An Englishman in Moscow

Introduction

Half a man's face peers from beneath a tall black hat. A large white fish, a small church, a candle, a red spoon, a curving blade, a ladder and interrupted Cyrillic words crowd the same narrow canvas. Kazimir Malevich called the painting An Englishman in Moscow; its Stedelijk Museum title is Een Engelsman in Moskou. Made in 1914, it is an example of the artist's alogical work, in which recognizable things are placed together without a conventional scene to explain their scale or relationship. The canvas is in the Stedelijk Museum Amsterdam, catalogued as A 7656. ^{[1], [2], [3]}

A 2017 discovery makes the painting particularly rewarding to study. During an inventory of the Khardzhiev Collection, the Stedelijk found a small 1914 drawing that it explicitly identifies as a sketch for this painting. The museum notes that “partial eclipse” appears in both drawing and canvas. That is firmer evidence for a compositional link than a loose claim that the painted objects merely look like a dream. It does not, however, reveal the identity of a real English visitor or turn every fish, spoon and letter into a documented symbol. ^[2]

At a Glance

• ArtistKazimir Malevich (1879–1935)
• English titleAn Englishman in Moscow
• Stedelijk titleEen Engelsman in Moskou
• Date1914
• MediumOil on canvas
• Published painted dimensions88 × 57 cm; see measurement note below
• CollectionStedelijk Museum Amsterdam; object A 7656
• PeriodAlogical painting, before the 1915 public presentation of Suprematism
• Related drawing1914 sketch on squared paper, 14 × 10 cm, identified by the Stedelijk in 2017
• Image hereSharper 2016 revision of the exact-work Commons reproduction, full canvas, public-domain marked

Contents

1. What is actually in the picture?
2. What do the words say, and what do they mean?
3. The 2017 drawing discovery
4. Who is the Englishman?
5. From alogical images to nonobjective painting
6. Object, measurements and image record

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

What is actually in the picture?

The painting's format is tall and narrow, an important part of its visual pressure. There is little quiet background. Objects, letters and colour blocks meet the sides of the canvas, and the giant fish stretches alongside the barely visible figure. One eye looks out from the centre-right, under a large black top hat. The man's face is divided into green and yellow zones and partly hidden behind the fish. The title promises a person in a city, but the person is almost swallowed by the other parts of the image. The Stedelijk's visitor guide describes the Englishman as barely recognizable and offers that as a deliberate aspect of the work. ^{[1], [3], [4]}

The white fish is one of the largest shapes. It rises through the upper-left middle with a small eye and curved mouth, a rather legible creature in a field of stranger overlaps. Nearby, a miniature church with dark domes occupies only a small patch of the canvas. The fish is enormously larger than the church. Neither object is scaled according to a consistent viewpoint, and no river or town square unites them. The contrast is a concise example of what “alogical” means here: both things can be identified, but their combined pictorial logic is unstable. ^{[2], [3], [5]}

A red spoon-like shape sits near the top. A broad curved blade crosses the painting lower down, passing in front of fish, figure and other forms. The blade's pale arc cuts a route across the vertical composition. A candle rises near the centre-left, its small flame surrounded by other signs of light, dark and interruption. A ladder tilts behind the blade. At the lower right a red arrow runs toward the edge. Each object seems deliberately particular, but their sizes and contact points prevent the eye from reading them as ordinary possessions of one traveller. ^{[3], [5]}

The colours matter as much as the inventory of objects. Deep blue runs across the upper field, black contains portions of the hat and lower area, and green divides the face and background. Red repeats in the spoon and diagonal arrow; yellow appears in a large fan-like shape at upper left and in fields near the lower edge. The crisp white fish stands out against those dark colours. Instead of the many shaded cones in The Knife Grinder, the picture relies heavily on adjacent flat areas and abrupt changes of scale. The visible brushwork in the reproduction cautions against describing these areas as digitally uniform. ^{[3], [6]}

The eye moves in several competing directions. Follow the fish upward and you encounter the spoon and separated letters. Follow the sabre-like curve from left to right and it crosses the nearly hidden face. Follow the red arrow and you are pulled away from the vertical figure toward the canvas's lower edge. The work thus organizes attention through collisions. Its oddity comes from how clearly some fragments are painted and how little they clarify one another. That reading is grounded in the reproduced image; it is not a recovered script for a story Malevich meant everyone to tell in the same way. ^{[3], [4]}

What do the words say, and what do they mean?

Letters and partial words cross the painted forms. The most securely documented phrase is “partial eclipse”: the Stedelijk identifies it in both this painting and the preparatory drawing found in 2017. Cyrillic letters do not sit on a neutral caption strip; they float among fish, face, blade and colour. Some are split by the composition, so they act at once as language and as large graphic shapes. A reader can register the phrase without claiming that the rest of the painting has a single grammatical sentence behind it. ^{[2], [3]}

The idea of an eclipse has an obvious visual attraction in a picture that hides part of a man's face and places light, dark and overlapping shapes across one another. The Stedelijk's 2017 account goes further: it interprets the motif within Malevich's wish to eclipse traditional aesthetics and treats the painting as a step toward his later nonrepresentational language. That is the museum's historical reading, not proof that a particular black area in this canvas is already the 1915 Black Square in disguise. The date, object and style remain distinct. ^{[2], [7]}

Another group of letters has been read as “racing society,” and the longer painting contains scattered Cyrillic fragments beyond the eclipse wording. Their presence evokes public notices, labels or the texture of urban language, but a precise real-life organization or event has not been established in the sources checked here. The Stedelijk's more recent visitor guide makes the uncertainty plain: it points to letters and numbers as if they were a secret message, then says no one knows exactly what they mean. A responsible interpretation can translate a documented phrase and describe its visual role while leaving the larger “message” open. ^{[3], [4], [5]}

Alogical painting relates to the wider Russian avant-garde interest in zaum, often described as language beyond ordinary reason. Malevich and his poet collaborators were interested in breaking customary connections among words, things and pictures. The Malevich Society describes this painting as a combination of recognizable objects in illogical relation and connects the lettering to zaum. That context explains why a viewer may not find a stable story even after naming every object. It does not entitle us to invent a precise dialogue spoken by the Englishman. ^[5]

The 2017 drawing discovery

The Stedelijk's discovery gives a rare view into the painting's making. While examining Nikolai Khardzhiev's library, former Head of Collections Geurt Imanse found a 14 × 10 centimetre Malevich drawing tucked among the pages of a monograph Khardzhiev had written on Pavel Fedotov. The museum dates the drawing to 1914 and describes it as a sketch for An Englishman in Moscow. Both the drawing and painting contain the phrase “partial eclipse.” This is an object-specific link published by the holding museum, stronger than a comparison based on resemblance alone. ^[2]

The drawing was on squared paper, a concrete detail that makes the find particularly interesting. A grid may help an artist place forms, but the announcement does not say exactly how Malevich transferred its contents to the canvas, or whether the drawing is the first or final plan. “Preparatory sketch” is the museum's identification of the relationship; it should not be enlarged into a complete account of every compositional decision. The painting can be closely related to a sketch and still change in colour, scale and emphasis as it is made. ^[2]

The find occurred during study of the Khardzhiev Collection, a group of Russian avant-garde works and historical materials entrusted to the Stedelijk's care. The library setting is important: the drawing was not newly excavated from the back of the painted canvas. It had survived within a book and became known through inventory research. The Stedelijk's 2017 notice reports that it would display the drawing with the painting at the time. That is a historical exhibition fact, not a promise that the two objects are still hanging together now. ^[2]

The painting's status and the drawing's status should also be kept separate. The painted An Englishman in Moscow is Stedelijk object A 7656. The drawing belongs to the Khardzhiev-related research story and has its own identity. A visitor looking at a reproduction of one should not assume it is a detail cut from the other. The page uses the painting's exact-work reproduction as its main image and cites the museum's research announcement for the drawing rather than silently substituting a drawing image. ^{[1], [2], [3]}

Who is the Englishman?

The title names an Englishman, but the painting gives only a partial face under a top hat. It supplies no verified name, date of travel or documented sitter in the sources used here. The man can be discussed as a figure of encounter, a visitor in an unfamiliar city, or a visual anchor for contradictory objects, but those are possible readings rather than an identified biography. The Stedelijk's visitor guide likewise treats the figure as scarcely recognizable, focusing on the painting's departure from ordinary depiction. ^{[1], [4]}

The fish and little church have sometimes encouraged stories about East and West, religion, commerce or a tourist's bewilderment. These interpretations are worth considering as interpretations; the image does not automatically certify any one of them. The small church placed against a huge fish is one juxtaposition the Malevich Society singles out as alogical. That observation works without requiring the church to name a specific building or the fish to stand for a unique nationality. ^{[3], [5]}

The red spoon has a more grounded context. The Malevich Society notes that Malevich used a red wooden spoon as a public Futurist emblem in 1914 and points to its appearance in this painting. That makes the painted spoon more than an arbitrary red silhouette. It still does not prove that the Englishman carries the spoon in a literal Moscow scene, nor that every other object has a comparable one-to-one reference to a documented event. ^[5]

From alogical images to nonobjective painting

The 1914 work sits between Malevich's earlier densely fragmented figures and his later nonobjective Suprematism. In Woman with Pails: Dynamic Arrangement, a human activity is difficult but still possible to assemble from repeated forms. In An Englishman in Moscow, recognizable pieces are easier to name individually, yet their relationships resist ordinary scene-making. In 1915 Black Square, a still more radical picture refuses such named objects altogether. This sequence is a useful comparison across distinct works, not a claim that the artist followed a single inevitable path with no reversals or parallel experiments. ^{[2], [3], [6], [7]}

Reservist of the First Division offers another 1914 comparison. There too Malevich brings words and fragments into a composition that does not behave like a traditional portrait. But the MoMA reservist is a separate mixed-media work with its own object history. Comparing the two can clarify how text and recognizable signs disrupted picture-making in this period while preserving the very different visual arrangements of each canvas. ^{[3], [8]}

The Stedelijk describes its painting as a first step toward the new nonrepresentational style, and its 2017 “partial eclipse” interpretation makes the relation to Black Square vivid. The wording “first step” should be read as a curatorial interpretation of development, not as a technical fact that the 1914 canvas was originally planned to become a square painting. The Englishman, fish, church, spoon and candle all remain visibly present. That continued attachment to objects is exactly what makes the later removal of them so consequential. ^{[2], [3], [7]}

The contrast also helps answer why the painting is so crowded. Its density gives recognizable things enough presence to collide. If the fish, face or words were stripped out, its alogical force would diminish. By 1915 Malevich found ways to make a picture tense with very few forms. Here the tension comes from an excess of possible associations and from the refusal to join them into a settled plot. Both strategies test what a painting can do beyond illustration, but they do so with different materials of meaning. ^{[2], [3], [7]}

Object, measurements and image record

The Stedelijk Museum Amsterdam owns the painting under object number A 7656. The commonly published painted dimensions are 88 × 57 centimetres. A later database-derived listing gives 90.5 × 59 × 3.5 centimetres, apparently measuring a physical object with depth, but the accessible record does not explain precisely how these figures were taken. The page therefore uses the familiar 88 × 57 image-area measurement in its main identification and records the alternative rather than falsely harmonizing them. Readers needing an exact current conservation measurement should consult the Stedelijk's own object record. ^{[1], [3], [9]}

The main image comes from a Commons file identified as this exact Stedelijk work. Its 2017 current revision is 546 × 850 pixels, while a 2016 historical revision is 1,000 × 1,541 pixels and visibly preserves sharper detail. The page uses that earlier full-canvas revision, resized down to 665 × 1,024 pixels. It has not been enlarged, cropped to an isolated symbol or digitally recoloured. Commons marks the faithful two-dimensional reproduction as public domain, which is a Commons status statement rather than a separate Stedelijk licence. The image ledger records the source, dimensions and changes. ^[3]

A 2018 photograph of the painting displayed at the museum exists on Commons under a different licence, CC BY-SA 4.0. It is useful evidence that a visitor photographed the work at a particular moment, but it is a separate photographic asset with its own credit terms and potential perspective effects. The page does not swap it in for the selected faithful reproduction or imply that a historic installation photograph shows the current gallery. The museum's own visitor guide is dated; check the live collection record before a visit. ^{[3], [4], [10]}

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 there a real Englishman in the painting?

The canvas includes a partly visible face under a top hat, but the sources used here do not identify a named sitter. The title can be read without assuming it records a literal tourist encounter. ^{[1], [3], [4]}

What does “partial eclipse” refer to?

The Stedelijk documents the phrase in both painting and a preparatory drawing. Its curators read the eclipse motif in relation to Malevich's break with older picture-making. A precise universal explanation for every letter and object is not documented. ^{[2], [4]}

Why is a fish bigger than a church?

The scale conflict is one of the painting's alogical juxtapositions. Both are identifiable, but they do not share a coherent naturalistic space. A symbolic interpretation is possible; a single artist-certified code has not been established by the cited records. ^{[3], [5]}

Was the drawing found behind the painting?

No. The Stedelijk found a 14 × 10 cm drawing on squared paper inside a Khardzhiev-library book during inventory work. The museum identifies it as a sketch for the painting. ^[2]

Is this already Suprematism?

No. It belongs to Malevich's 1914 alogical work and retains recognizable objects, words and a figure. The Stedelijk connects it historically to the nonobjective style he publicly presented later, but the painting itself is not a simple coloured-plane Suprematist canvas. ^{[2], [5], [7]}

Where is the original?

It is in the Stedelijk Museum Amsterdam, object A 7656. Check the museum's current object record for display information before planning a visit. ^[1]

References

1. Stedelijk Museum Amsterdam, collection object 178, Een Engelsman in Moskou: exact institutional object anchor and current collection page; automated direct reading was restricted during this research. View source.
2. Stedelijk Museum Amsterdam, “Unique Malevich drawing discovered during Stedelijk inventory of the Khardzhiev Collection,” 2017: museum's detailed account of the 14 × 10 cm 1914 sketch, discovery circumstances, “partial eclipse” wording and alogical interpretation; indexed official text was available, while direct page reading required browser verification. View source.
3. Wikimedia Commons, exact-work An Englishman in Moscow file: Stedelijk A 7656 identity, oil and 88 × 57 cm listing, image history and public-domain mark; the 2016 historical revision was selected for the main image. View source.
4. Stedelijk Museum Amsterdam, Essentials Tour PDF, 2025, p. 17: directly inspected museum guide on the partially hidden figure, letters and uncertainty of their meaning; dated gallery placement is not promised as current. View source.
5. The Malevich Society, “About the Artist”: institutional overview of the 1914 alogical picture, zaum context, small church and large fish, “partial eclipse” text and red spoon; indexed text was available, while direct page reading timed out. View source.
6. Yale University Art Gallery, The Knife Grinder: distinct 1912–13 Cubo-Futurist work for stylistic comparison; object page direct automated access was restricted. View source.
7. Tretyakov Gallery, first Black Square: separate 1915 nonobjective canvas for comparison. View source.
8. MoMA, Reservist of the First Division, 814.1935: distinct 1914 mixed-media work for comparison. View source.
9. Sartle object listing for Stedelijk A 7656: reports the larger 90.5 × 59 × 3.5 cm dimensions; used only to disclose a conflict, not to override the museum object page. View source.
10. Wikimedia Commons, 2018 visitor photograph of Stedelijk A 7656: distinct CC BY-SA 4.0 photograph used for image-choice comparison, not the page's main image. View source.
11. Splash image: Kazimir Malevich, An Englishman in Moscow (Een Engelsman in Moskou), 1914. Oil on canvas, commonly published as 88 × 57 cm. Stedelijk Museum Amsterdam (A 7656). Image: Wikimedia Commons, public-domain marked faithful reproduction; the sharper 2016 file revision was resized full-frame for this page. See the article for a differing later dimensions listing.

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