Kazimir Malevich Style and Technique

Malevich's paintings can look as though a figure or shape arrived fully formed: a grinder turning a wheel, a black quadrilateral against white, a few coloured planes held in space. Close study tells a more physical story. He drew, revised, changed the size of forms, selected different supports and grounds, and varied how light catches a painted surface. A simple-looking image can preserve a complicated sequence of decisions. The strongest evidence comes from examinations of particular works; it cannot be extended to every canvas simply because the works share his name. ^{[1], [2]}

This guide follows the visual changes from early figures to Suprematism and later painting, then asks what conservators have actually found beneath and on the surface. It distinguishes what anyone can observe in a reproduction from what ultraviolet light, X-rays, infrared imaging and material analysis can establish. The theory and writings page explains Malevich's arguments for objectless art; here the focus is on how identified works were made and how their appearance has changed. ^{[1], [2]}

At a glance

• Main visual shiftsRural figures and machine-age fragmentation; alogical combinations; nonobjective coloured planes; pale-on-pale compositions; later figures
• Supports in examined worksVaried fabrics, wood and cardboard; both primed and unprimed canvas
• What a ground doesPrepares a support and affects absorbency, texture, tone and the apparent gloss of oil paint
• Documented working methodsDrawing, changes of outline and placement, layering, scratching, card-assisted edges and selective surface effects
• Key exact-work technical studiesRed Square in Ann Hoenigswald's NGA essay; Painterly Realism of a Football Player in the 2016 Smithsonian study
• Main cautionPigment and layer claims belong to the objects tested; a photograph cannot establish them for a different painting

Contents

1. From bodies and labour to planes and colour
2. What “Suprematist style” looks like in a physical painting
3. Support: more than a neutral rectangle
4. Ground, absorbency and the painted field
5. The hand behind a straight edge
6. Colour is material, not just a screen value
7. White on white: tone, gloss and touch
8. Revisions, cracks and hidden compositions
9. Matte, gloss and later figures
10. How to look closely without overclaiming

Watch: Kazimir Malevich

Three short films place Black Square, the 1915 exhibition and Malevich’s later work in context.

Kazimir Malevich | TateShots

Tate

A curator introduces Black Square, the 0.10 exhibition and Malevich’s later work.

Watch on YouTube

▶01 · Artist and exhibitionKazimir Malevich | TateShotsTate▶02 · Black Square explainedWhy is this painting of a black square famous?TED-Ed▶03 · Short introductionKazimir Malevich in 60 secondsTim Marlow

From bodies and labour to planes and colour

The changes in Malevich's style did not begin with a square in 1915. Early rural subjects often give a body, tool or task a prominent place, while simplifying form and heightening colour. In Woman with Pails: Dynamic Arrangement the person and burden remain legible, yet repeated conical volumes make the movement of carrying as important as the individual's portrait. MoMA dates its canvas 1912–13 and notes a 1912 inscription on the reverse. Conservator Ann Hoenigswald describes its refined, almost silklike surface in contrast to the deliberately rough handling of several related works; her suggested use of a short, stiff brush is a possibility, not a documented purchase or tool. ^{[1], [9]}

The Knife Grinder converts the worker and wheel into repeating fragments. One can still reconstruct a task, but no single still viewpoint contains all the apparent movement. This is a useful way into Malevich's Cubo-Futurist language: recognisable subjects are reorganised through rhythm and interlocking parts. The object held by Yale is a specific canvas, not evidence that every painting of this moment has the same surface preparation. The Woodcutter provides a different reminder of material complexity: the Stedelijk's canvas is painted on both sides. Hoenigswald notes that one reused support alone does not prove why materials were chosen or whether shortage governed a career. ^{[1], [10], [11]}

In An Englishman in Moscow, objects and words remain recognisable but refuse to settle into a conventional shared room. A face, fish, blade and signs compete at incompatible scales. The move toward objectless painting was therefore preceded by an experiment in how much a pictured object could be displaced before the image ceased to behave as an ordinary scene. The painting's visual disorder is deliberate composition, not evidence that its materials were applied casually. ^[12]

What “Suprematist style” looks like in a physical painting

Malevich's first Suprematist exhibition in 1915 brought black forms, coloured planes and light fields into a new relationship. On the first Black Square, the black area is neither a perfect printed symbol nor a window onto a depicted dark object. The pale margin, painted edge, surface and original 0.10 installation all matter. The painting's present cracking makes its material age obvious, but those cracks cannot be assumed to have looked the same to a visitor in 1915. A technical finding about an underlayer must be attributed to the specific examination that produced it. ^[6]

Other Suprematist works show that the style was not a single black-on-white formula. Red Square pushes a warm quadrilateral off strict regularity. Suprematist Composition uses differently sized colour masses and long axes; the 1916 S-97 canvas is a separate object from many other works bearing similar titles. In Painterly Realism of a Football Player a spread of coloured shapes can be read as a dynamic system rather than a drawn athlete. The later study of that exact Art Institute canvas shows that the apparent economy of forms was reached through adjustments. ^{[1], [2], [3], [4]}

The light area is part of the composition, not an automatic blank. Spacing changes the weight of each plane; a white band may seem to hold or separate forms. Yet white ground, white paint, unprimed fabric and a pale pixel in a JPEG are different things. A reader can see the intervals in a good reproduction, but whether the surface is exposed preparation or a later white paint layer requires object-specific inspection. This distinction becomes especially important for the pale-on-pale paintings. ^{[1], [2]}

Support: more than a neutral rectangle

Hoenigswald examined paintings in the 1990–91 Malevich exhibition. Among the works she studied she distinguished at least ten to fifteen fabric types, from commercially prepared canvas to coarse cloth, and she also notes wood and cardboard supports. That range is evidence about her examined group. It is not a census of every Malevich painting. She explicitly leaves open how much of the variety reflected preference and how much reflected supply. A confident story that every rough canvas was forced on him by political shortage goes beyond the evidence. ^[1]

The support could be visible in the finished image. In Peasant Women at Church of 1911, exposed unprimed fabric separates forms. In a specifically identified 1917–18 Suprematist Painting discussed by Hoenigswald, unprimed cloth separates a white background from a yellow wedge. Malevich could use the colour and texture of the material itself as a pictorial interval. These examples make “white space” more complicated than a uniformly painted void. They also show why a catalogue row should name the actual support whenever a museum record supplies it. ^[1]

In the 1913 Vanity Case, the wood grain becomes part of the visual construction. Hoenigswald describes paint that exaggerates the panel's natural texture and distinguishes the case's planes by scratching and varied strokes rather than by smooth tonal shading alone. The point is not that every geometric plane was made this way; it is that Malevich had already used the physical surface to organise a picture before the Suprematist canvases. ^[1]

Ground, absorbency and the painted field

A ground is the layer prepared on a support before the visible paint is built up. Hoenigswald found both primed and unprimed canvas in her study. Absorbent grounds can draw oil from paint and leave a more matte appearance; denser ones can help paint look richer. She identifies mainly white, off-white or slightly grey grounds among the works examined, alongside an unusual absorbent brown one in certain late paintings. Her suggested composition for that brown ground is provisional. ^[1]

On Peasants of about 1928, areas of brown ground and underdrawing remain visible. That does not make the work unfinished by default. It indicates that a visible preparatory layer can participate in the final image. Another late painting, Complex Premonition (Half Figure in a Yellow Shirt), contrasts matte exposed ground with selected coated paint areas. The two works show a continued interest in the meeting of support preparation and painted form after the nonobjective period. ^[1]

The 2016 technical study of the Art Institute's Football Player gives a more closely defined sequence for one 1915 canvas. Its authors found a fine linen support and thin lead-white/chalk ground, with the fabric's texture still perceptible. They found charcoal planning, a painted white layer and coloured forms adjusted on top of or beside it. Their analysis differentiates the lead-white ground from zinc-white paint in the visible field. Those identifications are supported by a combination of imaging and material tests on that painting; they do not identify the ground beneath the Tretyakov Black Square or the MoMA White on White. ^{[2], [3]}

The hand behind a straight edge

A straight-looking boundary need not come from mechanical printing or masking tape. Hoenigswald describes edges made by placing a card beside a form and brushing paint across or away from it. On the Football Player canvas, Kokkori and her co-authors found card impressions and raised paint where a guide met still-wet white. Their study also records brush marks and fingerprints in white paint above a black square within that composition. These traces are valuable because they connect visible geometry to a sequence of movements and corrections. They must not be relocated to the separate painting titled Black Square. ^{[1], [2]}

Infrared reflectography and X-rays reveal more changes on Football Player: reworked lines, shifted forms and a black square enlarged by more than a centimetre in each direction. The red rectangle was extended, and adjacent blue ends were repainted to align with the adjusted black shape. The green form appears to have been placed directly on the ground early in the sequence. The researchers infer some steps from the pattern of materials, so their account is a reconstruction of the making, not a time-lapse film of it. ^[2]

Hoenigswald's exact-object examination of Red Square is an equally revealing case. Pencil planning and infrared study show a more regular initial quadrilateral. Malevich then extended the upper-right corner; under magnification, the added part differs in brush handling from the long diagonal strokes elsewhere. A distorted edge was worked into the painting, not produced by an inaccurate digital crop. The title's plain geometry and the physical canvas's shaped irregularity are both true. ^{[1], [4]}

Colour is material, not just a screen value

Malevich's coloured planes can be described visually: the weight of a red field, a green counterform, a violet plane, a yellow interruption. The Football Player research goes further because analysts examined the object. They identified or inferred specific materials including zinc white in the field, a lead-white ground, vermilion red, lead chromate yellow, ultramarine blue, ivory or bone black and cobalt violet in their tested areas. The green was consistent with a copper-arsenite pigment such as emerald green, with a named alternative not completely excluded. Extenders and possible resin additions further complicate any idea of “one pure colour” per shape. ^[2]

That palette belongs to the Art Institute painting. It cannot be copied into a caption for Airplane Flying or Suprematist Composition without a study of those physical works. The 2016 authors also note that the transparent cobalt-violet area was laid with controlled parallel strokes and may include resin contributing to its depth and gloss. Their proposed sequence joins a visual question—why that violet has a different presence from an adjacent flat field—to test results. It is more precise than either treating the canvas as a mere diagram or claiming to know how every Malevich purple was mixed. ^[2]

Hoenigswald also records instances where one colour overlays another. In the later Haymaking, blue emerges from beneath green where the artist scratched the upper layer, and a sliver of red shows at the edge of a blue pail. These are object-specific ways that underpaint, physical depth and colour interaction can work together. A reproduction may reduce them to colour patches; in front of the canvas, paint has thickness and sequence. ^[1]

White on white: tone, gloss and touch

MoMA dates its White on White to 1918. Its tilted pale quadrilateral is discernible against a different pale field. The image does not require a hidden object to explain it, but it also cannot be understood as “nothing painted.” There is a support, paint, edge, orientation and differentiated lightness. The result makes unusually demanding use of small changes rather than broad dark–light contrast. ^[5]

Hoenigswald describes two other specifically catalogued 1917–18 white-on-white paintings in which the location of matte and glossy white is reversed: one has a matte field and glossy form, the other the opposite. She proposes that different whites, and perhaps medium or coating, helped create the effect. Some of her lead-white versus zinc-white distinctions were inferred from ultraviolet appearance without confirmatory pigment analysis. The observation about opposed surface effects is important, but the chemical reading must retain its uncertainty, and it should not be silently assigned to MoMA's painting. ^[1]

This is one reason a screen image has limits. Digitisation can show a pale shape clearly and let readers compare placement, but lighting, exposure and display settings flatten or exaggerate gloss and colour temperature. The owner-supplied high-resolution images on this site are valuable for annotated looking; they are not substitute evidence for microscopy or a museum's condition record. A close-reading caption should tell the reader what is visible and name the study when it goes beyond visibility. ^{[1], [2]}

Revisions, cracks and hidden compositions

X-rays can show a composition beneath the visible one. Hoenigswald reports a hidden head under Red House and an earlier composition beneath a White Square on White canvas. In the first case the prior image appears to have been covered. In other examined Suprematist paintings, lower colours and shapes can now be seen through cracks or later transparency. The significance of those appearances differs: a painter may have accepted a visible change, while another image may have become legible only as materials aged. One cannot decide intent from the word “underpainting” alone. ^[1]

The aged first Black Square makes this problem especially easy to see. Its crack network reveals a surface history that a perfect black computer square would erase. The technical story of that exact work is treated on its own page using Tretyakov evidence. This style guide does not claim that every crack in Malevich's oeuvre carries the same original purpose or that every later version has the first painting's underlayers. ^[6]

Drying cracks can reflect paint placed over material that had not fully set. Hoenigswald treats that as part of a broader working pattern, but she also cautions that present visibility may be changed by age. For Sportsmen she raises the possibility of added driers; no documentary purchase or decisive chemical result proves it in that essay. It should remain a proposed explanation rather than a label fact. ^[1]

Matte, gloss and later figures

Malevich's return to figures did not mean a return to one uniform paint surface. Hoenigswald describes selective coatings and varied gloss in a number of late works, sometimes affecting the modeled volume of a body and sometimes flattening it. She warns that it can be hard to tell whether a coating was put on by the artist or later. Specific pigment identifications based on ultraviolet fluorescence are also often offered as possibilities. A material explanation can be illuminating without having the status of a laboratory certainty. ^[1]

On Red Cavalry, long coloured bands sit beneath tiny riders. Hoenigswald observes alternating matte and glossy surface effects in those bands without an overall varnish. Their different reflective qualities contribute to the painted horizon; a flat JPEG makes that relationship harder to judge. The Russian Museum dates the surviving canvas to about 1932 despite its inscription “1918,” another reminder that a date on a work and a museum's assigned production date answer different questions. ^{[1], [7]}

Hoenigswald's ultraviolet observation on Girl with a Comb in Her Hair suggests differences in white material across the face. The Tretyakov identifies the physical painting, dated 1932–33. The possible white-pigment explanation must be attributed to the conservator, not presented as a chemical test result for every part of the portrait. What a viewer can directly see is a late face built with deliberately distinct areas of light and colour. ^{[1], [8]}

How to look closely without overclaiming

Begin with the whole image: where is its weight, what makes one form feel near or distant, how do colour and unpainted-looking intervals interact? Then look at an edge. Is it straight, softly handled, visibly altered or interrupted? Ask what a photograph can show before asking for a technical explanation. A high-resolution crop can reveal surface variation and brush direction, but it cannot by itself identify lead white, prove a varnish is original or reveal a buried drawing. ^{[1], [2]}

The best technical studies combine several methods. Infrared can clarify some drawing, X-rays can reveal changed structures, ultraviolet imaging can show different fluorescence, and material analyses can identify elements or compounds under stated limits. Even together they yield an interpretation of a particular object, not an all-purpose recipe. This is why the Art Institute's Football Player and Hoenigswald's Red Square findings are so useful: each connects a precise claim to a precise canvas. ^{[1], [2], [3], [4]}

Malevich's style is therefore visible in both the arrangement and the making. From a worker and machine to a dark square, from coloured planes to late figures, he repeatedly made form carry more than description. The physical paintings show revisions, supports, grounds and different degrees of finish. Their apparent simplicity is an invitation to look longer, not a reason to stop at the first clean geometric outline. ^{[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.

665 records

Search recordsBroad mediumAll recordsPaintingDrawingPrintBookSculpture or objectPhotographOtherReset

Artwork title	Date	Medium
"Front line soldier" (Ratnik 1-go razriada)	Δεκαετία 1920	Photograph
[Le Cheval blanc]	[circa 1930 - 1931]	Painting
[Sensation du danger]	[1930 - 1931]	Painting
A Game in Hell, Petrograd, 1913 (2nd expanded edition)	1913	Book
A Game in Hell: A Poem (Igra v adu: Poema)	1914	Book
A Peasant Woman Goes for Water	1913	Print
A pork-butcher came around to Lodz and we said "Good day." From Lodz to neighboring Radom he passed, and left behind one sorry ass. (Podoshel kolbasnik k Lodzi / my skazali : 'Pan dobrodzi!' Nu, a s Lodz'iu riadom Radom / i ushel s podbitym zadom.)	c. 1914	Print
Alogisme 1. Portret Moskovskoy Damy (Alogisme 1. Portret van een Moskouse dame)	1914	Drawing
Alogisme 2. Vis, zaag, lepel, telegraafpaal	1914	Drawing
Alogisme 22. Malorossiyanin (Alogisme 22. Een kleine Rus)	1915	Drawing
Alogisme 23. Sobol, koshka (Alogisme 23. Sabel, kat)	1915	Drawing
Alogisme 29. Derevnya	1915	Drawing
Alogisme 3. Chastichnoe zatmenie (Alogisme 3. Gedeeltelijke eclips)	1914	Drawing
Alogisme 4. Apteka (Alogisme 4. Apotheek)	1914	Drawing
Alpha	1923 / 1978	Sculpture or object
An Austrian was going to Radzivily	1914	Print
An Austrian was going to Radzivily	1914	Print
Analytical Chart	1924–27	Drawing
Analytical Chart	1924–27	Drawing
Analytical Chart	1924–27	Drawing
Analytical Chart	1924–27	Drawing
Analytical Chart	1924–27	Drawing
Announcement for Malevich's lecture in Orenburg	1917-1920	Print
Apple Tree in Blossom	c. 1930	Painting
Architecton Alpha	1920	Sculpture or object
Architecton Gota	1923 (?)	Sculpture or object
Architectonische constructie	1917 (versie ca. 1925)	Drawing
Architectons and Figurines	Späte 1920er Jahre	Sculpture or object
Architecturaal-kosmische compositie	1920 (latere versie (1927?))	Drawing
Architectural construction	ca. 1917	Drawing
Aritmetica	1913	Drawing
Aritmetica	1913	Drawing
Arkhitekton Zeta	1926	Photograph
At Harvesting (Marfa and Vanka)	1928-1929	Painting
Aveniriens	vers 1931 - 1932	Drawing
Aviator	1914	Painting
Aviator v Pobede nad solntsem (Vliegenier in Overwinning op de zon)	1913 (versie ca. 1929)	Drawing
Baadsters op de rug gezien	1910	Painting
Back cover from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Back cover from Vzorval' (Explodity)	1913	Book
Bader	1911	Drawing
Betende Bäuerin	1933	Drawing
Biddende figuur	motief ca 1922, versie voor 1927	Drawing
Birkenhain	um 1905 - 06	Painting
Black Circle	c. 1923	Painting
Black Cross	c. 1923	Painting
Black quadrilateral	1915	Painting
Black Square	c. 1923	Painting
Black Square and Circle	1920-1921	Drawing
Black Square and White Cylindrical Form	1915	Drawing
Black Square, Second State	1915/20	Drawing
Blacksmith	Study. 1933	Painting
Blestifze (Pencils)	1917–1918	Drawing
Boer met baard	ca 1930	Drawing
Boerenvrouw in het veld	ca. 1929-1930	Drawing
Boerenvrouw met emmers	1912	Painting
Book of Selected Poems (Kniga izbrannykh Stikhotvorenii)	1930	Book
Boy (Vanka)	1928–1929	Painting
Boy wuth knapsack / Mal'chyk s rantsem	1915	Print
Brooch	1920	Sculpture or object
Brooch	1920	Sculpture or object
Bubnovy Valet 21. Boerenvrouw met kind	1911-1912 (latere versie)	Drawing
Bubnovy Valet 40. Portret (van M.F. Larionov?)	1910	Drawing
Bubnovy Valet 41. Na uglu stoit apteka, lyubov sushit tseloveka (De drogist is op de hoek, van liefde droogt een man uit)	1910-1911 (versie ca. 1930)	Drawing
Bubnovy Valet 42. Portret moei rodstvennitsy (Bubnovy Valet 42. Portret van mijn familielid)	1911	Drawing
Bubnovy Valet 43. Kop van een boer	1912 (latere versie)	Drawing
Bubnovy Valet 44. Dansend paar	1912	Drawing
Bubnovy Valet 57. Lopende man	1911	Drawing
Bubnovy valet 8. Kop van een boer	1912	Drawing
Budetliyansky silach (Futuristische sterke man)	1913 (versie 1915)	Drawing
Bêta	avant 1926 / 1978	Sculpture or object
Car and Lady		Photograph
Carpenter	1928–1929	Painting
Carré noir	[1923 - 1930]	Sculpture or object
Chelovek v ochkakh (Man met bril)	ca 1929	Drawing
Compositie 1 z (Supremus nr. 67)	1916 (versie jaren 1920)	Drawing
Compositie 10 t (Suprematisme: constructief moment)	1917	Drawing
Compositie 11 t (Supremus nr.18: constructievorming afhankelijk van de beweging naar een bol )	1916	Drawing
Compositie 13 t (Supremus nr 38)	1915-1916	Drawing
Compositie 13 t (Supremus nr 38)	1915-1916 (gedrukt 1920, annotaties jaren 1920)	Print
Compositie 14 t Oshchushchenie elektrichestva (Compositie 14 t Gevoel van electriciteit)	1915	Drawing
Compositie 15 k (Suprematisme)	1916 (versie begin jaren 1920)	Drawing
Compositie 15 q (Supremus nr. 118)	1918	Drawing
Compositie 16 t (Suprematisme: groot zwart trapezium en vierkant tussen rechthoeken en lijnen)	1915	Drawing
Compositie 2 i (Suprematisme: gecombineerd gevoel: cirkel en vierkant)	1916 (latere versie)	Drawing
Compositie 2 t (Verlengd vierkant met elementen overdwars)	1915 (versie ca. 1920)	Drawing
Compositie 2 z Obshchushchenie magnita (Compositie 2 z Gevoel van een magneet)	1916 (hernomen in 1919, versie jaren 1920)	Drawing
Compositie 3 t	1916	Drawing
Compositie 4 l Suprematisme van de geest	1919	Drawing
Compositie 4 t (Suprematisme: cirkel tussen rechthoeken en driehoeken)	1916	Drawing
Compositie 4 z (Supremus nr. 84)	1916 (latere versie)	Drawing
Compositie 5 l Suprematisme van de geest	1919	Drawing
Compositie 6 d (Tekening verwant aan ‘Huis in aanbouw’)	1915	Drawing
Compositie 6 t Obshchushchenie vremeni (Compositie 6 t Gevoel van tijd)	1916	Drawing
Compositie 9 b. Fevralizm kak emotionizm (Compositie 9 b. Februarisme als emotionisme)	1915	Drawing
Compositie 9 h (Suprematisme: kruis en drie rechthoeken)	1916 (versie 1920)	Drawing
Compositie 9 k (Suprematisme: zeven rechthoeken)	1915	Drawing
Compositie 9 t (Suprematisme: vier ruimtelijke elementen tegen een zwart trapezium)	1915	Drawing
Composition 1 e (Suprematisme: vierkant op diagonaal vlak)	1915	Drawing
Composition 1 t	[1916 / vers 1920]	Drawing
Composition 14 f	[1918]	Drawing
Composition 15 t	1916	Drawing
Composition 2 a	[1917 - 1918]	Drawing
Composition 3 z	[1919 / avant 1930]	Drawing
Composition 5 x	[été 1915]	Drawing
Composition 5 x	[été 1915]	Drawing
Composition alogique	[1915]	Drawing
Composition with La Gioconda (Partial Eclipse)	1914	Painting
Compositions 11 R	circa 1915–16	Drawing
Construction 5 h	1916	Drawing
Costume study for the Budetlyan Athlete in Victory over the Sun	1913	Drawing
Cow and Violin	1913	Painting
Cow and Violin from On New Systems in Art (O Novykh Sistemakh Visk Usstve)	1911–19	Print
Croix [noire]	[1915]	Painting
Croix noire	[vers 1923 - 1926]	Sculpture or object
Dame	1915	Drawing
Dame an der Straßenbahnhaltestelle	1913	Drawing
Dame bij reclamezuil	1914	Painting
De gardist	1913-1914	Other
De houthakker (recto) / Boerenvrouwen in kerk (verso)	1912	Painting
De likdoornsnijder	1911	Drawing
De likdoornsnijder	1911	Drawing
De provincie	1910	Painting
De tuinman	1911	Painting
De vloerboeners	1911	Drawing
Der Häftling	1930	Drawing
Der Tod eines Menschen, gleichzeitig im Flugzeug und der Eisenbahn	um 1913	Print
Desk and Room (legacy site: Bureau and Room)	1913	Painting
Dessin de Lissitzky d'après "Supremus n° 58, composition dynamique jaune et noire", 1916, de Malevitch	[1924]	Drawing
Deux plans de villes	[1916 / avant 1930]	Drawing
Deux plans en extension	[1916 - 1919]	Drawing
Diagramm	around 1917/1918	Drawing
Die Hochzeit	1903	Other
Die Waschfrau	1911	Painting
Dorp	ca. 1906	Other
Dorpje	1908	Drawing
Drei Köpfe	after 1930	Drawing
Drie boerenvrouwen	1917-1919 of eind jaren 1920	Drawing
Drie figuren in een landschap	ca. 1928-1930	Drawing
Drie naakte vrouwen en een kind, peren plukkend	1909	Drawing
Drie staande vrouwen	1930	Drawing
Drie vrouwenfiguren	ca 1905-1906	Drawing
Druckstock für Holzschnitt	1920	Print
Dynamic Construction	1923	Photograph
Dynamic Figure from On New Systems in Art (O Novykh Sistemakh V Iskusstve)	1911	Print
Dynamic Suprematism	1915/16	Painting
Dynamisch suprematisme	1917-1918	Drawing
Een Engelsman in Moskou	1914	Painting
Een paar onder bomen	ca 1929	Drawing
Elegant gezelschap in een park	ca 1908	Drawing
Elementarer Suprematismus	1917	Drawing
Eléments d'architectone	[après 1924]	Drawing
Eléments non identifiés	[1923 - 1935]	Sculpture or object
Engelsman in Moskou	1913-1914	Drawing
Entwurf für das Gemälde 'Die roten Häuser'	1910	Drawing
Entwurf für die Bemalung der Pfeiler aus der Serie von Entwürfen für die Ausgestaltung des Roten Theaters in Leningrad	1931	Drawing
Entwurf für eine Deckenmalerei im Roten Theater in Leningrad	1931	Drawing
Eskiz k portretu Roslavtsa. Pesn golubym oblakam (Schets voor portret van de componist Roslavets. Lied van de blauwe wolken)	1907-1908	Drawing
Etude de paysan	fin 1911	Drawing
Etyud suprematis 52 sistema A 4	1916-1917 (versie 1920-1927)	Drawing
Explodity (Vzorval')	1913	Book
Explodity (Vzorval')	1913	Book
Explodity (Vzorval)	1913	Book
Female Figure	1928–1929	Painting
Female portrait	ca. 1910-1911	Painting
Female Torso	1928–1929	Painting
Female Torso	1928-1929	Painting
Figur mit ausgebreiteten Armen, ein Kreuz bildend	1933	Drawing
Figuren in Schwarz und Weiß	1928/1930	Drawing
Flower Seller	1930	Painting
Folio 1 from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Folio 15 from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Folio 17 verso from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Folio 18 from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Folio 19 from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Folio 19 from Vzorval' (Explodity)	1913	Book
Folio 20 from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Folio 23 from Vzorval' (Explodity)	1913	Book
Folio 25 from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Folio 27 from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Folio 27 from Vzorval' (Explodity)	1913	Book
Folio 29 from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Folio 31 from Vzorval' (Explodity)	1913	Book
Folio 32 verso from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Folio 34 verso from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Folio 37 from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Folio 4 verso from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Folio 7 from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Folio 9 from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Footballer / Futbolist	1915	Print
Four Squares	1915	Painting
Fragmenten van een tekst over het suprematisme	1927	Other
From Cubism and Futurism to Suprematism (Ot kubizma i futurizma k suprematizmu)	1916	Book
Front cover from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Fruit plukken / Overvloed	1909	Painting
Fuhrleute	1909-1910	Drawing
Full portrait of Malevich	1931	Photograph
Futuristische draak	1913	Print
Futurizm: dvizhenie cheloveka po lestnitse (Futurisme: beweging van een man op een trap)	1919	Drawing
Gebet II	um 1913	Print
Gesellschaft in Zylindern	1907	Drawing
Girl in the Countryside	1928–1929	Painting
Girls in a Field	1928-1929	Painting
Gliad', pogliad' uzh blizko Visly. Nemtsev puchit, znachit kislo.	1914/1918?	Print
Glyad, poglyad, uzh blizko Visly	1914	Print
Golgatha	around 1911	Drawing
Gota	1923 / 1978	Sculpture or object
Gota 2-a	1923 / 1978	Sculpture or object
Grafik ...	ca. 1923	Other
Grafik dvizheniya tvorcheskikh edinits v beskonechnosti	ca. 1923	Other
Grammatica	1913	Drawing
Harvesting	Study for a painting. 1928–1929	Painting
Head of a Peasant	Early 1930s	Painting
Head of a Peasant	1928-1929	Painting
Head of a Peasant	1928–1929	Painting
Hiëratisch suprematistisch kruis (groot kruis in zwart over rood op wit)	1920-1921	Painting
Houses of the Future Leningrad: Pilot's House	1924	Drawing
Huis, man, ladder	1930-1931	Drawing
Huit dessins suprématistes	[1917 / avant 1930]	Drawing
Huizen op het platteland	ca. 1906	Other
Häuser und Kreuze (Golgatha)	1930	Drawing
I yu mane tor	ca. 1915	Drawing
Igra v adu	1914	Other
Igra v adu (A Game in Hell)	1914	Book
Igra v adu (A Game in Hell)	1914	Book
Igra v adu (A Game in Hell)	1914	Book
Igra v adu (A Game in Hell)	1913–14, published 1914	Book
II	1913	Drawing
Illustration for the book by Aleksei Kruchenykh and Velimir Khlebnikov "Igra v Adu»" (2nd edition, Moscow 1914)	1914	Print
Ils vont à l'église	1928 - 1932	Drawing
Into Wagons of the French, German Corpses Were Tightly Wrenched; Their English Brothers Carried Kegs Stuffed with Germans Who Lost Their Legs	c. 1914	Print
Izbornik stikhov s poslesloviem rechiaria. 1907–1914 gg. (A Selection of Poems with an Afterword by the Wordsmith: 1907–1914)	1914	Book
Jnitsa	1913	Drawing
K.Malevich, M.Matiushin, A.Kruchenykh, St.Petersburg, December 1913	1913	Photograph
K.Malevich, M.Matiushin, A.Kruchenykh, St.Petersburg, December 1913	1913	Photograph
K.Malevich, M.Matiushin, A.Kruchenykh, St.Petersburg, December 1913	1913	Photograph
Kabarett	1930	Drawing
Kazimir Malevich lying seriously ill in his bed, shortly before he died	1935	Photograph
Kettle with lid	1923	Sculpture or object
Komposition mit einer Figur	after 1930	Drawing
Konstruktion	around 1915	Drawing
Kop van een boer, kruis, en landschap	1928-1929	Drawing
Kop van een boerenmeisje	1912	Painting
Kop van een boerenvrouw	1913	Drawing
Kopf	1930	Drawing
Kopf	around 1930	Drawing
Kostüm für das Stück 'Maskenball'	1913	Drawing
Krestyanka (Boerenvrouw)	1913	Print
Krestyanka idet po vodu (Boerin haalt water)	1913	Print
Kubisme 25. Avtoportret (Kubisme 25. Zelfportret)	1913	Drawing
Kubisme 6. Wandklok	1913	Drawing
Kubisme 9. Molitva (Kubisme 9. Gebed)	1913	Drawing
Kubistische compositie	ca 1925	Drawing
Kubistische figuur staand op de rug gezien	1912-1913 (versie ca. 1925)	Drawing
Kubofuturistische compositie met piano	1913-1914	Painting
Kubosuprematismus	1916/1920	Drawing
Kuppel des Volkshauses in Leningrad	1931	Drawing
Lamp - Musical Instruments	Δεκαετία 1920	Photograph
Lamp / Muziekinstrumenten	1913	Painting
Landscape	1911	Painting
Landscape	c. 1906	Painting
Landscape with a White House	1928–1929 in Gasper-Hulvat 2012; Christie’s groups work with early-1930s landscapes	Painting
Landscape with a Yellow House (Winter Landscape)	c. 1906	Painting
Landscape with Five Houses	1928–1929	Painting
Landscape with house	c. 1905-1906	Painting
Landschaft	around 1933/34	Other
Landschaft (Der Winter) (Landscape (Winter))	after 1927	Painting
Lauf	1917	Drawing
Let's Grumble (Vozropshchem)	1913	Book
Liggende naakte vrouw met twee spelende kinderen	1908	Drawing
Lopende man met zaag onder de arm	ca. 1928-1929	Drawing
Maaiende vrouw	1913	Drawing
Maaiende vrouw	1913	Drawing
Maaiende vrouw	1913	Drawing
Maaiende vrouw	1912-1913	Drawing
Magnetic construction		Drawing
Magnetisch architectonische compositie	ca. 1920 (versie 1925-1926)	Drawing
Magnetischer Suprematismus	1916	Drawing
Male Portrait	1933–1934	Painting
Malevich archief	1913-1927	Other
Malevich with his students (UNOVIS)	Μάιος 1922	Photograph
Man met zak	1910-1911	Painting
Manifesto handbill for the 0.10 exhibition	1915	Book
Mann in suprematistischer Landschaft	um 1930 - 31	Painting
Mann mit Pferd	1933	Drawing
Manuscript with drawings, Page 27, 1 July 1916	1916	Other
Maternity. Woman in Birth	1908	Drawing
Moederschap / Overvloed	1910	Painting
Morning in the Village after Snowstorm	1912	Painting
Muziekinstrument	1913	Drawing
Muziekinstrumenten	1913-1914	Drawing
Mystic Suprematism (Black Cross on Red Oval)	1920–22	Painting
Mysticus	1930	Drawing
Mystiek suprematisme (rood kruis op zwarte cirkel)	1920-1922	Other
Naakt met geheven handen	1908	Drawing
Nachtwandeling	1909-1910	Drawing
Nu i tresk-zhe, nu i grom-zhe byl ot niemtsev podlie Lomzhi.	1914/1918?	Print
O Novykh Sistemakh V Iskusstve (On New Systems in Art)	1919. (Prints executed 1910-1919).	Book
O novykh sistemakh v iskusstve. Statika i skorost'	1919	Other
O novykh systemakh v iskusstve. Statika i skorost' ( On New Systems in Art: Statics and Speed )	1919	Book
O novykh systemakh v iskusstve: Statika i skorost’ (On New Systems in Art: Statics and Speed), Vitebsk	1919	Book
Ohne Titel	around 1904-1908	Drawing
Ohne Titel	1916	Drawing
Ohne Titel	around 1931	Drawing
Ohne Titel	1916	Drawing
Ohne Titel	around 1916	Drawing
Ohne Titel (Untitled)	1917–1930	Drawing
Omslag van A. Kruchenykh en V. Khlebnikov, Igra v adu (Een spel in de hel)	1913-1914	Print
Omslag van Sezd Komitetov Derevenskoi Bednoty (Congres van Comités van Armoede op het Platteland)	1918	Print
Omslag van Troe (Het drietal)	1913	Print
Omslagontwerp voor Internatsional iskusstva (Internationale van de kunst)	1918	Print
Omslagontwerp voor N.N. Punin, Pervy tsikl lektsii (Eerste cyclus van lezingen)	1920	Drawing
Omslagontwerp voor Troe (Het drietal)	1913	Drawing
Ontwerp voor een architecton type 'Alfa'	ca 1925-1926	Drawing
Ontwerp voor een architecton type Alfa	1925-1929	Drawing
Ontwerp voor een monument	ca. 1932-1933	Drawing
Ontwerp voor een monument	ca. 1932-1933	Drawing
Ontwerp voor een monument	ca. 1932-1933	Drawing
Oogstende vrouwen/Het binnenhalen van de rogge II	1912	Other
Op de boulevard	1910	Painting
Opdoemende kruisvorm	1917-1918	Drawing
Ornements suprématistes	1927 / 1978	Sculpture or object
Ot kubizma i futurizma k suprematizmu. Novyi zhivopisnyi realizm (From Cubism and Futurism to Suprematism: New Painterly Realism)	1916	Book
Ot kubizma k suprematizmu. Novy zhivopisny realizm	1916	Other
Ot Sezanna do Suprematizma. Kritichesky ocherk	1920	Book
Ot Sezanna do Suprematizma. Kritichesky ocherk.	1920	Other
Paard en koets in beweging	1913	Drawing
Painterly Realism of a Boy with a Knapsack - Color Masses in the Fourth Dimension	1915	Painting
Painterly Realism of a Football Player—Color Masses in the 4th Dimension	Summer/fall 1915	Painting
Patriotic poster against the Germans	1914	Print
Patriotic Poster Against the Germans	1914	Print
Patriotic Poster Against the Germans	1914	Print
Patriotic Poster Against the Germans		Print
Patriotic propaganda postcard with verse by Vladimir Mayakovsky	1914	Book
Patriotic propaganda postcard with verse by Vladimir Mayakovsky	1914	Book
Patriotic propaganda postcard with verse by Vladimir Mayakovsky	1914	Book
Patriotic propaganda postcard with verse by Vladimir Mayakovsky	1914	Book
Patriotic propaganda postcard with verse by Vladimir Mayakovsky	1914	Book
Patriotic propaganda postcard with verse by Vladimir Mayakovsky	1914	Book
Patriotic propaganda postcard with verse by Vladimir Mayakovsky	1914	Book
Patriotic propaganda postcard with verse by Vladimir Mayakovsky	1914	Book
Patriotic propaganda postcard with verse by Vladimir Mayakovsky	1914	Book
Patriotic propaganda postcard with verse by Vladimir Mayakovsky	1914	Book
Patriotic propaganda postcard with verse by Vladimir Mayakovsky	1914	Book
Patriotic propaganda postcards with verse by Vladimir Mayakovsky	1914	Book
Paysanne	[1912 / 1932]	Drawing
Paysanne et deux enfants	[1911 / avant 1930]	Drawing
Peasant	Between 1930–1932	Painting
Peasant bringing Water	1912 (Thema), 1920er Jahre (Ausführung)	Drawing
Peasant in a Field	1928–1929	Painting
Peasant Woman	Early 1930s	Painting
Peasants	c. 1930	Painting
Peasants	circa 1928 (NGA); 1928–1929 (Gasper-Hulvat)	Painting
Perfected Portrait of Ivan Kliun	1913	Painting
Peruyi Tsikl Lektsii	1920	Book
Pervyi tsikl lektsii chitannykh na kratkosrochnykh kursakh dlia uchitelei risovaniia (First Series of Lectures, Given at a Short-Term Course for Teachers of Drawing)	1920	Book
Plan d'éléments d'architectone	[après 1924]	Drawing
Planetaire constructie (magnetische kruisvorm)	1916-1917 (ontwikkeld 1920-1922, latere versie (voor 1927))	Drawing
Planetary-Architectural Suprematism	1919-1920	Drawing
Plate (folio 17) from Vzorval' (Explodity)	1913	Book
Plate (folio 21) from Igra v adu (A Game in Hell)	1913–14, published 1914	Book
Plate (folio 22) from Vzorval' (Explodity)	1913	Book
Po utru iz Lvova vyshli	1914	Print
Pobeda nad solntsem. Opera (Victory over the Sun: An Opera)	1913	Book
Podoshel kolbasnik k Lodzi	1914	Drawing
Pokhoronnoe byuro (Begrafeniskantoor)	1914-1915	Drawing
Porosiata	Saint Petersburg: 1913	Book
Porosiata (Piglets)	1913	Book
Portrait of a Youth	1933	Painting
Portrait of M. V. Matyushin	1913 in gallery-magazine object record; 1913–14 in Tretyakov education page	Painting
Portrait of the Artist’s Wife	1933	Painting
Portret M.V. Matyushina (Portret van M.V. Matyushin)	1913	Drawing
Portret stroitelya usovershenstvovan (Verbeterd portret van een bouwer)	1913	Drawing
Portret van de vader van de kunstenaar	ca 1902-1903	Painting
Portret van een jonge vrouw (waarschijnlijk Sofia Rafalovitch)	1908-1909	Drawing
Portret van een man (Aleksei Morgunov?)	1912	Other
Portret van M.V. Matyushin	1913	Drawing
Prayer	1913	Drawing
Prayer	1913	Print
Prayer	Study for a fresco painting. 1907	Painting
Prayer (plate, folio 19) from Vzorval' (Explodity)	1913–14, published 1914	Book
Primitiv (Schuhmacher)	1910	Drawing
Prografachnik	1916	Drawing
Projekt einer kosmischen Anlage	around 1917	Drawing
Quadrat und Oval	1915/1916	Drawing
Quadrat und Viereck	1914-1915	Drawing
Red Cavalry	c. 1932	Painting
Red House	1932	Painting
Red Square	Undated	Drawing
Red Square. Painterly Realism of a Peasant Woman in Two Dimensions	1915	Painting
Reicher Mann	around 1910	Drawing
Relaxing (Society in Top Hats)	1908	Drawing
Reservist of the First Division	fall-winter 1914	Painting
Roar!: Gauntlets of 1908-1914 (Riav!: Perchatki 1908-1914)	1914	Book
Rotes Quadrat auf Schwarz	around 1922	Other
Samovar	1913	Painting
Schema I: Construction of Axes of a Model; Schema II: Cubist Structure (Construction); Schema III: Cubist Constructed Drawing from On New Systems in Art (O Novykh Sistemakh Visk Usstve)	1919	Print
Schets vooor de opera Voyna (Oorlog): Topor molodets ne brekhal (de jongeman Topor heeft niet gelogen)	1918	Drawing
Schets voor de opera Voyna (Oorlog): Bas, day stakan (Bas, geef me een glas)	1918	Drawing
Schets voor de opera Voyna (Oorlog): gekruisigde tegen een lichte achtergrond	1918	Drawing
Schets voor de opera Voyna (Oorlog): gekruisigde tegen een zwarte achtergrond	1918	Drawing
Schets voor de opera Voyna (Oorlog): interieur met figuur en hangend kruisbeeld	1918	Drawing
Schets voor de opera Voyna (Oorlog): Odin tikho (een stille)	1918	Drawing
Schets voor een architectonische structuur	1920-1921 (versie 1923-1924)	Drawing
Schetsboekomslag		Drawing
Schneider, Allogismus, Aushang	around 1915	Drawing
Schnitter	1909-1910	Drawing
Schnitterinnen	1909-1910	Drawing
Schnitterinnen (Reapers)	1909–1910	Drawing
Schwarzes Viereck	1914-1915	Drawing
Scène uit Anathema	1909-1910	Print
Segodnyashnye sooruzheniya	1920 (versie 1923-1924)	Drawing
Segodnyashnye sooruzheniya	1923-1924 / 2010	Other
Selected Verse, 1907–1914 (Izbornik stikhov, 1907-1914)	1915	Book
Self-Portrait	Study for a fresco painting. 1907	Painting
Self-Portrait	1910–1911	Drawing
Self-Portrait (Artist)	1933	Painting
Shel avstriec v Radzivily	1914	Print
Sieg über die Sonne 1913-1973	1973	Print
Sieg über die Sonne 1913-1973	1973 / 2010	Other
Simultaneous Death in an Airplane and at the Railway	(1913)	Print
Simultaneous Death of a Man in an Airplane and on the Railroad (plate, folio 15) from Vzorval' (Explodity)	1913–14, published 1914	Book
Sketch for "Vertical Suprematist Construction»"	Undated	Drawing
Sketch for a Stage Curtain for the Opera Victory over the Sun	1928	Drawing
Sketch for Agit-Train	περ. 1918	Drawing
Slovo Kak Takavoe (The Word as Such)	1913	Book
Slovo kak takovoe (The Word as Such)	1913	Book
Smert cheloveka odnovremmeno na aeroplane i zhel. doroge (De gelijktijdige dood van een man in een vliegtuig en op de spoorlijn)	1913	Print
Sportsmen	1928–1932	Painting
Square and Cone	1915	Drawing
Staande boer	1928-1929	Drawing
Staande boer met emmer	1930-1932	Drawing
Staande boer met zeis bij het hooien	1928-1929	Drawing
Staande duivel	1913-1914	Print
Staande figuur	1927	Drawing
Staande mannenfiguur	1930-1931	Drawing
Staande vrouw en man Kop en schouders Vijf figuren met twee suprematistische elementen	1918 (latere versie)	Drawing
Staande vrouw met de armen over elkaar	ca 1930	Drawing
Standing Figure	1913	Drawing
Standing Woman	circa 1930	Drawing
Stikhi V. Maiakovskogo. Vypyt (The Poetry of V. Mayakovsky. [Vypyt])	1914	Book
Still Life	c. 1910	Drawing
Stroyuschiysya dom [House under construction]	1915–16 (museum); reverse inscription 1914 distinguished from execution date	Painting
Studie für das Gemälde 'Die Rote Kavallerie'	1930	Drawing
Studie nach Picasso. Entwurf für das Bauhausbuch 'Die Gegenstandslose Welt'	1926/1927	Drawing
Studie nach Picasso. Entwurf für das Bauhausbuch 'Die Gegenstandslose Welt'	1926/1927	Drawing
Study for the rear curtain for Victory over the Sun	1913	Drawing
Study for the rear curtain for Victory over the Sun	1913	Drawing
Summer Landscape (Zomerlandschap)	circa 1929	Painting
Suprematicheskoe postroenie N 118 (Suprematistische constructie nr. 118)	1917-1918 (versie 1920)	Drawing
Suprematisch kruis (klein kruis in zwart over rood op wit)	1920-1927	Other
Suprematism	1915	Drawing
Suprematism	1915	Painting
Suprematism	1915–1916	Painting
Suprematism (Supremus No. 56)	1915-16	Painting
Suprematism (Supremus No. 58)	1916	Painting
Suprematism, 18th Construction	1915 (artist's reverse inscription reads 1914)	Painting
Suprematisme	1917-1918	Drawing
Suprematisme van de geest	1919	Other
Suprematisme. Oplossende constructie, vorm 78	1918 (latere versie (1927))	Drawing
Suprematisme: Compositie 5 c	1915-1917	Drawing
Suprematisme: drie overlappende rechthoeken	1916-1917 (latere versie)	Drawing
Suprematisme: drie snijdende vlakken, vervagend	1917-1918	Drawing
Suprematisme: elementen in wisselwerking, vervagend	1917-1918	Drawing
Suprematisme: formatie van rechthoeken	1916 (latere versie)	Drawing
Suprematisme: formatie van rechthoeken en vierkanten van verschillende grootte	1916 (latere versie)	Drawing
Suprematisme: formatie van rechthoeken van verschillende grootte	1916 (latere versie)	Drawing
Suprematisme: gevoelens van angst	1917-1919	Drawing
Suprematisme: in tweeën	1917-1919	Drawing
Suprematisme: krommingen en bogen	1917-1918	Drawing
Suprematisme: magnetische rechthoeken in stervorm Vier kaderlijnen	1917-1919	Drawing
Suprematisme: magnetische staven	1917	Drawing
Suprematisme: ovaal en rechthoek Twee staande vrouwen in een landschap Man met hoed (zogenaamd portret van Larionov?) Boer Vier figuren	1916-1917 (latere versie)	Drawing
Suprematisme: Ovaal, boog en rechthoeken	1917	Drawing
Suprematisme: twee snijdende vlakken, vervagend	1917-1918	Drawing
Suprematisme: twee snijdende vlakken, vervagend Suprematisme: drie snijdende vlakken, vervagend	1917-1918	Drawing
Suprematisme: zwart vierkant en witte rechthoek met rode strepen	1917-1919	Drawing
Suprematismus	1912-1913	Drawing
Suprematist Composition	1915	Drawing
Suprematist composition	c. 1916	Drawing
Suprematist Composition	1916	Photograph
Suprematist Composition	1916	Painting
Suprematist Composition with Plane in Projection	1915	Painting
Suprematist Composition: Airplane Flying	1915 (dated on reverse 1914)	Painting
Suprematist Composition: White on White	1918	Painting
Suprematist Diagonal Construction 79	1917	Drawing
Suprematist Drawing	(c. 1916-17)	Drawing
Suprematist Drawing	(c. 1916-17)	Drawing
Suprematist Element: Circle	(1923)	Drawing
Suprematist Elements: Squares	1923	Drawing
Suprematist interior decoration	1920-1921	Drawing
Suprematist Painting	1916-17	Painting
Suprematistisch schilderij (met zwart trapezium en rood vierkant)	1915	Other
Suprematistische compositie	1915 (versie 1920-1927)	Drawing
Suprematistische compositie (met acht rode rechthoeken)	1915	Painting
Suprematistische compositie (met blauwe driehoek en zwarte rechthoek)	1915	Painting
Suprematistische compositie (met gele, oranje en groene rechthoek)	1915-1916	Other
Suprematistische Elemente im Raum	1914-1915	Drawing
Suprematistische Komposition	1915-1916	Drawing
Suprematistische Komposition	1915/1916	Drawing
Suprematistische Komposition (Suprematist Composition)	1915	Painting
Suprematistische schets	1915-1920	Drawing
Suprematistische Zeichnung (Plan eines Erdflugplatzes)	1927	Drawing
Suprematistisches Architekton	around 1926	Sculpture or object
Suprematizm. 34 risunka	1920	Print
Suprematizm. 34 risunka (Suprematism: 34 Drawings)	1920	Book
Supremus No. 18	1916–1917	Drawing
Supremus nr 51	1916 (versie 1920-1927)	Drawing
Supremus Nr. 38	1916	Other
Supremus nr. 50	1915	Other
Supremus nr. 58	1916 (versie begin jaren 1920)	Drawing
Sushchestvuet énergiya v sushchestve kot	ca. 1923	Other
Sämann	1910/1912	Drawing
Tenhemelopneming van een heilige	1907-1908	Drawing
The Triumph of Heaven	1907	Painting
The UNOVIS way (Put' Unovisa)	Ιανουάριος 1921	Print
The Word As Such (Slovo kak takovoe)	1913	Book
Third State of Being	designed in 1915, made in the 1920s	Drawing
Three Female Figures	Early 1930s	Painting
Threesome (Troe)	1913	Book
Thèmes pour des monuments architecturaux dans des parcs et sur des places	1927 / 1978	Sculpture or object
Tizian	around 1930	Drawing
Tochil’schik Printsip Mel’kaniia (The Knife Grinder or Principle of Glittering)	1912–13	Painting
Toekomstige planits voor Leningrad. Het huis van de vliegenier	1924	Drawing
Toekomstige planits, huizen voor aardbewoners	1920-1921 (versie 1923-1924)	Drawing
Toneelontwerp voor akte 1, scène 4 van Overwinning op de zon	1913	Drawing
Toneelontwerp voor Overwinning op de zon	1913 (versie 1915)	Drawing
Torse féminin	[1908 / avant 1930]	Drawing
Torso (Figure with a Pink Face)	1928–1929	Painting
Torso (Prototype of a New Image)	1928–1929	Painting
Torso in a Yellow Shirt (Complicated Premonition)	c. 1932	Painting
Transrationele compositie: geluiden	1913	Drawing
Trees	circa 1904	Painting
Triple Portrait	Study for Socialist City (unexecuted). 1933	Painting
Troe (The Three)	1913	Book
Troe (The Three)	1913	Book
Trois croix	vers 1930 - 1932	Drawing
Trois dessins : tête de femme, buste et visage	[1908 / avant 1930]	Drawing
Troye	1913	Other
Tvorchestvo ne mozhet byt' svobodno	ca. 1923	Other
Tvorchestvo ne mozhet byt' svobodno	ca. 1923	Other
Twee duivels die een vrouw doormidden zagen	1913-1914	Print
Twee mannen in beweging	1917-1918 of ca. 1930	Drawing
Twee naakte vrouwen peren plukkend	1909	Painting
Twee vrouwen en een man tegen een lage horizon	1930	Drawing
Two figures with a stretcher	ca. 1930-1931	Drawing
Two Male Figures	Early 1930s	Painting
Tête noire	vers 1930	Drawing
Universal Landscape	1913	Print
UNOVIS Questionnaire	1920	Print
Untitled	1920	Drawing
Untitled	c. 1920	Print
Untitled	αχρονολόγητο	Print
Untitled	Undated	Drawing
Untitled	Undated	Drawing
Untitled	1913?	Drawing
Untitled (Suprematist Composition)	circa 1919–1926	Drawing
Untitled (Suprematist Composition)	circa 1919–1926	Drawing
Untitled (Suprematist Cross)	1920, printed 1973	Print
Untitled, Illustration for the book by Aleksei Kruchenykh and Velimir Khlebnikov "Igra v Adu»" (2nd edition, Moscow 1914)	1913	Print
Verdwijnend geel vlak	1917-1918	Painting
Verdwijnende constructie (diagonale balk met drie bogen in wit)	ca. 1917	Other
Verdwijnende witte vlakken	1917-1918	Other
Verklarende kaarten over de theorie van het additionele of toegevoegde element in de schilderkunst	1927	Drawing
Verticale constructie, suprematisme	1919-1920 (versie 1920-1925)	Drawing
Vier figuren in een landschap	ca. 1928-1930	Drawing
Vijf geketende figuren op de rug gezien, geflankeerd door twee bewakers	1910-1911	Drawing
Vil'gel'mova Karusel' (Wilhelm's Carousel)	1914	Print
Vloerboeners	1911	Drawing
Voorstudie voor het omslag van het programma van het Congres van Comités van Armoede op het Platteland	1918	Drawing
Voorstudie voor het omslag van het programma van het Congres van Comités van Armoede op het Platteland	1918	Drawing
Voorstudie voor het omslag van Sezd Komitetov Derevenskoi Bednoty (Congres van Comités van Armoede op het Platteland)	1918	Drawing
Voorstudie voor het omslag van Sezd Komitetov Derevenskoi Bednoty (Congres van Comités van Armoede op het Platteland)	1918	Drawing
Voyna (Oorlog)	1914	Drawing
Vozropshchem (Let's Grumble)	1913	Book
Vrouw bij tramhalte	1913-1914	Other
Vrouw in lange jurk met kind	1930	Drawing
Vrouw met de armen over elkaar	1931-1932	Drawing
Vrouw met krant op schoot	1904	Other
Vrouw omgeven door vruchten	1909	Painting
Vrouwelijke figuur met uitgespreide armen	1930?	Drawing
Vrouwenfiguur	1909	Drawing
Vrouwenfiguur met gespreide armen	1930-1931	Drawing
Vrouwenfiguur, vis, cirkel, kruis	ca. 1928-1930	Drawing
Vsemirny peyzazh (Universeel landschap)	1913	Drawing
Vzorval	1913	Book
Vzorval' (Explodity)	1913	Book
Vzorval' (Explodity)	1913	Book
Vzorval' (Explodity)	1913–14, published 1914	Book
Wachthuisje, drie kruisen	ca 1930-1931	Drawing
What a Rattle	1914	Print
Wilhelm Carousel	1914	Print
Windmills	ca. 1909-1910	Painting
Wit suprematistisch kruis	1920-1921	Painting
Woman Reaper (front cover) from Slovo Kak Takavoe (The Word as Such)	1913	Book
Woman with Pails: Dynamic Arrangement	1912-13 (dated on reverse 1912)	Painting
Woman Worker	1933	Painting
Women Bathers	Circa 1930	Painting
Women Reapers (The Reapers)	1928–1929; 1905 inscription separately documented by Gasper-Hulvat 2012	Painting
Wraparound cover for the program S'ezd komitetov derevenskoi bednoty (Congress of Committees of Peasant Poverty)	1918	Book
Wäscherin	1909-1910	Drawing
Ya apostol novykh ponyaty b iskusstve (Ik, de apostel van nieuwe begrippen in de kunst	1916	Drawing
Zelfportret in twee dimensies	1915	Painting
Zeta	1923 / 1978	Sculpture or object
Zhnitsa (Maaiende vrouw)	1913	Drawing
Zittend naakt op de rug gezien	1907-1908	Drawing
Zwei Schwestern	around 1904-1906	Drawing
«Живо заняли мы Галич...».	1914	Print
«Ну и треск же, ну и гром же...»	1914	Print
«Подошел колбасник к Лодзи...»	1914	Print
Весна – цветущий сад	1928–1929	Painting
Вильгельмова карусель	1914	Print
Голова крестьянина	Конец 1920-х	Drawing
Девочка под деревом. Этюд	1932–1933	Painting
Девушка с гребнем в волосах	1932–1933	Painting
Девушка с красным древком	1932–1933	Painting
Деревня. Три рисунка	1928-1929	Drawing
Динамический супрематизм	1920	Drawing
Динамический супрематизм. Аэроплан летит	1920	Print
Доктор Мабузо. Образец киноплаката	1925–1926	Painting
Ескіз розпису конференц-залу ВУАН в Києві (Sketch for the painting of the conference hall of the All-Ukrainian Academy of Sciences, Kyiv)	1930	Drawing
Женщина с граблями	1930-1931	Painting
Композиция с двумя прямоугольниками	1920	Drawing
Крестьянка	1928-1929	Drawing
Кубофутуризм. Динамическое ощущение натурщика. Авторская реплика композиций 1911 и 1919 года	Вторая половина 1920-х	Drawing
Кубофутуристический пейзаж	1913	Drawing
Лубок. «Вильгельмова карусель»	1914	Print
Лубок. «Глядь, поглядь, уж близко Висла»	1914	Print
Лубок. «Подошел колбасник к Лодзи»	1914	Print
Лубок. «Шел австриец в Радзивиллы»	1914	Print
На сенокосе	1928-1929	Painting
Пейзаж под Киевом	1930	Painting
Плащаница	1908	Drawing
Портрет А.А. Лепорской	Около 1933	Painting
Портрет В.А. Павлова	1933	Painting
Портрет жены	1934	Painting
Портрет Н. Н. Пунина	1933	Painting
Портрет ударника (Краснознаменец Жарновский)	1932	Painting
Почтовая карточка «По утру из Львова вышли...»	1914	Print
Почтовая карточка. «Ах ты, милый город Люблин...»	1914	Print
Почтовая карточка. «Выезжали мы за Млаву...»	1914	Print
Почтовая карточка. «Выезжали мы из Ковны...»	1914	Print
Почтовая карточка. «Глядь, по глядь, уж близко Висла...»	1914	Print
Почтовая карточка. «Как заехали за Лык..»	1914	Print
Почтовая карточка. «Не ходи австриец плутом...»	1914	Print
Почтовая карточка. «Ну и треск, да ну и гром же...»	1914	Print
Почтовая карточка. «Скоро, скоро будем в Краков...»	1914	Print
Почтовая карточка. «Шел австриец в Радзивилы...»	1914	Print
Почтовые карточки	1914	Print
Принцип росписи стены	1919	Drawing
Сестры	1930	Painting
Смерть конного генерала	1914	Drawing
Станция без остановки. Кунцево	1913-1914	Painting
Супрематизм	1920	Drawing
Супрематизм	1919	Drawing
Супрематизм. Композиция с кругом	1917-1918	Drawing
Супрематическая композиция	1917-1918	Drawing
Три супрематических композиции	Начало 1920-х	Drawing
Туалетная шкатулка	1913-1914	Painting
Чашка (получашка)	1923	Sculpture or object
Чашка (получашка) «Супрематизм»	1923	Sculpture or object
Черный квадрат	1929	Painting
Черный квадрат (Black Square)	1913 / circa 1932 in formal field; circa 1930–32 in museum essay	Painting
Черный супрематический квадрат	1915	Painting
‘aF’ forma obema (‘aF’ vorm van volume)	1915, versie 1924 of 1926	Drawing

Frequently asked questions

Did Malevich use a ruler for his geometric paintings?

The studied Football Player canvas and examples in Hoenigswald's essay show card-assisted edges, drawn planning, brush handling and revisions. A card can create a straight boundary while leaving impressions in wet paint. The evidence does not establish one universal tool for all Suprematist works. ^{[1], [2]}

Is the white background just bare canvas?

Sometimes a visible support or ground matters, but in Football Player analysts found a prepared ground and zinc-white paint layers. In other examined works, unprimed fabric is deliberately exposed. The answer must come from the particular painting's material record. ^{[1], [2]}

What pigments did Malevich use?

The 2016 Football Player study identifies a range of pigments on that canvas, including zinc white, vermilion, ultramarine and cobalt violet, with some qualified green and extender identifications. It is a sample of one object, not a complete list for the artist's paintings. ^[2]

Did he plan the irregular shape of Red Square?

Hoenigswald found pencil planning for a more regular shape and evidence that the upper-right corner was extended with different brush handling. The current irregularity reflects a documented revision. ^{[1], [4]}

Are cracks part of the original design of Black Square?

The cracks are real features of the aged 1915 canvas, but their present network should not be equated automatically with its 1915 appearance or with a fully intentional pattern. The work-specific article treats the technical evidence and its limits. ^[6]

References

1. Ann Hoenigswald, “Kazimir Malevich’s Paintings: Surface and Intended Appearance,” National Gallery of Art, Conservation Research 1996/1997, pp. 109–123: directly read technical study, with its hypotheses and sample limits retained. View source.
2. Maria Kokkori, Stephanie D'Alessandro, Kristin Lister and Francesca Casadio, “Materials and Meanings: Analyzing Kazimir Malevich’s Painterly Realism of a Football Player,” Smithsonian, 2016, pp. 65–75: directly read object-specific imaging and materials analysis; Smithsonian bibliography. View source.
3. Art Institute of Chicago, Painterly Realism of a Football Player—Color Masses in the 4th Dimension, 2011.1: exact physical work studied in source 2. View source.
4. State Russian Museum, Red Square (Painterly Realism of a Peasant Woman in Two Dimensions), Жб-1643: owner identity for the object discussed in source 1. View source.
5. MoMA, Suprematist Composition: White on White, 817.1935: 1918 painting and object record; not conflated with Hoenigswald's two opposed-gloss catalogue examples. View source.
6. State Tretyakov Gallery, first Black Square, inv. 11925: exact 1915 canvas; see the separate Black Square research packet for technical-source distinctions. View source.
7. State Russian Museum, Red Cavalry, Ж-9435: owner record for the circa-1932 canvas. View source.
8. State Tretyakov Gallery, Girl with a Comb in Her Hair, Инв.20843: exact late object and date. View source.
9. MoMA, Woman with Pails: Dynamic Arrangement, 815.1935: date, medium and reverse inscription. View source.
10. Yale University Art Gallery, The Knife Grinder, 1941.553: exact Cubo-Futurist canvas. View source.
11. Stedelijk Museum, The Woodcutter, A 7679: both painted sides and object identification. View source.
12. Stedelijk Museum, An Englishman in Moscow, A 7656: exact alogical painting and collection context. View source.
13. Splash image: Kazimir Malevich, Red Square, 1915, State Russian Museum, Жб-1643. Site-owner-supplied reproduction identified by the owner as public domain. Hoenigswald’s technical study of this physical painting informs the discussion below.

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