveniriens	vers 1931 - 1932	Drawing
Aviator	1914	Painting
Aviator v Pobede nad solntsem (Vliegenier in Overwinning op de zon)	1913 (versie ca. 1929)	Drawing
Baadsters op de rug gezien	1910	Painting
Back cover from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Back cover from Vzorval' (Explodity)	1913	Book
Bader	1911	Drawing
Betende Bäuerin	1933	Drawing
Biddende figuur	motief ca 1922, versie voor 1927	Drawing
Birkenhain	um 1905 - 06	Painting
Black Circle	c. 1923	Painting
Black Cross	c. 1923	Painting
Black quadrilateral	1915	Painting
Black Square	c. 1923	Painting
Black Square and Circle	1920-1921	Drawing
Black Square and White Cylindrical Form	1915	Drawing
Black Square, Second State	1915/20	Drawing
Blacksmith	Study. 1933	Painting
Blestifze (Pencils)	1917–1918	Drawing
Boer met baard	ca 1930	Drawing
Boerenvrouw in het veld	ca. 1929-1930	Drawing
Boerenvrouw met emmers	1912	Painting
Book of Selected Poems (Kniga izbrannykh Stikhotvorenii)	1930	Book
Boy (Vanka)	1928–1929	Painting
Boy wuth knapsack / Mal'chyk s rantsem	1915	Print
Brooch	1920	Sculpture or object
Brooch	1920	Sculpture or object
Bubnovy Valet 21. Boerenvrouw met kind	1911-1912 (latere versie)	Drawing
Bubnovy Valet 40. Portret (van M.F. Larionov?)	1910	Drawing
Bubnovy Valet 41. Na uglu stoit apteka, lyubov sushit tseloveka (De drogist is op de hoek, van liefde droogt een man uit)	1910-1911 (versie ca. 1930)	Drawing
Bubnovy Valet 42. Portret moei rodstvennitsy (Bubnovy Valet 42. Portret van mijn familielid)	1911	Drawing
Bubnovy Valet 43. Kop van een boer	1912 (latere versie)	Drawing
Bubnovy Valet 44. Dansend paar	1912	Drawing
Bubnovy Valet 57. Lopende man	1911	Drawing
Bubnovy valet 8. Kop van een boer	1912	Drawing
Budetliyansky silach (Futuristische sterke man)	1913 (versie 1915)	Drawing
Bêta	avant 1926 / 1978	Sculpture or object
Car and Lady		Photograph
Carpenter	1928–1929	Painting
Carré noir	[1923 - 1930]	Sculpture or object
Chelovek v ochkakh (Man met bril)	ca 1929	Drawing
Compositie 1 z (Supremus nr. 67)	1916 (versie jaren 1920)	Drawing
Compositie 10 t (Suprematisme: constructief moment)	1917	Drawing
Compositie 11 t (Supremus nr.18: constructievorming afhankelijk van de beweging naar een bol )	1916	Drawing
Compositie 13 t (Supremus nr 38)	1915-1916	Drawing
Compositie 13 t (Supremus nr 38)	1915-1916 (gedrukt 1920, annotaties jaren 1920)	Print
Compositie 14 t Oshchushchenie elektrichestva (Compositie 14 t Gevoel van electriciteit)	1915	Drawing
Compositie 15 k (Suprematisme)	1916 (versie begin jaren 1920)	Drawing
Compositie 15 q (Supremus nr. 118)	1918	Drawing
Compositie 16 t (Suprematisme: groot zwart trapezium en vierkant tussen rechthoeken en lijnen)	1915	Drawing
Compositie 2 i (Suprematisme: gecombineerd gevoel: cirkel en vierkant)	1916 (latere versie)	Drawing
Compositie 2 t (Verlengd vierkant met elementen overdwars)	1915 (versie ca. 1920)	Drawing
Compositie 2 z Obshchushchenie magnita (Compositie 2 z Gevoel van een magneet)	1916 (hernomen in 1919, versie jaren 1920)	Drawing
Compositie 3 t	1916	Drawing
Compositie 4 l Suprematisme van de geest	1919	Drawing
Compositie 4 t (Suprematisme: cirkel tussen rechthoeken en driehoeken)	1916	Drawing
Compositie 4 z (Supremus nr. 84)	1916 (latere versie)	Drawing
Compositie 5 l Suprematisme van de geest	1919	Drawing
Compositie 6 d (Tekening verwant aan ‘Huis in aanbouw’)	1915	Drawing
Compositie 6 t Obshchushchenie vremeni (Compositie 6 t Gevoel van tijd)	1916	Drawing
Compositie 9 b. Fevralizm kak emotionizm (Compositie 9 b. Februarisme als emotionisme)	1915	Drawing
Compositie 9 h (Suprematisme: kruis en drie rechthoeken)	1916 (versie 1920)	Drawing
Compositie 9 k (Suprematisme: zeven rechthoeken)	1915	Drawing
Compositie 9 t (Suprematisme: vier ruimtelijke elementen tegen een zwart trapezium)	1915	Drawing
Composition 1 e (Suprematisme: vierkant op diagonaal vlak)	1915	Drawing
Composition 1 t	[1916 / vers 1920]	Drawing
Composition 14 f	[1918]	Drawing
Composition 15 t	1916	Drawing
Composition 2 a	[1917 - 1918]	Drawing
Composition 3 z	[1919 / avant 1930]	Drawing
Composition 5 x	[été 1915]	Drawing
Composition 5 x	[été 1915]	Drawing
Composition alogique	[1915]	Drawing
Composition with La Gioconda (Partial Eclipse)	1914	Painting
Compositions 11 R	circa 1915–16	Drawing
Construction 5 h	1916	Drawing
Costume study for the Budetlyan Athlete in Victory over the Sun	1913	Drawing
Cow and Violin	1913	Painting
Cow and Violin from On New Systems in Art (O Novykh Sistemakh Visk Usstve)	1911–19	Print
Croix [noire]	[1915]	Painting
Croix noire	[vers 1923 - 1926]	Sculpture or object
Dame	1915	Drawing
Dame an der Straßenbahnhaltestelle	1913	Drawing
Dame bij reclamezuil	1914	Painting
De gardist	1913-1914	Other
De houthakker (recto) / Boerenvrouwen in kerk (verso)	1912	Painting
De likdoornsnijder	1911	Drawing
De likdoornsnijder	1911	Drawing
De provincie	1910	Painting
De tuinman	1911	Painting
De vloerboeners	1911	Drawing
Der Häftling	1930	Drawing
Der Tod eines Menschen, gleichzeitig im Flugzeug und der Eisenbahn	um 1913	Print
Desk and Room (legacy site: Bureau and Room)	1913	Painting
Dessin de Lissitzky d'après "Supremus n° 58, composition dynamique jaune et noire", 1916, de Malevitch	[1924]	Drawing
Deux plans de villes	[1916 / avant 1930]	Drawing
Deux plans en extension	[1916 - 1919]	Drawing
Diagramm	around 1917/1918	Drawing
Die Hochzeit	1903	Other
Die Waschfrau	1911	Painting
Dorp	ca. 1906	Other
Dorpje	1908	Drawing
Drei Köpfe	after 1930	Drawing
Drie boerenvrouwen	1917-1919 of eind jaren 1920	Drawing
Drie figuren in een landschap	ca. 1928-1930	Drawing
Drie naakte vrouwen en een kind, peren plukkend	1909	Drawing
Drie staande vrouwen	1930	Drawing
Drie vrouwenfiguren	ca 1905-1906	Drawing
Druckstock für Holzschnitt	1920	Print
Dynamic Construction	1923	Photograph
Dynamic Figure from On New Systems in Art (O Novykh Sistemakh V Iskusstve)	1911	Print
Dynamic Suprematism	1915/16	Painting
Dynamisch suprematisme	1917-1918	Drawing
Een Engelsman in Moskou	1914	Painting
Een paar onder bomen	ca 1929	Drawing
Elegant gezelschap in een park	ca 1908	Drawing
Elementarer Suprematismus	1917	Drawing
Eléments d'architectone	[après 1924]	Drawing
Eléments non identifiés	[1923 - 1935]	Sculpture or object
Engelsman in Moskou	1913-1914	Drawing
Entwurf für das Gemälde 'Die roten Häuser'	1910	Drawing
Entwurf für die Bemalung der Pfeiler aus der Serie von Entwürfen für die Ausgestaltung des Roten Theaters in Leningrad	1931	Drawing
Entwurf für eine Deckenmalerei im Roten Theater in Leningrad	1931	Drawing
Eskiz k portretu Roslavtsa. Pesn golubym oblakam (Schets voor portret van de componist Roslavets. Lied van de blauwe wolken)	1907-1908	Drawing
Etude de paysan	fin 1911	Drawing
Etyud suprematis 52 sistema A 4	1916-1917 (versie 1920-1927)	Drawing
Explodity (Vzorval')	1913	Book
Explodity (Vzorval')	1913	Book
Explodity (Vzorval)	1913	Book
Female Figure	1928–1929	Painting
Female portrait	ca. 1910-1911	Painting
Female Torso	1928–1929	Painting
Female Torso	1928-1929	Painting
Figur mit ausgebreiteten Armen, ein Kreuz bildend	1933	Drawing
Figuren in Schwarz und Weiß	1928/1930	Drawing
Flower Seller	1930	Painting
Folio 1 from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Folio 15 from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Folio 17 verso from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Folio 18 from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Folio 19 from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Folio 19 from Vzorval' (Explodity)	1913	Book
Folio 20 from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Folio 23 from Vzorval' (Explodity)	1913	Book
Folio 25 from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Folio 27 from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Folio 27 from Vzorval' (Explodity)	1913	Book
Folio 29 from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Folio 31 from Vzorval' (Explodity)	1913	Book
Folio 32 verso from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Folio 34 verso from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Folio 37 from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Folio 4 verso from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Folio 7 from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Folio 9 from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Footballer / Futbolist	1915	Print
Four Squares	1915	Painting
Fragmenten van een tekst over het suprematisme	1927	Other
From Cubism and Futurism to Suprematism (Ot kubizma i futurizma k suprematizmu)	1916	Book
Front cover from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Fruit plukken / Overvloed	1909	Painting
Fuhrleute	1909-1910	Drawing
Full portrait of Malevich	1931	Photograph
Futuristische draak	1913	Print
Futurizm: dvizhenie cheloveka po lestnitse (Futurisme: beweging van een man op een trap)	1919	Drawing
Gebet II	um 1913	Print
Gesellschaft in Zylindern	1907	Drawing
Girl in the Countryside	1928–1929	Painting
Girls in a Field	1928-1929	Painting
Gliad', pogliad' uzh blizko Visly. Nemtsev puchit, znachit kislo.	1914/1918?	Print
Glyad, poglyad, uzh blizko Visly	1914	Print
Golgatha	around 1911	Drawing
Gota	1923 / 1978	Sculpture or object
Gota 2-a	1923 / 1978	Sculpture or object
Grafik ...	ca. 1923	Other
Grafik dvizheniya tvorcheskikh edinits v beskonechnosti	ca. 1923	Other
Grammatica	1913	Drawing
Harvesting	Study for a painting. 1928–1929	Painting
Head of a Peasant	Early 1930s	Painting
Head of a Peasant	1928-1929	Painting
Head of a Peasant	1928–1929	Painting
Hiëratisch suprematistisch kruis (groot kruis in zwart over rood op wit)	1920-1921	Painting
Houses of the Future Leningrad: Pilot's House	1924	Drawing
Huis, man, ladder	1930-1931	Drawing
Huit dessins suprématistes	[1917 / avant 1930]	Drawing
Huizen op het platteland	ca. 1906	Other
Häuser und Kreuze (Golgatha)	1930	Drawing
I yu mane tor	ca. 1915	Drawing
Igra v adu	1914	Other
Igra v adu (A Game in Hell)	1914	Book
Igra v adu (A Game in Hell)	1914	Book
Igra v adu (A Game in Hell)	1914	Book
Igra v adu (A Game in Hell)	1913–14, published 1914	Book
II	1913	Drawing
Illustration for the book by Aleksei Kruchenykh and Velimir Khlebnikov "Igra v Adu»" (2nd edition, Moscow 1914)	1914	Print
Ils vont à l'église	1928 - 1932	Drawing
Into Wagons of the French, German Corpses Were Tightly Wrenched; Their English Brothers Carried Kegs Stuffed with Germans Who Lost Their Legs	c. 1914	Print
Izbornik stikhov s poslesloviem rechiaria. 1907–1914 gg. (A Selection of Poems with an Afterword by the Wordsmith: 1907–1914)	1914	Book
Jnitsa	1913	Drawing
K.Malevich, M.Matiushin, A.Kruchenykh, St.Petersburg, December 1913	1913	Photograph
K.Malevich, M.Matiushin, A.Kruchenykh, St.Petersburg, December 1913	1913	Photograph
K.Malevich, M.Matiushin, A.Kruchenykh, St.Petersburg, December 1913	1913	Photograph
Kabarett	1930	Drawing
Kazimir Malevich lying seriously ill in his bed, shortly before he died	1935	Photograph
Kettle with lid	1923	Sculpture or object
Komposition mit einer Figur	after 1930	Drawing
Konstruktion	around 1915	Drawing
Kop van een boer, kruis, en landschap	1928-1929	Drawing
Kop van een boerenmeisje	1912	Painting
Kop van een boerenvrouw	1913	Drawing
Kopf	1930	Drawing
Kopf	around 1930	Drawing
Kostüm für das Stück 'Maskenball'	1913	Drawing
Krestyanka (Boerenvrouw)	1913	Print
Krestyanka idet po vodu (Boerin haalt water)	1913	Print
Kubisme 25. Avtoportret (Kubisme 25. Zelfportret)	1913	Drawing
Kubisme 6. Wandklok	1913	Drawing
Kubisme 9. Molitva (Kubisme 9. Gebed)	1913	Drawing
Kubistische compositie	ca 1925	Drawing
Kubistische figuur staand op de rug gezien	1912-1913 (versie ca. 1925)	Drawing
Kubofuturistische compositie met piano	1913-1914	Painting
Kubosuprematismus	1916/1920	Drawing
Kuppel des Volkshauses in Leningrad	1931	Drawing
Lamp - Musical Instruments	Δεκαετία 1920	Photograph
Lamp / Muziekinstrumenten	1913	Painting
Landscape	1911	Painting
Landscape	c. 1906	Painting
Landscape with a White House	1928–1929 in Gasper-Hulvat 2012; Christie’s groups work with early-1930s landscapes	Painting
Landscape with a Yellow House (Winter Landscape)	c. 1906	Painting
Landscape with Five Houses	1928–1929	Painting
Landscape with house	c. 1905-1906	Painting
Landschaft	around 1933/34	Other
Landschaft (Der Winter) (Landscape (Winter))	after 1927	Painting
Lauf	1917	Drawing
Let's Grumble (Vozropshchem)	1913	Book
Liggende naakte vrouw met twee spelende kinderen	1908	Drawing
Lopende man met zaag onder de arm	ca. 1928-1929	Drawing
Maaiende vrouw	1913	Drawing
Maaiende vrouw	1913	Drawing
Maaiende vrouw	1913	Drawing
Maaiende vrouw	1912-1913	Drawing
Magnetic construction		Drawing
Magnetisch architectonische compositie	ca. 1920 (versie 1925-1926)	Drawing
Magnetischer Suprematismus	1916	Drawing
Male Portrait	1933–1934	Painting
Malevich archief	1913-1927	Other
Malevich with his students (UNOVIS)	Μάιος 1922	Photograph
Man met zak	1910-1911	Painting
Manifesto handbill for the 0.10 exhibition	1915	Book
Mann in suprematistischer Landschaft	um 1930 - 31	Painting
Mann mit Pferd	1933	Drawing
Manuscript with drawings, Page 27, 1 July 1916	1916	Other
Maternity. Woman in Birth	1908	Drawing
Moederschap / Overvloed	1910	Painting
Morning in the Village after Snowstorm	1912	Painting
Muziekinstrument	1913	Drawing
Muziekinstrumenten	1913-1914	Drawing
Mystic Suprematism (Black Cross on Red Oval)	1920–22	Painting
Mysticus	1930	Drawing
Mystiek suprematisme (rood kruis op zwarte cirkel)	1920-1922	Other
Naakt met geheven handen	1908	Drawing
Nachtwandeling	1909-1910	Drawing
Nu i tresk-zhe, nu i grom-zhe byl ot niemtsev podlie Lomzhi.	1914/1918?	Print
O Novykh Sistemakh V Iskusstve (On New Systems in Art)	1919. (Prints executed 1910-1919).	Book
O novykh sistemakh v iskusstve. Statika i skorost'	1919	Other
O novykh systemakh v iskusstve. Statika i skorost' ( On New Systems in Art: Statics and Speed )	1919	Book
O novykh systemakh v iskusstve: Statika i skorost’ (On New Systems in Art: Statics and Speed), Vitebsk	1919	Book
Ohne Titel	around 1904-1908	Drawing
Ohne Titel	1916	Drawing
Ohne Titel	around 1931	Drawing
Ohne Titel	1916	Drawing
Ohne Titel	around 1916	Drawing
Ohne Titel (Untitled)	1917–1930	Drawing
Omslag van A. Kruchenykh en V. Khlebnikov, Igra v adu (Een spel in de hel)	1913-1914	Print
Omslag van Sezd Komitetov Derevenskoi Bednoty (Congres van Comités van Armoede op het Platteland)	1918	Print
Omslag van Troe (Het drietal)	1913	Print
Omslagontwerp voor Internatsional iskusstva (Internationale van de kunst)	1918	Print
Omslagontwerp voor N.N. Punin, Pervy tsikl lektsii (Eerste cyclus van lezingen)	1920	Drawing
Omslagontwerp voor Troe (Het drietal)	1913	Drawing
Ontwerp voor een architecton type 'Alfa'	ca 1925-1926	Drawing
Ontwerp voor een architecton type Alfa	1925-1929	Drawing
Ontwerp voor een monument	ca. 1932-1933	Drawing
Ontwerp voor een monument	ca. 1932-1933	Drawing
Ontwerp voor een monument	ca. 1932-1933	Drawing
Oogstende vrouwen/Het binnenhalen van de rogge II	1912	Other
Op de boulevard	1910	Painting
Opdoemende kruisvorm	1917-1918	Drawing
Ornements suprématistes	1927 / 1978	Sculpture or object
Ot kubizma i futurizma k suprematizmu. Novyi zhivopisnyi realizm (From Cubism and Futurism to Suprematism: New Painterly Realism)	1916	Book
Ot kubizma k suprematizmu. Novy zhivopisny realizm	1916	Other
Ot Sezanna do Suprematizma. Kritichesky ocherk	1920	Book
Ot Sezanna do Suprematizma. Kritichesky ocherk.	1920	Other
Paard en koets in beweging	1913	Drawing
Painterly Realism of a Boy with a Knapsack - Color Masses in the Fourth Dimension	1915	Painting
Painterly Realism of a Football Player—Color Masses in the 4th Dimension	Summer/fall 1915	Painting
Patriotic poster against the Germans	1914	Print
Patriotic Poster Against the Germans	1914	Print
Patriotic Poster Against the Germans	1914	Print
Patriotic Poster Against the Germans		Print
Patriotic propaganda postcard with verse by Vladimir Mayakovsky	1914	Book
Patriotic propaganda postcard with verse by Vladimir Mayakovsky	1914	Book
Patriotic propaganda postcard with verse by Vladimir Mayakovsky	1914	Book
Patriotic propaganda postcard with verse by Vladimir Mayakovsky	1914	Book
Patriotic propaganda postcard with verse by Vladimir Mayakovsky	1914	Book
Patriotic propaganda postcard with verse by Vladimir Mayakovsky	1914	Book
Patriotic propaganda postcard with verse by Vladimir Mayakovsky	1914	Book
Patriotic propaganda postcard with verse by Vladimir Mayakovsky	1914	Book
Patriotic propaganda postcard with verse by Vladimir Mayakovsky	1914	Book
Patriotic propaganda postcard with verse by Vladimir Mayakovsky	1914	Book
Patriotic propaganda postcard with verse by Vladimir Mayakovsky	1914	Book
Patriotic propaganda postcards with verse by Vladimir Mayakovsky	1914	Book
Paysanne	[1912 / 1932]	Drawing
Paysanne et deux enfants	[1911 / avant 1930]	Drawing
Peasant	Between 1930–1932	Painting
Peasant bringing Water	1912 (Thema), 1920er Jahre (Ausführung)	Drawing
Peasant in a Field	1928–1929	Painting
Peasant Woman	Early 1930s	Painting
Peasants	c. 1930	Painting
Peasants	circa 1928 (NGA); 1928–1929 (Gasper-Hulvat)	Painting
Perfected Portrait of Ivan Kliun	1913	Painting
Peruyi Tsikl Lektsii	1920	Book
Pervyi tsikl lektsii chitannykh na kratkosrochnykh kursakh dlia uchitelei risovaniia (First Series of Lectures, Given at a Short-Term Course for Teachers of Drawing)	1920	Book
Plan d'éléments d'architectone	[après 1924]	Drawing
Planetaire constructie (magnetische kruisvorm)	1916-1917 (ontwikkeld 1920-1922, latere versie (voor 1927))	Drawing
Planetary-Architectural Suprematism	1919-1920	Drawing
Plate (folio 17) from Vzorval' (Explodity)	1913	Book
Plate (folio 21) from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Plate (folio 22) from Vzorval' (Explodity)	1913	Book
Po utru iz Lvova vyshli	1914	Print
Pobeda nad solntsem. Opera (Victory over the Sun: An Opera)	1913	Book
Podoshel kolbasnik k Lodzi	1914	Drawing
Pokhoronnoe byuro (Begrafeniskantoor)	1914-1915	Drawing
Porosiata	Saint Petersburg: 1913	Book
Porosiata (Piglets)	1913	Book
Portrait of a Youth	1933	Painting
Portrait of M. V. Matyushin	1913 in gallery-magazine object record; 1913–14 in Tretyakov education page	Painting
Portrait of the Artist’s Wife	1933	Painting
Portret M.V. Matyushina (Portret van M.V. Matyushin)	1913	Drawing
Portret stroitelya usovershenstvovan (Verbeterd portret van een bouwer)	1913	Drawing
Portret van de vader van de kunstenaar	ca 1902-1903	Painting
Portret van een jonge vrouw (waarschijnlijk Sofia Rafalovitch)	1908-1909	Drawing
Portret van een man (Aleksei Morgunov?)	1912	Other
Portret van M.V. Matyushin	1913	Drawing
Prayer	1913	Drawing
Prayer	1913	Print
Prayer	Study for a fresco painting. 1907	Painting
Prayer (plate, folio 19) from Vzorval' (Explodity)	1913–14, published 1914	Book
Primitiv (Schuhmacher)	1910	Drawing
Prografachnik	1916	Drawing
Projekt einer kosmischen Anlage	around 1917	Drawing
Quadrat und Oval	1915/1916	Drawing
Quadrat und Viereck	1914-1915	Drawing
Red Cavalry	c. 1932	Painting
Red House	1932	Painting
Red Square	Undated	Drawing
Red Square. Painterly Realism of a Peasant Woman in Two Dimensions	1915	Painting
Reicher Mann	around 1910	Drawing
Relaxing (Society in Top Hats)	1908	Drawing
Reservist of the First Division	fall-winter 1914	Painting
Roar!: Gauntlets of 1908-1914 (Riav!: Perchatki 1908-1914)	1914	Book
Rotes Quadrat auf Schwarz	around 1922	Other
Samovar	1913	Painting
Schema I: Construction of Axes of a Model; Schema II: Cubist Structure (Construction); Schema III: Cubist Constructed Drawing from On New Systems in Art (O Novykh Sistemakh Visk Usstve)	1919	Print
Schets vooor de opera Voyna (Oorlog): Topor molodets ne brekhal (de jongeman Topor heeft niet gelogen)	1918	Drawing
Schets voor de opera Voyna (Oorlog): Bas, day stakan (Bas, geef me een glas)	1918	Drawing
Schets voor de opera Voyna (Oorlog): gekruisigde tegen een lichte achtergrond	1918	Drawing
Schets voor de opera Voyna (Oorlog): gekruisigde tegen een zwarte achtergrond	1918	Drawing
Schets voor de opera Voyna (Oorlog): interieur met figuur en hangend kruisbeeld	1918	Drawing
Schets voor de opera Voyna (Oorlog): Odin tikho (een stille)	1918	Drawing
Schets voor een architectonische structuur	1920-1921 (versie 1923-1924)	Drawing
Schetsboekomslag		Drawing
Schneider, Allogismus, Aushang	around 1915	Drawing
Schnitter	1909-1910	Drawing
Schnitterinnen	1909-1910	Drawing
Schnitterinnen (Reapers)	1909–1910	Drawing
Schwarzes Viereck	1914-1915	Drawing
Scène uit Anathema	1909-1910	Print
Segodnyashnye sooruzheniya	1920 (versie 1923-1924)	Drawing
Segodnyashnye sooruzheniya	1923-1924 / 2010	Other
Selected Verse, 1907–1914 (Izbornik stikhov, 1907-1914)	1915	Book
Self-Portrait	Study for a fresco painting. 1907	Painting
Self-Portrait	1910–1911	Drawing
Self-Portrait (Artist)	1933	Painting
Shel avstriec v Radzivily	1914	Print
Sieg über die Sonne 1913-1973	1973	Print
Sieg über die Sonne 1913-1973	1973 / 2010	Other
Simultaneous Death in an Airplane and at the Railway	(1913)	Print
Simultaneous Death of a Man in an Airplane and on the Railroad (plate, folio 15) from Vzorval' (Explodity)	1913–14, published 1914	Book
Sketch for "Vertical Suprematist Construction»"	Undated	Drawing
Sketch for a Stage Curtain for the Opera Victory over the Sun	1928	Drawing
Sketch for Agit-Train	περ. 1918	Drawing
Slovo Kak Takavoe (The Word as Such)	1913	Book
Slovo kak takovoe (The Word as Such)	1913	Book
Smert cheloveka odnovremmeno na aeroplane i zhel. doroge (De gelijktijdige dood van een man in een vliegtuig en op de spoorlijn)	1913	Print
Sportsmen	1928–1932	Painting
Square and Cone	1915	Drawing
Staande boer	1928-1929	Drawing
Staande boer met emmer	1930-1932	Drawing
Staande boer met zeis bij het hooien	1928-1929	Drawing
Staande duivel	1913-1914	Print
Staande figuur	1927	Drawing
Staande mannenfiguur	1930-1931	Drawing
Staande vrouw en man Kop en schouders Vijf figuren met twee suprematistische elementen	1918 (latere versie)	Drawing
Staande vrouw met de armen over elkaar	ca 1930	Drawing
Standing Figure	1913	Drawing
Standing Woman	circa 1930	Drawing
Stikhi V. Maiakovskogo. Vypyt (The Poetry of V. Mayakovsky. [Vypyt])	1914	Book
Still Life	c. 1910	Drawing
Stroyuschiysya dom [House under construction]	1915–16 (museum); reverse inscription 1914 distinguished from execution date	Painting
Studie für das Gemälde 'Die Rote Kavallerie'	1930	Drawing
Studie nach Picasso. Entwurf für das Bauhausbuch 'Die Gegenstandslose Welt'	1926/1927	Drawing
Studie nach Picasso. Entwurf für das Bauhausbuch 'Die Gegenstandslose Welt'	1926/1927	Drawing
Study for the rear curtain for Victory over the Sun	1913	Drawing
Study for the rear curtain for Victory over the Sun	1913	Drawing
Summer Landscape (Zomerlandschap)	circa 1929	Painting
Suprematicheskoe postroenie N 118 (Suprematistische constructie nr. 118)	1917-1918 (versie 1920)	Drawing
Suprematisch kruis (klein kruis in zwart over rood op wit)	1920-1927	Other
Suprematism	1915	Drawing
Suprematism	1915	Painting
Suprematism	1915–1916	Painting
Suprematism (Supremus No. 56)	1915-16	Painting
Suprematism (Supremus No. 58)	1916	Painting
Suprematism, 18th Construction	1915 (artist's reverse inscription reads 1914)	Painting
Suprematisme	1917-1918	Drawing
Suprematisme van de geest	1919	Other
Suprematisme. Oplossende constructie, vorm 78	1918 (latere versie (1927))	Drawing
Suprematisme: Compositie 5 c	1915-1917	Drawing
Suprematisme: drie overlappende rechthoeken	1916-1917 (latere versie)	Drawing
Suprematisme: drie snijdende vlakken, vervagend	1917-1918	Drawing
Suprematisme: elementen in wisselwerking, vervagend	1917-1918	Drawing
Suprematisme: formatie van rechthoeken	1916 (latere versie)	Drawing
Suprematisme: formatie van rechthoeken en vierkanten van verschillende grootte	1916 (latere versie)	Drawing
Suprematisme: formatie van rechthoeken van verschillende grootte	1916 (latere versie)	Drawing
Suprematisme: gevoelens van angst	1917-1919	Drawing
Suprematisme: in tweeën	1917-1919	Drawing
Suprematisme: krommingen en bogen	1917-1918	Drawing
Suprematisme: magnetische rechthoeken in stervorm Vier kaderlijnen	1917-1919	Drawing
Suprematisme: magnetische staven	1917	Drawing
Suprematisme: ovaal en rechthoek Twee staande vrouwen in een landschap Man met hoed (zogenaamd portret van Larionov?) Boer Vier figuren	1916-1917 (latere versie)	Drawing
Suprematisme: Ovaal, boog en rechthoeken	1917	Drawing
Suprematisme: twee snijdende vlakken, vervagend	1917-1918	Drawing
Suprematisme: twee snijdende vlakken, vervagend Suprematisme: drie snijdende vlakken, vervagend	1917-1918	Drawing
Suprematisme: zwart vierkant en witte rechthoek met rode strepen	1917-1919	Drawing
Suprematismus	1912-1913	Drawing
Suprematist Composition	1915	Drawing
Suprematist composition	c. 1916	Drawing
Suprematist Composition	1916	Photograph
Suprematist Composition	1916	Painting
Suprematist Composition with Plane in Projection	1915	Painting
Suprematist Composition: Airplane Flying	1915 (dated on reverse 1914)	Painting
Suprematist Composition: White on White	1918	Painting
Suprematist Diagonal Construction 79	1917	Drawing
Suprematist Drawing	(c. 1916-17)	Drawing
Suprematist Drawing	(c. 1916-17)	Drawing
Suprematist Element: Circle	(1923)	Drawing
Suprematist Elements: Squares	1923	Drawing
Suprematist interior decoration	1920-1921	Drawing
Suprematist Painting	1916-17	Painting
Suprematistisch schilderij (met zwart trapezium en rood vierkant)	1915	Other
Suprematistische compositie	1915 (versie 1920-1927)	Drawing
Suprematistische compositie (met acht rode rechthoeken)	1915	Painting
Suprematistische compositie (met blauwe driehoek en zwarte rechthoek)	1915	Painting
Suprematistische compositie (met gele, oranje en groene rechthoek)	1915-1916	Other
Suprematistische Elemente im Raum	1914-1915	Drawing
Suprematistische Komposition	1915-1916	Drawing
Suprematistische Komposition	1915/1916	Drawing
Suprematistische Komposition (Suprematist Composition)	1915	Painting
Suprematistische schets	1915-1920	Drawing
Suprematistische Zeichnung (Plan eines Erdflugplatzes)	1927	Drawing
Suprematistisches Architekton	around 1926	Sculpture or object
Suprematizm. 34 risunka	1920	Print
Suprematizm. 34 risunka (Suprematism: 34 Drawings)	1920	Book
Supremus No. 18	1916–1917	Drawing
Supremus nr 51	1916 (versie 1920-1927)	Drawing
Supremus Nr. 38	1916	Other
Supremus nr. 50	1915	Other
Supremus nr. 58	1916 (versie begin jaren 1920)	Drawing
Sushchestvuet énergiya v sushchestve kot	ca. 1923	Other
Sämann	1910/1912	Drawing
Tenhemelopneming van een heilige	1907-1908	Drawing
The Triumph of Heaven	1907	Painting
The UNOVIS way (Put' Unovisa)	Ιανουάριος 1921	Print
The Word As Such (Slovo kak takovoe)	1913	Book
Third State of Being	designed in 1915, made in the 1920s	Drawing
Three Female Figures	Early 1930s	Painting
Threesome (Troe)	1913	Book
Thèmes pour des monuments architecturaux dans des parcs et sur des places	1927 / 1978	Sculpture or object
Tizian	around 1930	Drawing
Tochil’schik Printsip Mel’kaniia (The Knife Grinder or Principle of Glittering)	1912–13	Painting
Toekomstige planits voor Leningrad. Het huis van de vliegenier	1924	Drawing
Toekomstige planits, huizen voor aardbewoners	1920-1921 (versie 1923-1924)	Drawing
Toneelontwerp voor akte 1, scène 4 van Overwinning op de zon	1913	Drawing
Toneelontwerp voor Overwinning op de zon	1913 (versie 1915)	Drawing
Torse féminin	[1908 / avant 1930]	Drawing
Torso (Figure with a Pink Face)	1928–1929	Painting
Torso (Prototype of a New Image)	1928–1929	Painting
Torso in a Yellow Shirt (Complicated Premonition)	c. 1932	Painting
Transrationele compositie: geluiden	1913	Drawing
Trees	circa 1904	Painting
Triple Portrait	Study for Socialist City (unexecuted). 1933	Painting
Troe (The Three)	1913	Book
Troe (The Three)	1913	Book
Trois croix	vers 1930 - 1932	Drawing
Trois dessins : tête de femme, buste et visage	[1908 / avant 1930]	Drawing
Troye	1913	Other
Tvorchestvo ne mozhet byt' svobodno	ca. 1923	Other
Tvorchestvo ne mozhet byt' svobodno	ca. 1923	Other
Twee duivels die een vrouw doormidden zagen	1913-1914	Print
Twee mannen in beweging	1917-1918 of ca. 1930	Drawing
Twee naakte vrouwen peren plukkend	1909	Painting
Twee vrouwen en een man tegen een lage horizon	1930	Drawing
Two figures with a stretcher	ca. 1930-1931	Drawing
Two Male Figures	Early 1930s	Painting
Tête noire	vers 1930	Drawing
Universal Landscape	1913	Print
UNOVIS Questionnaire	1920	Print
Untitled	1920	Drawing
Untitled	c. 1920	Print
Untitled	αχρονολόγητο	Print
Untitled	Undated	Drawing
Untitled	Undated	Drawing
Untitled	1913?	Drawing
Untitled (Suprematist Composition)	circa 1919–1926	Drawing
Untitled (Suprematist Composition)	circa 1919–1926	Drawing
Untitled (Suprematist Cross)	1920, printed 1973	Print
Untitled, Illustration for the book by Aleksei Kruchenykh and Velimir Khlebnikov "Igra v Adu»" (2nd edition, Moscow 1914)	1913	Print
Verdwijnend geel vlak	1917-1918	Painting
Verdwijnende constructie (diagonale balk met drie bogen in wit)	ca. 1917	Other
Verdwijnende witte vlakken	1917-1918	Other
Verklarende kaarten over de theorie van het additionele of toegevoegde element in de schilderkunst	1927	Drawing
Verticale constructie, suprematisme	1919-1920 (versie 1920-1925)	Drawing
Vier figuren in een landschap	ca. 1928-1930	Drawing
Vijf geketende figuren op de rug gezien, geflankeerd door twee bewakers	1910-1911	Drawing
Vil'gel'mova Karusel' (Wilhelm's Carousel)	1914	Print
Vloerboeners	1911	Drawing
Voorstudie voor het omslag van het programma van het Congres van Comités van Armoede op het Platteland	1918	Drawing
Voorstudie voor het omslag van het programma van het Congres van Comités van Armoede op het Platteland	1918	Drawing
Voorstudie voor het omslag van Sezd Komitetov Derevenskoi Bednoty (Congres van Comités van Armoede op het Platteland)	1918	Drawing
Voorstudie voor het omslag van Sezd Komitetov Derevenskoi Bednoty (Congres van Comités van Armoede op het Platteland)	1918	Drawing
Voyna (Oorlog)	1914	Drawing
Vozropshchem (Let's Grumble)	1913	Book
Vrouw bij tramhalte	1913-1914	Other
Vrouw in lange jurk met kind	1930	Drawing
Vrouw met de armen over elkaar	1931-1932	Drawing
Vrouw met krant op schoot	1904	Other
Vrouw omgeven door vruchten	1909	Painting
Vrouwelijke figuur met uitgespreide armen	1930?	Drawing
Vrouwenfiguur	1909	Drawing
Vrouwenfiguur met gespreide armen	1930-1931	Drawing
Vrouwenfiguur, vis, cirkel, kruis	ca. 1928-1930	Drawing
Vsemirny peyzazh (Universeel landschap)	1913	Drawing
Vzorval	1913	Book
Vzorval' (Explodity)	1913	Book
Vzorval' (Explodity)	1913	Book
Vzorval' (Explodity)	1913–14, published 1914	Book
Wachthuisje, drie kruisen	ca 1930-1931	Drawing
What a Rattle	1914	Print
Wilhelm Carousel	1914	Print
Windmills	ca. 1909-1910	Painting
Wit suprematistisch kruis	1920-1921	Painting
Woman Reaper (front cover) from Slovo Kak Takavoe (The Word as Such)	1913	Book
Woman with Pails: Dynamic Arrangement	1912-13 (dated on reverse 1912)	Painting
Woman Worker	1933	Painting
Women Bathers	Circa 1930	Painting
Women Reapers (The Reapers)	1928–1929; 1905 inscription separately documented by Gasper-Hulvat 2012	Painting
Wraparound cover for the program S'ezd komitetov derevenskoi bednoty (Congress of Committees of Peasant Poverty)	1918	Book
Wäscherin	1909-1910	Drawing
Ya apostol novykh ponyaty b iskusstve (Ik, de apostel van nieuwe begrippen in de kunst	1916	Drawing
Zelfportret in twee dimensies	1915	Painting
Zeta	1923 / 1978	Sculpture or object
Zhnitsa (Maaiende vrouw)	1913	Drawing
Zittend naakt op de rug gezien	1907-1908	Drawing
Zwei Schwestern	around 1904-1906	Drawing
«Живо заняли мы Галич...».	1914	Print
«Ну и треск же, ну и гром же...»	1914	Print
«Подошел колбасник к Лодзи...»	1914	Print
Весна – цветущий сад	1928–1929	Painting
Вильгельмова карусель	1914	Print
Голова крестьянина	Конец 1920-х	Drawing
Девочка под деревом. Этюд	1932–1933	Painting
Девушка с гребнем в волосах	1932–1933	Painting
Девушка с красным древком	1932–1933	Painting
Деревня. Три рисунка	1928-1929	Drawing
Динамический супрематизм	1920	Drawing
Динамический супрематизм. Аэроплан летит	1920	Print
Доктор Мабузо. Образец киноплаката	1925–1926	Painting
Ескіз розпису конференц-залу ВУАН в Києві (Sketch for the painting of the conference hall of the All-Ukrainian Academy of Sciences, Kyiv)	1930	Drawing
Женщина с граблями	1930-1931	Painting
Композиция с двумя прямоугольниками	1920	Drawing
Крестьянка	1928-1929	Drawing
Кубофутуризм. Динамическое ощущение натурщика. Авторская реплика композиций 1911 и 1919 года	Вторая половина 1920-х	Drawing
Кубофутуристический пейзаж	1913	Drawing
Лубок. «Вильгельмова карусель»	1914	Print
Лубок. «Глядь, поглядь, уж близко Висла»	1914	Print
Лубок. «Подошел колбасник к Лодзи»	1914	Print
Лубок. «Шел австриец в Радзивиллы»	1914	Print
На сенокосе	1928-1929	Painting
Пейзаж под Киевом	1930	Painting
Плащаница	1908	Drawing
Портрет А.А. Лепорской	Около 1933	Painting
Портрет В.А. Павлова	1933	Painting
Портрет жены	1934	Painting
Портрет Н. Н. Пунина	1933	Painting
Портрет ударника (Краснознаменец Жарновский)	1932	Painting
Почтовая карточка «По утру из Львова вышли...»	1914	Print
Почтовая карточка. «Ах ты, милый город Люблин...»	1914	Print
Почтовая карточка. «Выезжали мы за Млаву...»	1914	Print
Почтовая карточка. «Выезжали мы из Ковны...»	1914	Print
Почтовая карточка. «Глядь, по глядь, уж близко Висла...»	1914	Print
Почтовая карточка. «Как заехали за Лык..»	1914	Print
Почтовая карточка. «Не ходи австриец плутом...»	1914	Print
Почтовая карточка. «Ну и треск, да ну и гром же...»	1914	Print
Почтовая карточка. «Скоро, скоро будем в Краков...»	1914	Print
Почтовая карточка. «Шел австриец в Радзивилы...»	1914	Print
Почтовые карточки	1914	Print
Принцип росписи стены	1919	Drawing
Сестры	1930	Painting
Смерть конного генерала	1914	Drawing
Станция без остановки. Кунцево	1913-1914	Painting
Супрематизм	1920	Drawing
Супрематизм	1919	Drawing
Супрематизм. Композиция с кругом	1917-1918	Drawing
Супрематическая композиция	1917-1918	Drawing
Три супрематических композиции	Начало 1920-х	Drawing
Туалетная шкатулка	1913-1914	Painting
Чашка (получашка)	1923	Sculpture or object
Чашка (получашка) «Супрематизм»	1923	Sculpture or object
Черный квадрат	1929	Painting
Черный квадрат (Black Square)	1913 / circa 1932 in formal field; circa 1930–32 in museum essay	Painting
Черный супрематический квадрат	1915	Painting
‘aF’ forma obema (‘aF’ vorm van volume)	1915, versie 1924 of 1926	Drawing

Frequently asked questions

Was Kazimir Malevich born in Russia or Ukraine?

He was born in Kyiv in 1879, when the city was in the Russian Empire, to a family of Polish origin. He later worked in places now in Ukraine, Russia and Belarus. Naming the birth city, historical state and family background is more precise than treating a modern national label as a complete biography. ^{[1], [2], [3]}

Did Malevich invent abstract art?

Abstraction emerged through several artists and places in the early twentieth century. Malevich's distinctive contribution was the nonobjective painting and theory he called Suprematism, publicly presented in 1915. “First abstract artist” is too broad a claim for that more specific achievement. ^{[1], [4]}

Was Black Square painted in 1913 or 1915?

The first surviving canvas was exhibited in December 1915 and is catalogued by the Tretyakov Gallery as a 1915 work. Malevich linked the idea to his 1913 designs for Victory over the Sun. The opera design and the painting are different objects. ^{[4], [17]}

Did Malevich stop painting after White on White?

He announced a shift toward writing and theory after the white paintings, but his subsequent career included other material and painted work. The later figures, portraits and landscapes are part of his oeuvre. ^{[1], [5], [28], [29], [30], [31], [32]}

Are the black square, circle and cross one original set?

The motifs are closely associated with Suprematism, but surviving canvases bearing them have different dates and histories. The 1915 Tretyakov Black Square, 1915 Pompidou Black Cross and circa-1923 Russian Museum Black Circle on these pages are three distinct collection objects. ^{[4], [20], [25]}

References

1. The Malevich Society, “About the Artist”: specialist biography, chronology, exhibitions, teaching and later work; day of birth cross-checked below. View source.
2. Kyiv Roman Catholic parish birth-register reproduction, archive F.1268, op.1, case 26, leaves 13v–14. View source.
3. National Academy of Sciences of Ukraine, Encyclopedia of the History of Ukraine, Malevich entry. View source.
4. State Tretyakov Gallery, 1915 Black Suprematist Square, inv. 11925. View source.
5. MoMA, Suprematist Composition: White on White, 1918, 817.1935. View source.
6. Russian Museum, Red Square, 1915, Жб-1643. View source.
7. Christie’s, 2018 catalogue, Suprematist Composition, Nakov S-97. View source.
8. Wikimedia Commons, archived 0.10 exhibition photograph, state archive D 3539. View source.
9. Factum Foundation, 2018 Tretyakov technical recording of two black-square canvases. View source.
10. Malevich Society, writings by Malevich. View source.
11. Tretyakov Gallery, history of Malevich's exhibitions. View source.
12. Tretyakov Gallery, archival account of the early self-portrait. View source.
13. Stedelijk Museum, The Woodcutter, A 7679. View source.
14. Stedelijk Museum, Taking in the Rye, A 7678. View source.
15. Yale University Art Gallery, The Knife Grinder, 1941.553. View source.
16. MoMA, Woman with Pails: Dynamic Arrangement, 815.1935. View source.
17. MoMA, Victory over the Sun book/design record. View source.
18. Stedelijk Museum, drawing connected with An Englishman in Moscow. View source.
19. MoMA, Suprematist Composition: Airplane Flying, 248.1935. View source.
20. Centre Pompidou, Angela Lampe, “Focus on Black Cross”. View source.
21. Matthew Drutt, ed., Kazimir Malevich: Suprematism (Guggenheim, 2003): comparison of distinct red-square works. View source.
22. Aleksandra Shatskikh, Black Square: Malevich and the Origin of Suprematism (Yale, 2012): movement's formation and artist's writings. View source.
23. Tate, Dynamic Suprematism, T02319. View source.
24. Stedelijk Museum, Suprematism, 18th Construction, restitution account. View source.
25. Russian Museum, Black Circle, circa 1923, Ж-9472. View source.
26. Stedelijk Museum, Khardzhiev collection research. View source.
27. Stedelijk Museum, Malevich and the Stedelijk collection. View source.
28. Russian Museum, Sportsmen, Ж-9439. View source.
29. Russian Museum, Head of a Peasant, Ж-9488. View source.
30. Russian Museum, Red Cavalry, Ж-9435. View source.
31. Ann Hoenigswald, “Kazimir Malevich’s Paintings: Surface and Intended Appearance,” National Gallery of Art conservation research, 1996–97. View source.
32. State Tretyakov Gallery, Girl with a Comb in Her Hair, Инв. 20843. View source.
33. Splash image: Kazimir Malevich, early Self-Portrait. Image supplied by the site owner, who identifies this reproduction as public domain. The pictured version is left undated until its museum object identity is confirmed.

---