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
Kazimir Malevich's Red Square in the State Russian Museum is a 1915 oil painting whose red quadrilateral sits inside a pale square canvas. The apparently simple picture has an unexpectedly long title: Painterly Realism of a Peasant Woman in Two Dimensions. There is no figure to locate in the red paint. The title asks the viewer to think about what kind of reality painting can make when it stops describing a person in the usual way. This is the museum's 53 × 53-centimetre canvas, inventory Жб-1643, exhibited at the 0.10 exhibition in Petrograd. [1]
It is also a painting that changed as Malevich worked. Conservation study found a pencilled, almost regular square beneath the red shape, then an intentional extension of its upper right corner. That finding gives the slight skew a material history: the quadrilateral did not merely fall short of geometric accuracy. Malevich worked it away from an initially more exact plan. A closely related, smaller red-square painting survives in a private collection, so an account of this Russian Museum canvas needs to keep the two objects apart. [2], [3]
At a Glance
- ArtistKazimir Malevich (1879–1935)
- Museum titleRed Square. Painterly Realism of a Peasant Woman in Two Dimensions
- Date1915
- MediumOil on canvas
- Dimensions53 × 53 cm
- CollectionState Russian Museum, Saint Petersburg, inv. Жб-1643
- First exhibitionThe Last Futurist Exhibition of Paintings 0.10, Petrograd, 1915
Contents
- What you see
- Why the title names a peasant woman
- An intentionally changed square
- Red Square at 0.10
- Two red squares, two physical paintings
- Beside Black Square and White on White
- Annotated Details
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 you see
A large red quadrilateral occupies much of a light square support. Its outline is nearly, but not completely, regular. The surrounding pale area is substantial enough that the painting reads as a relation between two colour fields rather than a red sign cut loose from its canvas. In a thumbnail, the shape can seem like a piece of graphic design. Seen as a painting, it has a surface, hand-worked edges and a scale of just over half a metre. [1], [2]
The upper edge appears to tip slightly. The right side and the lower edge do not make a flawless geometrical unit. These small differences make a large difference to the feeling of the picture: the red area seems active within the pale field rather than perfectly fixed by a diagram. The Russian Museum describes a dynamic relation between the near-asymmetric form and the white around it. That is a curatorial reading of a visible effect, not a formula that makes every viewer experience movement in the same way. [1]
Reproductions should be read cautiously. A camera and screen can shift the apparent red considerably, and a crop can alter how broad the white border seems. The photograph on this page shows the Russian Museum object and preserves its full visible support. It is useful for studying the outline, but it cannot establish the precise colour or relief of the original. A separate conservation report describes brush handling that a web-sized reproduction may scarcely show. [2], [7]
Annotated Details from Red Square
The Russian Museum’s 1915 canvas is a painted red quadrilateral within a light field. These details keep the visible painting separate from the peasant image suggested by its extended historical title. [1]
Details from RED SQUARE
Look at the edges, field and border as painted relations. No detail crop reveals a hidden figure.
A slightly rising top edge
The upper red boundary is not aligned exactly with the canvas edge. Its slight change of angle makes the central form feel made and placed rather than typeset.
The red painted field
The central area has subtle tonal variation in this reproduction. The image cannot establish a precise pigment recipe or original colour specification.
An uneven side
The right boundary is not an ideal ruler-straight mathematical line. Edge and pale ground work together to establish the form.
The surrounding ground
The light margin remains visible below the red form. Keeping this area in a reproduction is necessary to see the work as a relation between two painted zones.
Why the title names a peasant woman
Painterly Realism of a Peasant Woman in Two Dimensions seems at first to describe a subject the image refuses to show. Malevich had painted peasant subjects before, and the subtitle brings that world into contact with a red shape. It does not invite the viewer to find a tiny hidden face. It announces that a painting can refer to an idea of a person without rendering a body in conventional three-dimensional space. The title and the red field pull against one another: familiar language remains, while the expected image disappears. [1], [4]
The Russian Museum interprets the red as connected with the peasant woman's traditional red sarafan, or dress. That is a helpful account of how a colour might carry an association with the subject named in the title. It is not a claim that the museum has found the outline of a dress beneath the paint. The same museum text discusses icon painting and suggests that Malevich's wartime experience may be relevant to his use of red and black. Those suggestions are interpretations of context. They cannot be turned into a single, documented message that Malevich assigned to this exact canvas. [1]
The word “realism” matters here. In ordinary art usage, a realist portrait might be expected to show recognizable features and believable volume. Malevich instead made a two-dimensional red form. His 1915 writing argued for a painterly reality freed from pictured objects. The subtitle can therefore be heard as a challenge: what would count as a painted reality if an artist made colour and form central rather than illustrating the body mentioned in a title? A reader need not settle that theoretical question to notice that the painting gives red paint, edges and a pale field the whole work of the image. [1], [5]
An intentionally changed square
Ann Hoenigswald examined Red Square during a conservation study of Malevich's paintings. Under magnification, she saw pencil lines at the lower left that had planned a near-perfect square; infrared examination followed those lines farther around the form. She then identified an extension of the upper right corner in the finished red area. X-radiography made the change easier to see by suppressing the distraction of colour. This is evidence about the construction of the Russian Museum object, rather than a general claim that Malevich always distorted geometry in the same way. [2]
Hoenigswald also distinguished two kinds of handling within the red. She described firm, long diagonal strokes in much of the shape and softer, rounder strokes in the added area. The red could have been blended to disguise the revision. In her account, the difference remains perceptible and helps bring the viewer into the painting's making. Whether every viewer notices it without technical help is another matter, but the observation rebuts the notion that this canvas is merely a mechanically filled shape. [2]
The technical findings sharpen the question of what “square” means in this title. Malevich could draw toward regularity; the pencil plan shows that. The painted result holds on to a slight instability. It is reasonable to see the final form as a choice made during work, while resisting a precise claim about why he made that choice unless a letter, diary or statement supplies it. A conservator's close looking gives us evidence of process, not access to every thought the artist had at the easel. [2]
Red Square at 0.10
The Russian Museum identifies this Red Square among the paintings Malevich showed at The Last Futurist Exhibition of Paintings 0.10 in Petrograd in December 1915. This was the public setting in which he presented a group of works he called Suprematist. The exhibition also included the first Black Square, placed high in a corner, and many compositions using planes, lines and contrasting colours. Red Square was therefore part of a varied display rather than a solitary red answer to one black painting. [1], [4]
The title “0.10” and the exact inventory of Malevich's works at the show have been debated. Museum accounts commonly give 39 works; a specialist exhibition history makes clear that the precise count and identity of every displayed canvas are still research questions. That uncertainty does not affect the Russian Museum's identification of Red Square as a 0.10 painting. It does caution against building an interpretation on an unverified numbered sequence. [1], [4]
Malevich's short 1915 text accompanying the emergence of Suprematism attacked the lingering dependence of Cubism and Futurism on fragments of depicted things. He wanted painted form and colour to take on their own reality. Red Square tests that claim in a particularly teasing way: it keeps a title referring to a peasant woman while removing a depicted woman from the canvas. The red area is not a code with one key; it is paint made to operate as both image and idea. [5]
The First World War formed part of this exhibition's context. The Russian Museum raises a possible emotional connection between wartime events and the painting's red. A more secure chronological point is that this canvas was already public in 1915. The Russian Revolution of 1917 had not yet occurred. When Malevich wrote in 1920 that artists should draw a red square as a sign of a revolution in art, he gave the motif a later formulation. That phrase is useful for its afterlife; it should not be silently substituted for an explicit statement of his sole intention in 1915. [1]
Two red squares, two physical paintings
The 2003 Guggenheim catalogue describes an earlier Pictorial Realism of a Peasant Woman in Two Dimensions, called Red Square which once belonged to Malevich's collaborator Mikhail Matyushin. The catalogue gives this first version as a 40 × 30-centimetre painting in a private collection. Its support is rectangular and its red shape has a deeper ruby tone. Matthew Drutt contrasts it with a later, squarer canvas whose red appears flatter and more orange. The Russian Museum's 53 × 53-centimetre square canvas is the latter object, not the private rectangular first version. [3]
This distinction matters whenever a photograph is captioned only Red Square. A rectangular white field and a square white field do not make the same composition, even when both contain an irregular red quadrilateral. An exhibition discussion of the private painting's early ownership or richer pigment should not be imported into a caption about Russian Museum inventory Жб-1643. Conversely, Hoenigswald's pencil and infrared findings concern the Russian Museum canvas and cannot automatically be assigned to the earlier private painting. [2], [3]
The Russian Museum says its canvas came into the collection in 1926 through GINKhUK, from the Museum of Artistic Culture. That accession detail belongs to this object. It also helps separate the 1915 exhibition from the later museum history: a painting's first public display, intervening custody and present owner are three different facts. The museum's online room indication is useful to a visitor, but current display should be confirmed with the institution before a trip. [1]
Beside Black Square and White on White
Malevich's first Black Square was also publicly exhibited in 1915, yet its dark field, broad pale border and commanding corner placement created a different kind of encounter. Red moves differently against its surround. The Russian Museum's subtitle keeps a verbal tie to a peasant subject where the black canvas is most often discussed as a declaration of a new pictorial beginning. Both works are painted, irregular objects, not perfectly flat symbols made by a computer. [1], [4], [6]
White on White, painted in 1918 and now at MoMA, uses a slightly tilted pale square against another pale area. Placing red, black and white together can help a viewer follow Malevich's experiments with contrast and the square form. It should not imply that he simply replaced one colour with the next in a linear sequence. In and after 1915 he made many coloured and differently shaped Suprematist works, and the related versions of even one apparently simple form do not all have the same date or appearance. [3], [5], [6]
The museum's red canvas remains distinctive for how clearly its technical history can be described. We can see a painted quadrilateral; we can document the pencilled regular plan and the altered corner; and we can name the title and exhibition setting. Those kinds of evidence leave space for interpretation without requiring an unsupported claim that red means one thing forever. [1], [2]
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
Is there a peasant woman in the painting?
No woman is depicted. The long subtitle links a nonobjective red form to a peasant subject in words. The Russian Museum offers the red traditional dress as an interpretive association, while the image itself remains a red quadrilateral on a pale field. [1]
Why is the red shape not a perfect square?
Conservation examination found pencil lines for a near-perfect square and an added upper-right extension in the finished paint. That supports an intentional revision of the form. The specific idea Malevich meant to express through the revision remains open to interpretation. [2]
Was Red Square painted after the 1917 Revolution?
No. The Russian Museum dates its canvas to 1915 and identifies it with the 0.10 exhibition that year. Malevich's later 1920 statement about a red square as a sign of world artistic revolution belongs to the motif's continuing history. [1]
Are there two Malevich red squares?
Where is the painting?
It belongs to the State Russian Museum in Saint Petersburg. Check the museum's current display information before visiting, as room arrangements can change. [1]
Discussion
What changes when you read the long subtitle before looking at the red quadrilateral?
The shape began as a more regular square. Look at the upper right and consider how its revision changes the balance of red and pale ground.
Reader Insights
Compare the red form's upper edge with its lower edge. Which one makes the shape feel more active?
How does the peasant-woman subtitle affect your reading when no person is pictured?
The Russian Museum canvas and the earlier private version have different formats. What can and cannot be inferred from their shared name?
Join the Conversation
Share a close observation or a reading grounded in the object's recorded history.
References
- State Russian Museum, Red Square. Painterly Realism of a Peasant Woman in Two Dimensions, inv. Жб-1643. View source.
- Ann Hoenigswald, “Kazimir Malevich's Paintings: Surface and Intended Appearance,” National Gallery of Art, Conservation Research 1996–97, printed pp. 123 and 125. View source.
- Matthew Drutt (ed.), Kazimir Malevich: Suprematism, Guggenheim Museum, 2003, especially printed pp. 27 and 126–27. View source.
- M. K. Ivanova, “The Last Futurist Exhibition of Paintings 0.10,” Encyclopedia of Russian Avant-Garde. View source.
- Kazimir Malevich, From Cubism to Suprematism, 1915 Russian text and editorial note. View source.
- MoMA, Suprematist Composition: White on White (1918); Tretyakov Gallery, Black Suprematist Square (1915). View source.
- Wikimedia Commons, Sailko photograph of the Russian Museum Red Square, CC BY-SA 3.0. View source.
- Splash image: Kazimir Malevich, Red Square. Painterly Realism of a Peasant Woman in Two Dimensions, 1915. Oil on canvas, 53 × 53 cm. State Russian Museum, Saint Petersburg (Жб-1643). Image supplied by the site owner, who identifies this reproduction as public domain.
