by Tom Gurney
Tom Gurney BSc (Hons) is an art history expert with over 20 years experience
Published on June 19, 2020 / Updated on October 2, 2026
Email: tomgurney1@gmail.com / Phone: +44 7429 011000
Introduction
Two women make their way between buildings after a snowfall. Their dark boots and broad red skirts give the figures a clear human presence, but the village around them is made from sharply angled roofs, blue-black shadows, white slopes and rounded tree forms. The scene is recognizable; its pieces do not fit into a smoothly naturalistic space. Kazimir Malevich's Morning in the Village after Snowstorm belongs to the Solomon R. Guggenheim Museum, New York, which dates it 1912 and records it as oil on canvas, 80 × 80 cm, accession 52.1327. The museum also gives the transliterated Russian title Utro posle v'iugi v derevne. [1]
This painting rewards more than a label such as “early Cubo-Futurism.” One can follow the women along a snow-covered route, find a roof or a tree, and then notice that the same forms are broken into coloured facets that redirect the eye. Cornelia Lauf's essay on the Guggenheim object stresses both the painting's formal experiment and its connection to the artist's memories of rural life. The image gives us a village subject and a deliberately rebuilt pictorial language at once. [1]
At a Glance
- ArtistKazimir Malevich (1879–1935)
- TitleMorning in the Village after Snowstorm
- Transliterated titleUtro posle v'iugi v derevne
- Date1912 in the Guggenheim's current record
- MediumOil on canvas
- Dimensions80 × 80 cm in the current object record; an older Guggenheim guide prints 81 × 81 cm
- CollectionSolomon R. Guggenheim Museum, New York; 52.1327
- Style/contextEarly Cubo-Futurist experiment with village and peasant imagery
- Main imageFull-frame exact-work Commons reproduction; reuse conflict documented below
Contents
- What can you see in the painting?
- Why is it called Cubo-Futurist?
- Village life and social meaning
- Where does it sit in Malevich's work?
- Dimensions, source image and rights
Where this work sits in Malevich’s career
The Knife Grinder
1912–13White on White
1918Sportsmen (Russian Museum canvas)
1928–1932Girl with a Comb in Her Hair
1932–33Girl with a Red Staff
1932–33Watch: Kazimir Malevich
Three short films place Black Square, the 1915 exhibition and Malevich’s later work in context.
Kazimir Malevich | TateShots
A curator introduces Black Square, the 0.10 exhibition and Malevich’s later work.
Watch on YouTubeWhat can you see in the painting?
The two foreground figures organize the square. The nearer woman stands to the left, with a pale head covering, a red upper section of clothing and a darker skirt. The other, farther right, wears a red skirt under a dark upper body. Their tapered bodies and small dark legs make them identifiable as walkers even though their features are almost absent. Their backs or sides are turned away from a direct portrait encounter. We are led into a route through the village rather than asked to recognize particular people. The Guggenheim identifies no named sitters or precisely located village in its object record. [1], [3]
Snow is not rendered as an even white blanket. Grey, blue and white sections of ground rise and fall like overlapping planes. A long diagonal shadow or path pulls attention down the composition. The women appear to walk between sloping buildings, while the angles of roofs push toward the edges of the square. A small distant figure seems to occupy the central opening. At this scale, it is safer to describe the visible arrangement than to claim every dark stroke identifies a specific person or tool. The village emerges through recognisable clues gathered from a field that never fully settles into one consistent viewpoint. [1], [3]
The buildings are an exercise in colour as much as architecture. A dark blue-black roof or wall on the left meets pale slopes and warm red accents; on the right, another blue field abuts a tan and white structure. Roof edges tilt in several directions. Deep blues make the shadowed areas feel cold, while the women's reds stand out against the wintry ground. A broad warm band across the upper background keeps the image from becoming monochrome. These high-contrast passages create movement before one knows exactly where every wall begins or ends. [3]
At the top, tree trunks and rounded, snow-laden crowns break the skyline into additional discs and wedges. Some branches resemble the sloping architecture below. This is one reason the entire scene feels connected despite its fragmentation: related curves and diagonals recur in figures, trees, roofs and ground. The two people do not simply occupy a conventional background. Their clothes and the winter setting share the picture's geometric vocabulary. [3]
Why is it called Cubo-Futurist?
The Guggenheim describes the canvas as a strong example of Russian Cubo-Futurism. In its teaching guide, it explains the term as joining Cubist fragmentation with Futurist interest in motion and the modern world's changing visual experience. Malevich's village is broken into angular parts; figures and natural forms can look constructed, even machine-like. The effect is not a photographic instant of two people on a road. It is a composition that makes the viewer piece the scene together while moving among forms and colours. [1], [2]
“Cubo-Futurist” should not make the women or the rural location disappear from our reading. The title supplies a time, place and event: a morning after snow. The red-clothed walkers, roofs and snowy ground give that title visual traction. What changes is how those things are pictured. The winter world is compressed into the square, with shallow overlapping planes rather than a distant horizon that neatly recedes. If one initially sees little beyond almost abstract wedges, the people anchor the forms. If one initially sees a simple village anecdote, the restless planes complicate it. [1], [2], [3]
Lauf's Guggenheim essay notes that the figures have been linked to Malevich's earlier Neo-primitive genre types. It also says their treatment may relate to Fernand Léger's work, which Malevich could have encountered through a Moscow exhibition or reproductions. This is a possible formal connection, not proof that a particular Léger canvas was directly copied. The painting combines habits and experiments. Its subject of country life recalls earlier peasant pictures, while its strongly structured colour and fragmented forms make that subject visually new. [1]
The Guggenheim teaching guide points to popular woodcuts, frescoes and icon painting among the traditions through which Malevich understood images. That historical context helps explain why a rural theme in a modern painting is not an accidental leftover from an older style. Still, no single shape here can be assigned securely to one woodcut or icon without object-specific evidence. The formal vocabulary is more complex than a list of influences, and a close look at this canvas should remain the foundation of the explanation. [2]
Village life and social meaning
There is an important difference between recognizing a peasant subject and claiming to know a coded political message. Lauf argues that a reading limited to technique would miss the social dimensions of Malevich's art. She connects his repeated peasant imagery to memories of a rural childhood and to the cultural weight of country life in the years before the 1917 revolution. The Guggenheim teaching guide likewise invites a social reading of the figures alongside its account of formal experiment. These are the museum's interpretive arguments. [1], [2]
The painting itself offers no named village, no documentary date for the depicted storm and no labels identifying the two women. It is therefore possible to discuss the dignity, persistence or everyday labour implied by women walking through snow, but those remain readings of a constructed image, not an eyewitness report about a particular event. The future revolution should not be read back into every red patch of 1912 paint. Red is a powerful compositional contrast here; its mere presence does not prove a specific party allegory. [1], [3]
The title's temporal detail matters. This is after the storm, so the snow-covered route holds the aftermath of weather rather than a blizzard in progress. The picture feels active through the walkers and the diagonals of roofs and ground, but it does not show meteorological motion in a literal sense. Its energy comes from the way the scene is assembled. The teaching guide's questions about time, place, weather and colour encourage exactly this kind of evidence-based looking. [2], [3]
Where does it sit in Malevich's work?
The painting falls among early works in which Malevich tested how recognizable people and settings could be rebuilt through geometric form. The Woodcutter, also dated 1912 by its Stedelijk owner, gives a single labouring figure among cylinders and wedges. Woman with Pails: Dynamic Arrangement brings a water-carrying figure into an even more fractured field. Here two women and a village bind the image to an outdoor scene, while the square shape and multiple diagonals resist a simple landscape description. These comparisons reveal different decisions made around related subjects, not a single fixed formula. [1], [4], [5]
Black Square, publicly shown in 1915, removes the village, figures and weather from the painted field. The contrast makes clear what is at stake in Morning in the Village after Snowstorm: its forms experiment boldly while still serving the appearance of people in a place. The Guggenheim calls Cubo-Futurism an important phase in Malevich's route toward later Suprematism. That retrospective sequence is useful, but the 1912 work should not be treated merely as a rehearsal for an abstract picture that had not yet been made. [1], [2], [6]
The painting's acquisition and exhibition history are not expanded in the Guggenheim's current short object record. An online exhibition database lists a similarly titled work at the 1913 Target exhibition, and a Commons entry links the painting to a 1920 display, but these are not used here as settled provenance or installation facts without an object-level catalogue match. The secure anchor is the current Guggenheim accession 52.1327. [1], [3]
Dimensions, source image and rights
The Guggenheim's current collection record gives 80 × 80 cm. Its own older teaching guide prints 81 × 81 cm. The difference may reflect rounding or a different measurement convention, but the available text does not specify which. This page uses the current object record in its main identification and notes the guide's figure rather than quietly substituting one for the other. Commons gives 80 × 80 cm and the same accession, which helps confirm image identity, but the owner record controls the primary fact. [1], [2], [3]
The displayed image is a full-frame Commons file identified as this exact canvas, reduced from 4,096 × 4,089 to 1,024 × 1,022 pixels for the local page. Commons marks the faithful two-dimensional reproduction as public domain. However, the file's embedded metadata credits Guggenheim photographer Kristopher McKay, calls it copyrighted and asks users to contact licensing. Those statements conflict. The page does not claim an express Guggenheim licence. The image ledger records the discrepancy, and reuse for a live release remains a separate decision. No detail crop or 300-dpi annotation was made. [3]
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.
| 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 | |
| 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 | |
| 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 | |
| An Austrian was going to Radzivily | 1914 | |
| 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 | |
| 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 | |
| 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) | |
| 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 | |
| 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 | |
| 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 | |
| Dynamic Construction | 1923 | Photograph |
| Dynamic Figure from On New Systems in Art (O Novykh Sistemakh V Iskusstve) | 1911 | |
| 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 | |
| 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 | |
| Futurizm: dvizhenie cheloveka po lestnitse (Futurisme: beweging van een man op een trap) | 1919 | Drawing |
| Gebet II | um 1913 | |
| 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? | |
| Glyad, poglyad, uzh blizko Visly | 1914 | |
| 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 | |
| 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 | |
| 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 | |
| Krestyanka idet po vodu (Boerin haalt water) | 1913 | |
| 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? | |
| 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 | |
| Omslag van Sezd Komitetov Derevenskoi Bednoty (Congres van Comités van Armoede op het Platteland) | 1918 | |
| Omslag van Troe (Het drietal) | 1913 | |
| Omslagontwerp voor Internatsional iskusstva (Internationale van de kunst) | 1918 | |
| 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 | |
| Patriotic Poster Against the Germans | 1914 | |
| Patriotic Poster Against the Germans | 1914 | |
| Patriotic Poster Against the Germans | ||
| 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 | |
| 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 | |
| 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 | |
| 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 | |
| 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 | |
| Sieg über die Sonne 1913-1973 | 1973 | |
| Sieg über die Sonne 1913-1973 | 1973 / 2010 | Other |
| Simultaneous Death in an Airplane and at the Railway | (1913) | |
| 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 | |
| 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 | |
| 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 | |
| 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 | |
| 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 | |
| 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 | |
| UNOVIS Questionnaire | 1920 | |
| Untitled | 1920 | Drawing |
| Untitled | c. 1920 | |
| Untitled | αχρονολόγητο | |
| 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 | |
| Untitled, Illustration for the book by Aleksei Kruchenykh and Velimir Khlebnikov "Igra v Adu»" (2nd edition, Moscow 1914) | 1913 | |
| 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 | |
| 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 | |
| Wilhelm Carousel | 1914 | |
| 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 | |
| «Ну и треск же, ну и гром же...» | 1914 | |
| «Подошел колбасник к Лодзи...» | 1914 | |
| Весна – цветущий сад | 1928–1929 | Painting |
| Вильгельмова карусель | 1914 | |
| 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 | |
| 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 | |
| Лубок. «Глядь, поглядь, уж близко Висла» | 1914 | |
| Лубок. «Подошел колбасник к Лодзи» | 1914 | |
| Лубок. «Шел австриец в Радзивиллы» | 1914 | |
| 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 | |
| Почтовая карточка. «Ах ты, милый город Люблин...» | 1914 | |
| Почтовая карточка. «Выезжали мы за Млаву...» | 1914 | |
| Почтовая карточка. «Выезжали мы из Ковны...» | 1914 | |
| Почтовая карточка. «Глядь, по глядь, уж близко Висла...» | 1914 | |
| Почтовая карточка. «Как заехали за Лык..» | 1914 | |
| Почтовая карточка. «Не ходи австриец плутом...» | 1914 | |
| Почтовая карточка. «Ну и треск, да ну и гром же...» | 1914 | |
| Почтовая карточка. «Скоро, скоро будем в Краков...» | 1914 | |
| Почтовая карточка. «Шел австриец в Радзивилы...» | 1914 | |
| Почтовые карточки | 1914 | |
| 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
Who are the two women?
They are recognizable walking figures in a village, but the Guggenheim record does not identify named sitters. The title describes place, weather and time rather than individual biography. [1]
Is it a winter landscape or a painting of people?
Why do some sources give 81 × 81 cm?
Where is the original?
It is in the Solomon R. Guggenheim Museum's collection, accession 52.1327. Collection ownership does not guarantee the work is on view on a particular day; consult the museum before visiting. [1]
Discussion
Which shape first tells you this is a snowy village?
How do the two red skirts guide your eye through the picture?
Reader Insights
Follow the diagonal roof edges and the route between the two women.
Compare the cold blue and grey shadows with the red clothing and warm upper band.
Notice how trees, houses and figures share curves and angular facets.
Join the Conversation
Share one close observation about the walkers, snow, rooftops or movement in this Guggenheim painting.
References
- Solomon R. Guggenheim Museum, object 2598, Morning in the Village after Snowstorm: owner record read directly in browser for 1912 date, medium, 80 × 80 cm, accession 52.1327 and Cornelia Lauf's object essay. View source.
- Solomon R. Guggenheim Museum, Russia! teaching materials, pp. 36–37: directly read museum guide for Cubo-Futurist and rural tradition interpretation; older 81 × 81 cm listing. View source.
- Wikimedia Commons, exact-work Morning in the Village after Snowstorm file: full-frame reproduction, accession match, 4,096 × 4,089 px and public-domain mark; embedded photographer/licensing metadata conflicts with the page-level rights label. View source.
- Stedelijk Museum Amsterdam, The Woodcutter / Peasant Women in Church, object 2422: separate 1912 two-sided work for visual and chronological comparison. View source.
- MoMA, Woman with Pails: Dynamic Arrangement: separate 1912–13 painting for visual comparison. View source.
- Tretyakov Gallery, first Black Square: separate 1915 canvas for a bounded comparison with the recognizable village scene. View source.
- Splash image: Kazimir Malevich, Morning in the Village after Snowstorm, 1912. Oil on canvas, 80 × 80 cm. Solomon R. Guggenheim Museum, New York, 52.1327. Image: Wikimedia Commons, full-frame resize. Commons marks it public domain, while embedded Guggenheim metadata asks for licensing; live image use remains under review.
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