Kazimir Malevich Biography

Kazimir Malevich (1879–1935) is remembered above all for Black Square, but his life cannot be compressed into the making of one painting. He grew up in what is now Ukraine, worked in Kursk and Moscow, took part in Futurist theatre, created and explained Suprematism, taught in Vitebsk and Petrograd, exhibited in Warsaw and Berlin, returned to teach in Kyiv, and made portraits and peasant paintings in his final years. Places, collaborators and political circumstances changed around the work. So did his explanations of what art could be. This biography follows the documented sequence while linking to the individual paintings where a closer reading of a physical object matters. ^{[1], [4]}

Several familiar summaries flatten that sequence. An early stage design connected to a black square is not the 1915 canvas in the Tretyakov Gallery. The artist's announcement that he would concentrate on theory after the white paintings did not prevent later painting. His return to figures cannot be explained by one motive alone. Even his birth year appears differently across museum catalogues. A reliable chronology has to preserve these tensions rather than edit them away. ^{[1], [2], [3], [5], [6]}

At a glance

• Full nameKazimir Severinovich Malevich; Polish and Ukrainian spellings also occur
• Born11 February 1879 Old Style / 23 February 1879 New Style, Kyiv, then in the Russian Empire
• Died15 May 1935, Leningrad
• Family contextParents of Polish origin; childhood and early experience in areas of present-day Ukraine
• Principal places of workKursk, Moscow, Petrograd/Leningrad, Vitebsk and Kyiv
• Known forDeveloping Suprematism and exhibiting the first Black Square in 1915
• Beyond oil paintingDrawings, prints, books, theatre, teaching, porcelain design, architectural models and theoretical writing
• Key groups and institutionsMoscow avant-garde exhibitions; Vitebsk art school and UNOVIS; State Institute of Artistic Culture

Malevich’s life in context

The bands locate documented places, people and work; they are approximate, not exclusive phases. Follow each source or artwork for detail.

Places1879–1935People1879–1935Works and texts1879–1935

Places

187919001910192019301935

Kyiv and childhood ^[3]

1879–1890s

Kursk and railway work ^[1]

1890s–1904

Moscow exhibitions ^[1]

c. 1907–19

Vitebsk and UNOVIS ^[1]

1919–22

Petrograd/Leningrad institute ^[1]

1922–26

Warsaw and Berlin ^[11]

1927

Kyiv teaching and late work ^[4]

1929–35

People

187919001910192019301935

Rerberg studio ^[1]

Moscow, c. 1905–10

Goncharova and Larionov ^[1]

Moscow, c. 1907–14

Kruchenykh and Matyushin ^[1]

Theatre, 1913

Chagall and Vitebsk school ^[1]

1919–20

Ermolaeva and Lissitzky ^[9]

UNOVIS, 1920–22

Suetin and Chashnik ^[1]

Vitebsk to Petrograd, 1920s

Hugo Häring and western custody ^[12]

after Berlin, 1927

Works and texts

187919001910192019301935

Knife Grinder ^[7]

1912–13

Victory over the Sun designs ^[1]

1913

An Englishman in Moscow ^[8]

1914

Black Square ^[5]

1915

White on White ^[6]

1918

The Non-Objective World ^[10]

1927 publication

Red Cavalry ^[15]

c. 1932

Self-Portrait (The Artist) ^[13]

1933

Contents

1. Birth, family and the problem of dates
2. Kursk, railway work and the pull of Moscow
3. Moscow exhibitions and a language of rural figures
4. Cubo-Futurism, speed and artistic collaborators
5. 1915: exhibition, paintings and argument
6. Revolution, the white works and the question of painting's end
7. Vitebsk: teaching and UNOVIS
8. Petrograd and Leningrad: institute, porcelain and architectons
9. Warsaw and Berlin, 1927: a journey and the future of the paintings
10. Return, Kyiv teaching and the 1929 exhibition
11. Arrest, late work and the limits of a single explanation
12. Death, commemoration and the continuing life of the work
13. Frequently asked questions

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

Birth, family and the problem of dates

Malevich was born in Kyiv, then part of the Russian Empire. His parents were of Polish origin; his father worked in the sugar industry. His childhood was spent among towns and industrial-rural landscapes rather than in a single capital city. Those circumstances do not make the later peasant images simply autobiographical, but they make it misleading to begin his story with a sudden encounter with urban avant-garde painting. Rural work, buildings and seasonal rhythms belonged to his early world. ^{[1], [3]}

Many art catalogues give 1878 as his birth year, and a Malevich Society biography gives a February 1879 day that differs from the record used here. A reproduced Kyiv Roman Catholic parish register, read with the National Academy of Sciences of Ukraine's historical entry, supports 11 February 1879 in the local Julian calendar, equivalent to 23 February in the Gregorian calendar. The conversion explains two dates, not two births. Older institutional labels should be understood as part of the history of cataloguing him; they are not grounds for quietly replacing the register. ^{[1], [2], [3]}

His national description also needs historical precision. Kyiv is in Ukraine today and was in the Russian Empire at his birth. His family background was Polish. He later made and taught art in places now in Ukraine, Russia and Belarus, and showed work in Poland and Germany. “Russian,” “Ukrainian” or “Polish” may appear in collection labels for defensible reasons, but each alone leaves out part of a life that crossed languages, empires and later borders. This page therefore uses places, family context and dates wherever a single adjective would hide more than it explains. ^{[1], [3], [4]}

Kursk, railway work and the pull of Moscow

The family moved to Kursk in the 1890s. Malevich worked for the railway and practised art with a circle of friends. That combination matters: he did not pass straight from a conventional academy to radical geometry. He was learning to work while earning a living, pursuing art beyond a formal curriculum, and looking toward Moscow's collections and exhibition culture. His first attempts to enter that world involved visits and applications rather than an uncomplicated story of successful admission to the city's School of Painting, Sculpture and Architecture. ^[1]

The State Russian Museum's brief biographical entry says he studied at the Moscow School in 1904–05, while the Malevich Society's fuller chronology says he tried unsuccessfully to gain admission. Both identify his later study in Ivan Rerberg's private studio. Until the training records are reconciled, the safest public account is that he sought study in Moscow and learned in Rerberg's studio, without claiming a completed course at the School. This is a small but revealing example of why a life story should not treat every institutional capsule as interchangeable. ^{[1], [4]}

Malevich married Kazimira Zgleits in 1902, and they had two children, Anatolii and Galina. After the marriage ended, he married Sofia Rafalovich in 1909; their daughter was Una. Sofia died of tuberculosis in 1923. These facts make the life larger than an exhibition chronology, yet they should not be used as unearned explanations of individual shapes or colours. Surviving autobiographical accounts and family documents offer paths for fuller study, but the visible painting and a documented family event are different kinds of evidence. ^{[1], [16]}

Moscow exhibitions and a language of rural figures

By 1907 Malevich was exhibiting with the Moscow Association of Artists. In the following years he moved among Impressionist, Symbolist and Fauvist possibilities and joined contentious contemporary exhibitions. The Malevich Society records his participation in the Jack of Diamonds circle, the Donkey's Tail in 1912 and Target in 1913. He knew Natalia Goncharova and Mikhail Larionov, whose experiments with icons, popular images and rural motifs formed part of the environment in which he worked. None of these contacts means that one artist's canvas can be attributed to another's programme. They show an active network rather than a solitary preparation for a single breakthrough. ^{[1], [4]}

Peasant and labouring figures were central to some works before Suprematism. The Woodcutter, Taking in the Rye and Morning in the Village after Snowstorm retain recognisable people and activity, yet broad colour areas, insistent outlines and compressed space refuse a neutral descriptive view. These are distinct paintings with their own dates and collections. They can be placed together as a phase of inquiry without treating “peasant” as a single fixed style or making every figure a symbol of the same political idea. ^{[1], [4]}

An early painted Self-Portrait likewise uses emphatic colour to construct a face. The site owner's high-resolution image matches an existing local page, but its exact museum object identity and date remain under review: a supplied file name says 1912, while a Tretyakov narrative identifies a closely matching early image as 1911. The portrait can illustrate the artist's early range without this biography claiming a secure inventory number that has not yet been established. It must not be confused with the 1933 Self-Portrait (The Artist) in the Russian Museum. ^{[1], [13]}

Cubo-Futurism, speed and artistic collaborators

Between roughly 1912 and 1914 Malevich tested how a painting could show movement and how an object could be divided into interacting planes. Yale's Knife Grinder repeatedly interrupts the worker, wheel and working space, giving motion a stuttering visual rhythm. MoMA's Woman with Pails: Dynamic Arrangement keeps a carrying figure present while colours and angled forms make the scene increasingly difficult to read as conventional depth. The museums' object records matter because later inscriptions and retrospective dates can complicate simple accounts of artistic progression. ^[7]

The surrounding artistic culture crossed media. Malevich designed and illustrated Futurist books, worked with poets and musicians, and debated how words and images might leave ordinary description behind. In 1913 he collaborated with Aleksei Kruchenykh and Mikhail Matyushin on the Futurist opera Victory over the Sun. The stage designs and costumes are a documented part of his experimentation. A dark-and-light square form in that theatrical context helps explain why Malevich later associated the origin of a square idea with 1913. It does not mean that the surviving Tretyakov oil painting was exhibited that year. ^{[1], [4], [5]}

The 1914 An Englishman in Moscow shows another line of experiment. Its recognisable objects and letters are arranged so that they cannot be gathered into an ordinary scene. The Stedelijk's later discovery of a related drawing helps connect the canvas to Malevich's “alogical” period, when disrupted relations among things could become an artistic method. Moving from this painting to Black Square is not a story of merely removing the final fish or face. It is a more difficult move from images whose objects no longer behave logically to a painting whose central shape asks to be read without a depicted object at all. ^[8]

1915: exhibition, paintings and argument

Malevich presented the first surviving Black Square at the 0.10 exhibition in Petrograd in December 1915. The Tretyakov Gallery identifies its physical canvas as a 1915 work. In the period installation photograph the square hangs high across the room's corner, surrounded by many other new compositions. Its placement invited comparison with a domestic icon corner, but what viewers saw was a dark painted quadrilateral in a pale field. It was a deliberate public encounter, not simply a theory written before a painting existed. ^{[1], [5]}

The new approach Malevich called Suprematism removed the depicted thing as the painting's required subject. Colour, geometric form and the relation to an open field could carry the work. His 1915 canvases were varied: Red Square, Black Cross and Suprematist Composition: Airplane Flying should not be imagined as copies of the black canvas in other colours. Their titles, forms, present collections and physical versions differ. Malevich's texts of the moment argued for a new painterly realism and a passage beyond inherited representation, but a life narrative should not turn changing writings into one timeless slogan. ^{[1], [5], [10]}

The moment also belongs to his colleagues and opponents. In the 1910s he took part in networks of artists and poets whose positions were not identical. The Russian Museum records the organisation of the Supremus group and proposed journal in 1916–17. Malevich's developing coloured compositions were made during war and revolutionary upheaval, while he continued to exhibit, write and organise. The fact that Black Square became an emblem afterward can make this working context invisible. The first exhibition showed a room of paintings, and his subsequent career would take Suprematist ideas well beyond an easel. ^{[1], [4]}

Revolution, the white works and the question of painting's end

After the February Revolution in 1917, Malevich took roles in new artistic organisations. The Malevich Society records his election to an arts department of the Moscow Soviet of Soldier Deputies and work in a commission for preserving art and antiquities after the Bolshevik takeover. Such appointments show that his life was entangled with the new public institutions, although they should not be flattened into a claim that each painting expressed a party line. He also designed for theatre and public events and wrote articles. ^[1]

The Suprematist paintings changed as well. Single forms and pale grounds became increasingly important; the 1918 White on White in MoMA makes a tilted light square legible through delicate differences within white. Its apparent reduction is not the disappearance of painted decisions. Edges, tone and orientation remain. Around this period Malevich announced a move toward writing and philosophy, describing a new stage beyond his previous painting practice. The announcement is part of his thought, but it should not be presented as the date on which he ceased to make images or objects. Later drawings, designs, models and canvases make that reading untenable. ^{[1], [6], [10]}

His writing was not an afterthought to a finished style. Texts changed during publication and translation; titles that sound like final manifestos often belong to a specific year and audience. The Malevich Society's bibliography lists On New Systems in Art, Suprematism: 34 Drawings, God is Not Cast Down and the 1927 German Non-Objective World among important stages. A future theory and writings guide will take the arguments and editions one by one. This biography uses the publication sequence to show how closely writing, teaching and making were connected. ^[10]

Vitebsk: teaching and UNOVIS

In 1919 Malevich moved to Vitebsk, then in Belarus, to teach at the People's Art School established by Marc Chagall. The Malevich Society gives his arrival as 5 November. He attracted students and staff who wanted to work with the new visual language, among them Vera Ermolaeva and El Lissitzky. Early in 1920 a collective called UNOVIS, often rendered “Affirmers” or “Champions of the New Art,” formed around the group. Its identity was expressed through shared signs and work as well as individual paintings. Chagall's departure amid the school's tensions forms part of the institutional story; it need not be turned into a cartoon of two artists fighting over a single classroom. ^{[1], [9]}

UNOVIS brought Suprematist thinking into teaching, printing and the surrounding city. The Malevich Society records designs for posters, clothing, fabric, buildings and practical public items. MoMA's record for the 1921 publication The Path of UNOVIS lists several contributors, a useful material reminder that this was collective production. Students explored earlier pictorial methods before pursuing objectless art, according to the specialist biography. A pedagogy that moved through successive approaches could teach both historical comparison and experiment, not simply a rule to place squares on every surface. ^{[1], [9]}

The group was also situated within revolution and civil war. A MoMA study of UNOVIS posters connects its public visual programme to those conditions. That context does not mean every form has a fixed political translation. A black square used as a group sign, a painted canvas in an exhibition, a printed book illustration and a design on a façade were different objects with different viewers. Vitebsk is therefore essential to the biography because it shows how a language first encountered in paintings was tested through collective methods and public life. ^{[1], [9]}

Malevich wrote extensively in Vitebsk. Suprematism: 34 Drawings was published there in 1920; the title's number refers to a real printed sequence, not a general name for every abstract drawing he made. The publications helped circulate ideas at a time when original canvases were not easy to see across distant cities. They also require care from a present-day reader: editions, languages and later collected texts can alter how a short passage appears. The drawings and prints routes will separate unique works on paper from prints and book objects. ^[10]

Petrograd and Leningrad: institute, porcelain and architectons

Malevich and several students moved from Vitebsk to Petrograd in 1922. Among those named by the Malevich Society are Nikolai Suetin, Lazar Khidekel, Ilya Chashnik and Lev Yudin. In the city Malevich worked with the Museum of Artistic Culture and took part in its reorganisation as the State Institute of Artistic Culture, commonly called GINKhUK. An artist known for a single severe canvas was now building an institutional setting for research, teaching and experiment. ^[1]

His ideas took material forms that were not oil paintings. He made designs for porcelain at the State Porcelain Factory and developed plaster constructions he called architectons. Some were horizontal and others rose around a vertical axis; drawings for imagined spatial structures, or planits, relate to these questions. The models were not straightforward blueprints for buildings actually constructed. They were investigations into how volumes might be organised once familiar pictorial and architectural conventions were loosened. The biography records the project without claiming that every later abstract building derived directly from it. ^{[1], [4]}

The institute operated under increasing pressure. A 1926 newspaper attack portrayed it as a misuse of state resources, and it was closed later that year. Malevich continued to work in another institutional setting, but the closure marks a loss of support for the kind of experimental research he had been conducting. The change helps explain the stakes of his 1927 trip westward. It does not prove that he had already abandoned Suprematism or that one political event mechanically produced each later figure painting. ^[1]

Warsaw and Berlin, 1927: a journey and the future of the paintings

In March 1927 Malevich travelled through Poland and organised a Warsaw exhibition. He then went to Germany, where his work appeared in Berlin as a separate display within the Great Berlin Art Exhibition. The Malevich Society's exhibition list gives Warsaw in late March and a Berlin run beginning in May; its biographical narrative also records a visit to the Bauhaus in April. The trip brought his work and writings into direct contact with a western European audience and renewed the question of how Suprematism could be presented outside the places in which it had developed. ^{[1], [11]}

The journey changed the paintings' later lives. Called back to the Soviet Union, Malevich left many works behind in Berlin. Different objects then followed different chains of custody. Some eventually passed through architect Hugo Häring to the Stedelijk Museum in Amsterdam; some were shown or acquired elsewhere. A later Stedelijk settlement with Malevich's heirs affected particular works, not every painting associated with the 1927 trip. The Suprematist Composition page gives one canvas's specific provenance. A biography can describe the trip's importance while leaving accession-level ownership to each object's record. ^{[1], [12]}

His text The Non-Objective World appeared as a German Bauhaus book in 1927. The publication does not reduce the trip to a publicity exercise: a book could reach readers who would never stand before the canvases, while the physical works remained vulnerable to events beyond the artist's control. The western display and dissemination later became crucial to the preservation and study of Malevich's work. Yet the movement of objects has sometimes encouraged a misleading split between an “international” abstract Malevich and a separate late painter at home. Both were parts of one career. ^{[1], [10], [12]}

Return, Kyiv teaching and the 1929 exhibition

Malevich returned to a changing cultural climate. The Malevich Society records continuing accusations of formalism and counter-revolutionary thought; he also published in the Kharkiv journal Nova Generatsiia. After institutional setbacks, he taught at the Kyiv Art Institute for periods during 1929–30, as the Russian Museum's biography confirms. His return to the city of his birth as a teacher deserves attention in its own right, rather than appearing merely as a prelude to an arrest. ^{[1], [4]}

In November 1929 the Tretyakov Gallery opened a solo exhibition. The artist presented a retrospective account of his work, but some paintings then given early dates were made later. This is one reason a date written on a Malevich canvas cannot always be copied uncritically into a timeline. It may relate to the date of an idea, a desired place in an artistic sequence, or the artist's later retelling of his own career. Museums' technical and documentary research must guide the dating of a physical object. The practice also complicates the easy claim that his styles replaced one another in a simple order. ^[1]

The later pictures revisited peasants, bodies and landscapes. Such themes had appeared before 1915, but a late figure can be made from colour divisions and flattened space learned through nonobjective painting. The Russian Museum dates Sportsmen to 1928–32; its four simplified figures are both recognisable people and a rhythm of strong coloured sections. The same museum dates Red Cavalry circa 1932 even though “1918” is inscribed on the work. Reading the inscription as the creation date would erase the later moment in which the painting was actually made. ^{[1], [15]}

Arrest, late work and the limits of a single explanation

Malevich was arrested in 1930 and held for approximately three months, according to the Malevich Society biography. His institute had closed earlier, and his possibilities for public work had narrowed. The Russian Museum also describes material hardship in its discussion of the circa-1930 Peasants. Such evidence makes political and economic pressure impossible to ignore. It does not, by itself, assign a precise hidden message to every faceless person or empty field. A responsible interpretation can say that particular paintings were made in this environment while continuing to examine what is actually visible in them. ^{[1], [14]}

Late figure paintings are diverse. The anonymous standing bodies in Sportsmen differ from the minute moving riders in Red Cavalry; neither is the same pictorial problem as a close portrait. Tretyakov's Girl with a Comb in Her Hair belongs to 1932–33 and shows attention to an individual face and the articulation of colour across hair, skin and dress. The biography should not turn all these works into evidence that the artist “gave up” on his own invention. Their formal choices show continuing work through questions of colour, surface and structure even when the subject changed. ^{[13], [15]}

The Russian Museum's 1933 Self-Portrait (The Artist) makes the shift especially clear. Malevich presents himself in elaborate historical dress, with a geometric order of white, black, red and green. The museum identifies this as a separate work with its own inventory number, ЖБ-1516. It is not the early painted head used elsewhere in this cluster. Comparing the two suggests how differently an artist could construct a public self-image over two decades. The comparison need not assume that the later costume was either a private joke or a simple surrender to traditional painting; the object and its moment allow a more open question. ^[13]

Death, commemoration and the continuing life of the work

Malevich died in Leningrad in May 1935. The Russian Museum's account of the 1933 self-portrait also describes the funeral organised by friends and students. A Suprematist coffin and a black-square sign on the vehicle carried his earlier visual language into that final public event. After cremation in Moscow, his ashes were buried at Nemchinovka, where a memorial designed by Nikolai Suetin included a black square. These details are more than picturesque afterlife: they show that the form remained a sign used by the people who knew him, alongside his late portraits and other work. ^{[1], [13]}

The international history of Malevich's reputation was shaped by uneven access to objects and archives. Works left in the West in 1927 had one fate; collections and documents in Soviet institutions had another. The Malevich Society notes that later access to archives changed scholarship on his life. Stedelijk research into the Khardzhiev collection has identified a preparatory drawing decades after the artist's death, and technical studies of canvases have corrected easy assumptions about date, layers and versions. A biography therefore remains a researched account, not a fixed legend completed in 1915. ^{[1], [8], [12]}

To continue from the life to the work, start with Black Square for the first canvas and its 1915 room; White on White for the 1918 reduction; An Englishman in Moscow for the alogical phase; and Sportsmen or Red Cavalry for late figures. The paintings guide will browse the larger corpus, while theory and writings will follow the texts by edition. The works reward being read as particular objects made across a changing life. ^{[5], [6], [8], [15]}

Selected chronology

Year	Documented moment	Why it matters
1879	Born in Kyiv to a family of Polish origin	Old and New Style calendar dates must be converted correctly. [2], [3]
1890s	Family in Kursk; railway employment and art practice	Art developed alongside paid work. [1]
1907–13	Moscow exhibitions; contact with Goncharova and Larionov	Different early visual languages and networks. [1], [4]
1913	Designs for Victory over the Sun	Theatre experiment associated with later square idea. [1], [4]
1915	First Black Square at Petrograd's 0.10 exhibition	Public presentation of Suprematism. [5]
1918	White paintings, including MoMA's White on White	Further transformation of form and field. [6]
1919–22	Vitebsk teaching and UNOVIS	Collective teaching, printing and public design. [1], [9]
1922–26	Petrograd/Leningrad institutional work and architectons	Research in museums, objects and spatial models. [1]
1927	Warsaw and Berlin exhibitions; German publication	International presentation and divergent object histories. [1], [10], [11]
1929–30	Kyiv teaching; Tretyakov retrospective; arrest	Late career under altered institutions and pressure. [1], [4]
1932–33	Late landscapes, figures and portraits	Representation returns in varied forms. [13], [15]
1935	Death in Leningrad and Suprematist funeral	The black-square emblem persisted among associates. [13]

Questions about Malevich's life

What year was Kazimir Malevich born?

The reproduced Kyiv parish record and a Ukrainian scholarly historical entry support 1879, with 11 February Old Style corresponding to 23 February New Style. Some older museum records give 1878; even current specialist and museum summaries can differ on the precise day. ^{[1], [2], [3]}

Was Malevich Russian, Ukrainian or Polish?

He was born in Kyiv, then in the Russian Empire, into a family of Polish origin. He worked in places now in Ukraine, Russia and Belarus. A collection label may choose one adjective, but his biography is more accurately told through those specific family and geographic facts. ^{[1], [3], [4]}

Did he make Black Square in 1913?

He later linked the square idea to his 1913 theatre work. The Tretyakov Gallery's first surviving oil painting is dated 1915 and was shown that December. The stage design and canvas are distinct objects. ^{[1], [5]}

Did he stop painting after White on White?

No. He announced a turn toward theory and worked in writing, teaching and other forms, but he also later made canvases with peasants, figures and portraits. ^{[1], [6], [13], [15]}

Why did he return to figures?

The change happened amid institutional closure, political accusation, arrest and difficult living conditions. The documented pressure is important, while the paintings' subjects and structures vary too much to assign them all one motive. His early work had also included figures, so the late work revisited a theme as well as changing it. ^{[1], [14], [15]}

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

Where was Kazimir Malevich born?

Malevich was born in Kyiv in 1879, then part of the Russian Empire. His family background and the places he worked are both important to his biography. ^[1]

When did Malevich present Suprematism?

He introduced a group of Suprematist paintings to the public at the 0.10 exhibition in Petrograd in December 1915. ^[1]

Did Malevich only make abstract art?

No. His career included early figurative pictures, geometric abstraction, and later images of figures and rural life. ^[1]

References

1. The Malevich Society, “About the Artist”: specialist biography; birth day and Moscow School claim 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 Russian Museum, Malevich artist record. View source.
5. State Tretyakov Gallery, 1915 Black Suprematist Square, inv. 11925. View source.
6. MoMA, Suprematist Composition: White on White, 1918, 817.1935. View source.
7. MoMA, Woman with Pails: Dynamic Arrangement, 815.1935; Yale University Art Gallery, The Knife Grinder, 1941.553. View source.
8. Stedelijk Museum, discovered drawing connected with An Englishman in Moscow. View source.
9. MoMA, UNOVIS group and The Path of UNOVIS, 1921. View source.
10. Malevich Society, writings by Malevich. View source.
11. Malevich Society, selected exhibitions before 1935. View source.
12. Stedelijk Museum, Malevich and the museum's collection. View source.
13. State Russian Museum, Self-Portrait (The Artist), 1933, ЖБ-1516. View source.
14. State Russian Museum, Peasants, c. 1930, Ж-9398. View source.
15. Russian Museum, Sportsmen, Ж-9439 and Red Cavalry, Ж-9435; Tretyakov, Girl with a Comb in Her Hair, Инв. 20843. View source.
16. Tate book record, Kazimir Malevich: Letters, Documents, Memoirs, Criticism: bibliographic context, not a directly consulted edition. View source.
17. Splash image: Kazimir Malevich, early Self-Portrait. Reproduction supplied by the site owner, who identifies it as public domain. The pictured version is left undated until its museum object identity is confirmed.

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