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
Three harvesters occupy almost the whole canvas in Kazimir Malevich's Taking in the Rye. Two large figures bend toward the crop in the foreground while a third raises an arm behind them. Their eyes and hands are still visible, but sleeves, skirts and the surrounding sheaves are built from rounded, shaded masses. The colour is striking: red, blue, magenta, cream and deep green join the workers to the field. The Stedelijk Museum Amsterdam catalogues this work as A 7678, dates it 1912, and gives its Dutch title as Oogstende vrouwen/Het binnenhalen van de rogge II. Its English translated title is simply Taking in the Rye. [1]
The Roman numeral in the Dutch title matters. It identifies this as a specifically catalogued “II” version within the museum's naming, rather than a generic picture of rye harvesting. A short English title on a website can hide distinctions among related works, and older image files may introduce another date. This page follows the Stedelijk's current object identity while looking carefully at what is actually shown. [1], [2]
At a Glance
- ArtistKazimir Malevich (1879–1935)
- Museum titleOogstende vrouwen/Het binnenhalen van de rogge II
- Translated titleTaking in the Rye
- Date1912 in the current Stedelijk record
- Dimensions72 × 74.5 cm
- MediumCommonly listed as oil on canvas; the current brief museum page omits a medium field
- CollectionStedelijk Museum Amsterdam, A 7678
- Image hereFull-frame Commons photograph of this exact work, 1,024 × 978 px; live-use review pending
Contents
- What is happening in the picture?
- Peasant subject and geometric language
- Does the painting have a political meaning?
- Date, version and source record
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 is happening in the picture?
The closest figure at the left leans over a curved, gold-to-green bundle of grain. A red-pink garment wraps her lower body, while a pale cylindrical arm carries her hand toward the crop. Her head, set under a red covering, turns downward and inward. On the right, another foreground worker bends even lower. A pink sleeve, small hand and dark green skirt bring the figure almost to the bottom and right edges. The bodies form a visual arch around the central crop. The positions suggest harvesting work, although the still image does not establish the exact sequence of cutting, gathering and carrying. [1], [2]
Above them a third figure, dressed chiefly in deep blue, extends an arm into the patterned upper area. The raised pose gives the picture a second direction of movement. Instead of arranging three isolated portraits across a field, Malevich interlocks arms, shoulders and sheaves. The figures are distinguishable, but their bent shapes nearly become part of the grain. That relationship between body and crop makes the familiar rural subject visually unfamiliar. [2]
The surface is densely filled. Curved orange and golden forms sweep through the background, while dark green and blue spaces divide them. There is little open sky or distant horizon to let the eye rest. The tightly cropped composition keeps the harvesters close to us, so their work appears as a pattern of contact among bodies, clothing and rye. It is possible to read the figures at once and to lose track of their exact outlines while following the colour and curve. [2]
Malevich's shading is central to this effect. A sleeve moves from bright cream to grey-black; the blue upper figure darkens around its edges; orange-gold crop shapes acquire rounded volume through graduated colour. These are simplified solids rather than naturalistic anatomy. The picture preserves hands and faces just long enough to make the subject legible, then makes large zones of colour and volume carry much of the visual experience. [2]
Peasant subject and geometric language
The Malevich Society singles out Taking in the Rye as a work in which the artist retains peasant themes and a frontal organization while making his visual vocabulary more geometric. This is a helpful description because it keeps both sides of the picture present. The work is not nonobjective abstraction: women and crop remain visible. Nor is it a straightforward report of field labour. Its rounded shapes and compressed arrangement turn the harvest into a constructed pictorial rhythm. [3]
The date 1912 places it near other early figure experiments. The Woodcutter, in the same museum's collection, presents a single worker with an axe amid cylindrical log forms. Woman with Pails: Dynamic Arrangement reorganizes a water-carrying figure in a much more fractured square composition. These comparisons show several ways Malevich used recognisable work as material for formal change. They do not prove that each was made as a preparatory step toward the next. [3], [4], [5], [6]
Artist and critic Donald Judd, writing about a Malevich exhibition in 1973–74, made a particularly specific comparison. He described the harvesters and sheaves in Taking in the Rye as cylindrical masses with strong light and dark shading, then contrasted them with the more overlapping and spatially compressed shapes of The Woodcutter. The contrast is a critic's observation, not an exact technical chronology supplied by the Stedelijk. It helps a viewer see how different the handling of volume can be even when two early pictures both depict labour and use geometric forms. [4]
Judd also speculated about possible contact with Fernand Léger's work in Moscow. That is a hypothesis about an artistic context, not an object-level source that proves direct borrowing in this canvas. Close looking can take us further without a single influence claim: the harvesters' cylindrical bodies are shaded enough to feel solid, yet their outlines are repeated in the rye, so the whole square feels almost woven from related forms. [2], [4]
Does the painting have a political meaning?
A picture of peasant women harvesting can invite arguments about labour, class and rural identity. Malevich repeatedly returned to peasant subjects, and the choice is meaningful in a period of rapid social and artistic change. But the Stedelijk's brief object page names no specific field, date of harvest, real sitters or political program for this canvas. An account of its possible social meaning should begin with the depicted work and the way the figures fill the picture, not with a claim that each colour stands for a fixed ideology. [1], [3]
The visual treatment can itself be discussed. The workers are monumental at this close scale. Their arms and skirts occupy nearly everything, making humble agricultural activity the main subject rather than a detail in a broad landscape. At the same time, they are not individualized portraits. Their faces are small in relation to the large coloured bodies. Viewers may find that dignifying, distancing or both. Those are interpretations prompted by the picture, and none requires inventing a named person or an artist-certified message. [2]
Date, version and source record
The Stedelijk's current online catalogue gives 1912, 72 × 74.5 cm, and A 7678. Its Dutch title includes “II,” and the museum provides Taking in the Rye as the English translated title. The Commons file name says “1911,” and its first historical upload description also used 1911, while the current Commons artwork description says 1912. The owner's current date is the sounder lead. The difference should be disclosed to readers who encounter apparently contradictory image filenames. [1], [2]
The museum's short web record does not display a material field. Commons describes the painting as oil on canvas, a common secondary listing. This page therefore uses that medium with an explicit qualification rather than claiming that the owner page itself supplied it. Readers needing a technical material record should consult the Stedelijk's more detailed catalogues. The museum page also says ownership was recognized by agreement with Malevich's estate in 2008; that is collection-history wording, not the date of creation. [1], [2]
The exact-work image used in this local page comes from Commons. It is 1,024 × 978 pixels, sharper than the site's older 400 × 382 image. Commons marks it public domain as a faithful two-dimensional reproduction, but the file history says the current version replaced an oversaturated one and its metadata indicates a camera image processed in Snapseed. Its upstream provenance and colour fidelity are less secure than the museum's identity facts, and there is no express Stedelijk image licence in that Commons description. The image has been staged full-frame for local review without additional cropping or colour changes. Live image use remains under review. [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
How many people are in the painting?
Three figures are visible: two large bending workers in front and one blue-clothed figure higher in the scene. Their simplified bodies overlap the curved harvest forms. [2]
Is this the same picture as The Woodcutter?
Why do some files say 1911?
Where is the original?
It belongs to the Stedelijk Museum Amsterdam. The online object entry confirms collection identity, not that the painting will be on display on a particular date. [1]
Discussion
Which of the three figures do you notice first?
At what point do their rounded bodies seem to merge with the grain?
Reader Insights
Trace the curved sheaf shapes around the bending foreground workers.
Compare the blue-clothed upper figure with the red and pink foreground figures.
Notice how shading gives simple cylinders a solid, lit appearance.
Join the Conversation
Share a close observation about the three harvesters, their colours or the repeated rounded shapes.
References
- Stedelijk Museum Amsterdam, object 3138, Oogstende vrouwen/Het binnenhalen van de rogge II: directly read current museum record for exact title, English translated title, 1912 date, 72 × 74.5 cm and A 7678; no medium field shown. View source.
- Wikimedia Commons, exact-work Taking in the Rye file: current 1,024 × 978 image, file history, oil-on-canvas secondary listing, rights label and camera/processing metadata. View source.
- The Malevich Society, “About the Artist”: specifically identifies the 1912 Stedelijk painting and describes its peasant theme and increasingly geometric vocabulary. View source.
- Donald Judd, “Malevich,” 1973–74, Judd Foundation PDF: directly read critical comparison of Taking in the Rye and The Woodcutter; artistic assessment, not owner catalogue data. View source.
- MoMA, Woman with Pails: Dynamic Arrangement: separate 1912–13 work for visual comparison. View source.
- Stedelijk Museum Amsterdam, The Woodcutter / Peasant Women in Church, object 2422: distinct two-sided 1912 painting, A 7679. View source.
- Splash image: Kazimir Malevich, Oogstende vrouwen/Het binnenhalen van de rogge II (Taking in the Rye), 1912. Stedelijk Museum Amsterdam, A 7678, 72 × 74.5 cm. Image: Wikimedia Commons, full-frame local export. The 1911 file name differs from the museum date; image provenance and live-use rights remain under review.
