Black Cross

Introduction

A black cross spreads across a white square canvas. At first glance, Kazimir Malevich's Black Cross can seem almost too direct to describe. The more closely one looks, the less mechanical it becomes. Its edges shift, the black bars do not sit like flawless printed strips, and the white areas around them are not identical empty corners. Malevich showed this physical painting at the 0.10 exhibition in Petrograd in December 1915, when he was introducing Suprematism to the public. The canvas now belongs to the Centre Pompidou's Musée national d'art moderne in France. It is the 80-centimetre work catalogued as AM 1980-1, not the larger cross that the State Russian Museum dates to about 1923. ^{[1], [2], [3]}

The distinction is more than a catalogue nicety. Images of Malevich's crosses are often exchanged as if a familiar black sign must always be the same object. Here a curatorial study finds marks in the first canvas's uneven contour that allow it to be recognised in photographs of the 1915 exhibition. Its later history includes decades when it was not publicly traceable, a rediscovery in 1975 and major restoration before its entry into the Pompidou collection in 1980. The painting has had a material and institutional life that a clean diagram of a cross cannot convey. ^[2]

At a glance

• ArtistKazimir Malevich
• Museum titleCroix [noire], usually rendered Black Cross
• Alternate titleDeux plans suprématistes en rapport orthogonal, dit Croix noire
• Date1915, the museum's assigned date
• MediumOil on canvas
• Size80 × 80 cm
• CollectionCentre Pompidou, Musée national d'art moderne, AM 1980-1
• Catalogue referenceNakov S-206, as cited in the museum bibliography

Contents

1. A cross that is not a diagram
2. Why it appeared in 1915
3. Suprematism and the temptation to decode
4. Lost from view, then found again
5. The later cross is a different object
6. Annotated comparison: later Black Cross
7. Frequently asked questions

Where this work sits in Malevich’s career

Selected works, 1912–1933

19121917192219271933

The Woodcutter (recto)

1912

Morning in the Village after Snowstorm

1912

Taking in the Rye

1912

Woman with Pails: Dynamic Arrangement

1912–13

The Knife Grinder

1912–13

An Englishman in Moscow

1914

Composition with the Mona Lisa

1914

Reservist of the First Division

1914

Black Square (first canvas)

1915

Black Cross (Pompidou canvas)

1915

Red Square (Russian Museum canvas)

1915

Suprematist Composition: Airplane Flying

1915

Suprematism, 18th Construction

1915

Painterly Realism of a Football Player

1915

Boy with a Knapsack (MoMA canvas)

1915

Dynamic Suprematism (Tate canvas)

1915–16

Suprematist Composition

1916

White on White

1918

Black Circle (Russian Museum canvas)

c.1923

Head of a Peasant (Russian Museum Ж-9488)

1928–29

Sportsmen (Russian Museum canvas)

1928–1932

Red Cavalry (Russian Museum canvas)

c.1932

Girl with a Comb in Her Hair

1932–33

Girl with a Red Staff

1932–33

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

A cross that is not a diagram

The dark shape can be understood as one vertical and one horizontal bar meeting near the centre of the canvas. Black reaches toward all four sides, cutting the surrounding white into four spaces. But the meeting is not a printed plus sign placed on a featureless ground. The bars' borders vary subtly; the crossing seems to press and adjust. White enters right up to the contour, making the slight changes in that contour visible. The image depends on a relation between black paint and the uncovered-looking light field, not on the black alone. ^{[1], [2]}

The canvas is square, yet the shape within it does not need perfect measurement to produce its force. A viewer may first register symmetry and only then notice that the widths, edges and positions resist a mathematical template. Angela Lampe, a curator at the Centre Pompidou, calls attention to these distortions in her study of the work. She sees them as a source of movement, as though the two bars had not settled into one fixed sign. This is an interpretation of the painted arrangement by someone who has studied the object; it is more precise than a generic claim that all geometric art is rigid. ^[2]

Such irregularity also helps identify this particular canvas. Lampe points to an imperfection around the upper edge and other contour details visible in photographs of the 0.10 exhibition. Those are small physical clues, but they let an archive photograph do something a title list cannot. The photograph is evidence that this cross, with its particular outline, appeared in that early presentation. A later cross with a straighter profile could not acquire the same exhibition history simply by sharing its name. ^[2]

The painting's restraint does not eliminate decisions about looking. The white areas are neither a neutral mat nor four interchangeable gaps. Their positions change as the black bars widen, narrow or approach the edge. If the cross appears stable from a distance, its hand-made contour produces a quieter tension up close. Reproductions differ in contrast and crop, so they can make the object look more regular than it is. The point is not to find hidden figures inside the sign. It is to see how an elementary form can become an active painting through proportion, edge and surface.

One way to test that effect is to cover part of the reproduction with a hand. With the vertical bar hidden, the horizontal black stretch can seem to press against the canvas edges. With the horizontal bar hidden, the upright part appears more like a single dark column. Uncover the whole picture and the two directions compete again. This is a looking exercise, not a reconstruction of Malevich's working method. It draws attention to the fact that a cross is a relationship among parts, while the actual painted overlap and the surrounding white vary from an ideal geometric schema.

Why it appeared in 1915

Malevich was moving toward a nonobjective language of planes and colour in 1915. In December he presented a group of these paintings at The Last Futurist Exhibition of Paintings 0.10 in Petrograd. The first Black Square hung high across a room corner; Black Cross was among the works below and around it. The exhibition placed apparently simple forms in a crowded, experimental setting rather than introducing them as isolated modern logos. The exact number of Malevich works differs across institutional accounts, so the important secure fact here is the cross's identified presence, not a contested count. ^{[2], [4]}

The Centre Pompidou gives the canvas an alternative title meaning Two Suprematist Planes in Orthogonal Relation, called Black Cross. That phrasing draws attention to the idea of two planes meeting at right angles. Lampe explains the cross as a development from Malevich's square: divide the square into two rectangles and pivot one across the other. This is a helpful account of the formal relationship between his basic shapes. It should not be mistaken for proof that the artist physically cut up a completed painted square to make this particular canvas. The museum records oil on canvas, and the argument concerns pictorial construction. ^{[1], [2]}

The painting is often put beside Black Square and Black Circle as a set of primary forms. That comparison can clarify Malevich's vocabulary, but each object has its own date and history. The first Black Square in the Tretyakov Gallery is the painting displayed in 1915; later squares also exist. The Russian Museum's well-known Black Circle and Black Cross canvases are dated to about 1923. The motif of a circle or cross may have an earlier history without turning every surviving example into a 1915 object. ^{[3], [5]}

The cross's relationship to a square also has a visual consequence. A square contains the viewer's gaze inside one dark block; a cross reaches outward in four directions. Black meets the canvas boundary through bars while white remains visible at the corners. It can feel like a form both assembled at the centre and extending beyond it. Lampe's account of two crossing planes makes sense of that tension. A viewer need not accept one fixed symbolic meaning for the cross to notice it.

Suprematism and the temptation to decode

Malevich called his nonobjective approach Suprematism. Its forms were meant to move painting away from depicting ordinary objects and toward relations of colour and plane. The black cross does not represent a street junction or a body by the usual means of resemblance. It sets out an arrangement that can be seen without identifying a scene. Malevich's writings and later statements offered ambitious claims for such art, but this page begins with the specific object rather than using an isolated sentence from an uncertain translation as its explanation. ^{[4], [6]}

The shape inevitably resembles other crosses, including religious signs. The position of the first Black Square high in a corner of the 0.10 room invited comparison with an icon's traditional place in a Russian home. That historical placement does not prove that this Black Cross was intended as a Christian emblem or that every viewer understood it the same way. Its title names a shape. A careful reading can acknowledge possible cultural echoes while recognising that the canvas provides no depicted religious scene. ^{[2], [5]}

The work's force may lie partly in that openness. It is recognisable instantly, yet difficult to exhaust in a single explanation. A black shape on white can seem austere. Lampe's account of unstable contour and motion brings back the physicality of the brush and canvas. The cross is an idea tested as paint, not merely a mathematical figure reproduced at large scale. Its specific irregularities were consequential enough to help connect it with a 1915 photograph.

The Centre Pompidou's object card and Lampe's essay describe the formal stakes of the painting in terms of a new language of forms. They do not establish a private note from Malevich instructing viewers to read each arm as a particular social or political force. Any such interpretation would need its own dated textual evidence and should be presented as an argument. For a first encounter, the painted relation is both more certain and more interesting than a claim to possess a code.

Lost from view, then found again

The canvas's journey after the 1915 exhibition is not continuously documented in the sources used here. Lampe writes that it probably belonged for a time to Mikhail Matyushin, the painter and composer who was part of Malevich's avant-garde circle. “Probably” matters: it describes a plausible custody link, not an unbroken chain of proven owners. The work then disappeared from public view for roughly sixty years, according to her account, before reappearing in 1975. ^[2]

Lampe reports that the painting underwent major restoration. The museum's public essay does not specify every treatment, so it would be misleading to tell a detailed conservation story from that short statement. Restoration does remind us that the object visible today has endured damage and care. The edge and surface that identify it in an exhibition photograph are material properties, not the timeless precision of a digital icon. ^[2]

The Centre Pompidou records its acquisition as a 1980 donation by the Scaler Foundation; Lampe's historical account describes the contribution of both the Scaler and Beaubourg foundations. These are two different levels of public record, and neither should be stretched into a complete transaction narrative. What is secure is that the canvas entered the museum collection in 1980 and is now catalogued AM 1980-1. Its return to view gave scholars the opportunity to connect a surviving object with the early exhibition photograph. ^{[1], [2]}

This later history is one reason a page about Black Cross must specify an accession number. Malevich did not make only one image that viewers call by that name. Without date, size, owner and physical clues, a reproduction can quietly substitute a later version. That error would change the article's account of 0.10, restoration and collection history. The dark cross might look familiar, but the story belongs to a particular canvas.

The later cross is a different object

The State Russian Museum records a Black Cross dated circa 1923, oil on canvas, 106 by 106.5 centimetres, inventory Ж-9485. Its dimensions alone distinguish it from the 80-centimetre Pompidou canvas. Its contour is more regular in reproductions. The Russian Museum says it received the work from Malevich's heirs in 1936 and records a later 1977 transfer. That is a separate custody line from the painting that resurfaced in 1975 and entered the Pompidou collection. ^[3]

Lampe discusses a more rigid square-circle-cross set associated with the 1924 Venice Biennale and says it was probably made by a student. Her cautious attribution concerns that set; it should not be turned into a sweeping statement that all later crosses were made by pupils. Similarly, the Russian Museum's account of a symbolic triptych does not change the date of its circa 1923 physical canvas. The earlier form and later versions can be compared without treating them as interchangeable or assuming the same hand and purpose in every example. ^{[2], [3]}

Looking from one version to another can reveal how Malevich's seemingly simple forms changed. The 1915 Pompidou cross has a particular unevenness that Lampe reads as dynamic. A more exact later crossing alters that effect. Neither observation means that one is a “corrected” version of the other. They are distinct objects in different settings. The comparison is most useful when their dates, measures and histories are kept visible.

The 2003 Guggenheim catalogue supplies an independent object check for the early canvas: its entry identifies Black Cross as a 1915 oil painting measuring 80 × 80 centimetres and gives Pompidou inventory AM 1980-1. The catalogue exhibited it alongside other early basic-form paintings, including the original Black Square. This later grouping is useful for understanding how museums have presented Suprematism, but it is not evidence that the works shared identical ownership paths after 1915. The cross's periods out of view and its separate 1980 collection entry still require their own account. ^[7]

Annotated comparison: the later Black Cross

This owner-supplied high-resolution image visually matches the State Russian Museum’s Black Cross, inventory Ж-9485, dated circa 1923. It shows a different physical painting from the 1915 Centre Pompidou canvas discussed above. The museum records the later work as oil on canvas, 106 × 106.5 cm. ^[3]

The four details below describe what is visible in this reproduction. They do not establish the later painting’s authorship process, pigments or conservation history.

Questions about Black Cross

Was this the cross shown at 0.10 in 1915?

Yes, according to Centre Pompidou curator Angela Lampe. She identifies the 80-centimetre AM 1980-1 canvas in exhibition photographs by a distinctive upper-edge imperfection and other contour details. ^[2]

Why do some sources date Black Cross around 1923?

They may be referring to another canvas. The State Russian Museum's larger work Ж-9485 is dated circa 1923 and measures 106 × 106.5 cm. The Centre Pompidou work discussed here is 80 × 80 cm and assigned to 1915. ^{[1], [3]}

Is the shape mechanically perfect?

No. Its outline and bars have visible irregularities. Those details are central to Lampe's interpretation and help distinguish the canvas in historical photographs. ^[2]

Does the cross stand for Christianity?

The shape can invite that association, but the object records used here do not establish a single religious meaning assigned by Malevich to this exact canvas. The painting's formal relation of black planes and white field is directly visible; a more specific symbolic claim needs separate evidence.

Where is this version now?

It is in the Centre Pompidou collection as AM 1980-1. Display locations can change, so check the museum's object record before a visit. ^[1]

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

Is Black Cross the same work as Black Square?

No. The cross and square are distinct geometric compositions. Works with these forms also exist in more than one version, so museum collection records matter. ^[1]

What makes the cross a Suprematist image?

Two broad dark bars meet on a pale field. Malevich treats their shape and relation to the ground as the subject rather than depicting an object. ^[1]

Where is the Black Cross discussed here?

This page distinguishes the work in the Centre Pompidou collection from later black-form paintings and gives its museum identification. ^[1]

References

1. Centre Pompidou, Croix [noire], AM 1980-1: assigned date, title, medium, dimensions, accession, donor entry and Nakov bibliography. View source.
2. Angela Lampe, “Focus sur… Croix [noire],” Centre Pompidou: object-specific 0.10 photographic identification, formal reading and later history. The original French was checked because the site's English translation contains an erroneous birth year. View source.
3. State Russian Museum, later Black Cross, Ж-9485: circa 1923 separate canvas, 106 × 106.5 cm. View source.
4. Malevich Society, artist and writings records and 0.10 exhibition study, Encyclopedia of Russian Avant-Garde: movement chronology and disputed exhibition counts. View source.
5. Tretyakov Gallery, first Black Square and Russian Museum, circa 1923 Black Circle: comparison objects. View source.
6. Malevich Society, writings issued in Malevich's lifetime: publication chronology; no unverified quotation is used. View source.
7. Matthew Drutt, ed., Kazimir Malevich: Suprematism, Guggenheim, 2003, catalogue p. 121: exact 1915 Pompidou canvas and 2003 exhibition context. View source.
8. Splash image: Kazimir Malevich, Croix [noire] (Black Cross), [1915]. Oil on canvas, 80 × 80 cm. Centre Pompidou, Musée national d'art moderne (AM 1980-1). Image: Wikimedia Commons, public-domain work reproduction, converted at native 594 × 600 resolution.

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