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
In The Woodcutter, a worker grips a short-handled axe amid rounded forms that suggest cut logs. His eye, hands, pale tunic and red-orange shoe remain legible, but his body and surroundings are assembled from cylinders, wedges and colour bands. The figure seems firmly planted and, at the same time, pressed into a pattern of curves that fills nearly every part of the canvas. Malevich painted this image on one side of a canvas whose other side carries Peasant Women in Church. The Stedelijk Museum Amsterdam identifies the two-sided object as A 7679 and dates it 1912. [1]
That reverse side is more than a curious footnote. The two images place different ways of depicting rural people on the same physical support. The museum's formal title gives both sides: De houthakker (recto) / Boerenvrouwen in kerk (verso), translated The Woodcutter / Peasant Women in Church. The front shown here is a strongly coloured, geometric labour scene; the reverse is a separate figurative composition. A photograph of the front cannot show the entire object, and a story about Malevich's changing style should not erase what he left on its back. [1], [2]
At a Glance
- ArtistKazimir Malevich (1879–1935)
- Title of side shownThe Woodcutter (De houthakker), recto
- Other sidePeasant Women in Church (Boerenvrouwen in kerk), verso
- Date1912 in the current Stedelijk record
- MediumOil on canvas
- CollectionStedelijk Museum Amsterdam, A 7679
- DimensionsCurrent Stedelijk listing: 76 × 99 × 3.5 cm; older recto image listing: 94 × 71.5 cm. See note below.
- Main imageFull-frame Commons reproduction of the Woodcutter side, with visible border
Contents
- Look closely at the Woodcutter side
- Why does the figure look geometric?
- What is painted on the other side?
- Date, size and object identity
- Image and viewing notes
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 YouTubeLook closely at the Woodcutter side
The figure occupies the middle of a tall composition. His head is covered by a dark angular cap, from which a single sharply drawn eye looks toward the left. His arms bend around the handle of the axe. One hand rises close to the blade; the other sits lower along the handle. The gesture is compact rather than stretched into a wide swing. The picture gives us an identifiable action and tool, yet it withholds a naturalistic description of a particular woodland or a precisely timed strike. [1], [3]
The axe is placed at the left of the worker's face, where its dark head meets lighter colour. Its simple, readable silhouette helps the viewer name the occupation immediately. Beneath and around the man are cylindrical masses, semicircular ends and sloping pieces. Read with the title, they resemble logs or sections of timber. But the same rounded forms also repeat across the background and connect visually to the curves of his shoulder, elbow and legs. Worker and material share a geometry. The painting does not merely set a person among logs; it builds the person and his environment out of related shapes. [1], [3]
The colour is unusually forceful. White and pale blue make the tunic glow against orange, red, black and deep blue. Orange-yellow disks and log ends punctuate the lower field. A band of warm colour runs behind the figure; colder blue-black areas push against it. Malevich shades many of the volumes from light to dark, so the rounded pieces feel weighty even where their arrangement refuses an ordinary continuous depth. The visible border in the reproduced image also makes clear that these forms are packed close to the edges of a specific, vertically presented painted side. [3]
The pose carries a tension between strength and stillness. The worker has a thick, planted leg and a large arm, and the title ties him to physical labour. Yet the axe appears held in a moment of suspension. A reader can study the compressed gesture without deciding whether Malevich intended a portrait of a real woodcutter, a celebration of labour or a critique of it. The Stedelijk's object record establishes the title and physical object; it does not assign the figure a named identity or a single political meaning. [1]
Why does the figure look geometric?
Malevich reduced limbs, clothing and timber to shaded blocks and curved volumes. The face has a sharply tapered nose, the torso a pale sloping plane, and the lower body broad tapered cylinders. The axe handle remains slender enough to guide the eye through the larger shapes. This tension between recognizable subject and simplified construction is characteristic of the artist's rapid experiments before his nonobjective Suprematist work. [1], [3], [4]
The painting is often discussed with Neo-Primitivism and Cubo-Futurism. Those terms can be helpful if kept close to what the picture shows. Its rural worker and robust, simplified body recall Malevich's interest in peasant and labouring subjects. Its geometric analysis of the body and repeated curved masses connect it to Cubist and Futurist methods. The painting is not a textbook illustration of one influence alone. The figure remains far easier to recognize than the fragmented worker in The Knife Grinder, another early work whose repeated hands, blade and wheel make motion far more optically unstable. [3], [4], [5]
Woman with Pails: Dynamic Arrangement offers a second comparison. Both pictures begin with a working figure and place repeated forms across the composition. In Woman with Pails, the action of carrying water emerges through a more fractured, nearly square field. In The Woodcutter, the central figure, held axe and stacked cylinders remain more immediately readable. The difference matters: Malevich had several ways to test how far a familiar subject could be reorganized before it ceased to read as an ordinary scene. These are observations about distinct works, not evidence that one is a direct study for the other. [3], [5], [6]
The later Black Square makes the distance clearer still. A simple shape there no longer builds the arm of a worker or the cut end of a log. In this 1912 painting, Malevich's geometry is inseparable from the figure and its task. Reading it only as an inevitable step toward abstraction would miss the labouring body that gives the forms their present meaning. [1], [3], [7]
What is painted on the other side?
The Stedelijk explicitly names Peasant Women in Church as the verso. It is a separate composition on the same canvas, not an image hidden beneath the Woodcutter paint on the front. The reverse presents a group of peasant women in a church setting. Its crowded figures and communal subject offer a markedly different pictorial encounter from the isolated, volumetric woodcutter. To view only the front is to see one face of a two-sided object. [1], [2]
Conservator Ann Hoenigswald discussed the canvas in a National Gallery of Art conservation study based on works in the 1990–91 Malevich exhibition. She identified it as the only canvas in that exhibition painted on both sides, naming The Woodcutter and Peasant Women at Church. Her account considered whether reuse could reveal canvas scarcity, then stressed that one example among many canvases was too little to establish a simple shortage explanation. That limited conclusion matters. We can say the canvas was used on both sides; we cannot say from this fact alone that Malevich was forced to reuse it because material was scarce. [2]
Hoenigswald's article studies Malevich's varied painting supports and surfaces more broadly, with observations made through visual examination and technical methods. It should not be turned into a claim that every pigment, layer or varnish on this particular recto has been separately established in the passages cited here. The paired images invite a historical comparison, but neither the museum's short object record nor the conservation passage specifies the exact order of every brushstroke. The date assigned to one side in an older catalogue need not be treated as a laboratory measurement of when the canvas was turned over. [1], [2]
Date, size and object identity
The current Stedelijk page gives the production date as 1912 and the object number as A 7679. Older descriptions often expand the Woodcutter date to 1912–13, while the NGA conservation table assigns the recto 1911–12 and the verso 1911. These are published dating differences, not separate Woodcutter canvases proved by those labels. This page leads with the owning museum's current 1912 date and keeps the older ranges visible to readers looking across catalogues. [1], [2], [3]
The dimensions require even more care. The Stedelijk's current web record says 76 × 99 × 3.5 cm. A widely circulated listing for the portrait-format Woodcutter side says 94 × 71.5 cm. Those figures cannot be reconciled by rounding, and the brief online record does not explain precisely what the current three-dimensional measurement includes or how it relates to the reproduced front. The page reports both, labels their sources and does not pretend to resolve the difference by rotating one pair of numbers. The museum object number and the distinctive two-sided title are stronger identifiers than an unexplained size equivalence. [1], [3]
An older catalogue-derived secondary listing also prints A 7677 for the Woodcutter side. The museum's current object page says A 7679, and that is the number used in the facts panel. Readers tracing catalogue references should be aware of the mismatch rather than silently transferring the secondary number into the museum's current record. The Stedelijk also credits a 2008 agreement with Malevich's estate recognizing ownership. That is the institution's wording for its collection history, not evidence that the artwork itself was made in 2008. [1], [3]
Image and viewing notes
The image on this page reproduces the Woodcutter recto only. Its Commons source is a 4,100 × 5,338 pixel file that names the Stedelijk object, includes the visible border and credits Stedelijk press material upstream. Commons marks the faithful reproduction public domain; this is its rights statement, not a separate permission statement from the Stedelijk. For the page the complete file was reduced to 787 × 1,024 pixels without cropping, enlarging or recolouring. A reader should not infer the appearance of the reverse from this front image. [1], [3]
The museum's online record displayed an “On view” label when checked for this article, but a collection page is not a standing guarantee of gallery placement. Consult the current Stedelijk object page when planning a visit. Whether a visitor can see both sides at one moment depends on the museum's installation, and the cited record does not promise that access. [1]
Documented Malevich collection records
Explore 665 catalogued source objects from museums and archives, including 87 exact links to local artwork pages. Records include works, print impressions, book components and archival items; they are not a deduplicated or complete oeuvre. Medium labels are grouped into broad English categories. Titles link to local artwork pages where available.
| Artwork title | Date | Medium |
|---|---|---|
| "Front line soldier" (Ratnik 1-go razriada) | Δεκαετία 1920 | Photograph |
| [Le Cheval blanc] | [circa 1930 - 1931] | Painting |
| [Sensation du danger] | [1930 - 1931] | Painting |
| A Game in Hell, Petrograd, 1913 (2nd expanded edition) | 1913 | Book |
| A Game in Hell: A Poem (Igra v adu: Poema) | 1914 | Book |
| A Peasant Woman Goes for Water | 1913 | |
| A pork-butcher came around to Lodz and we said "Good day." From Lodz to neighboring Radom he passed, and left behind one sorry ass. (Podoshel kolbasnik k Lodzi / my skazali : 'Pan dobrodzi!' Nu, a s Lodz'iu riadom Radom / i ushel s podbitym zadom.) | c. 1914 | |
| Alogisme 1. Portret Moskovskoy Damy (Alogisme 1. Portret van een Moskouse dame) | 1914 | Drawing |
| Alogisme 2. Vis, zaag, lepel, telegraafpaal | 1914 | Drawing |
| Alogisme 22. Malorossiyanin (Alogisme 22. Een kleine Rus) | 1915 | Drawing |
| Alogisme 23. Sobol, koshka (Alogisme 23. Sabel, kat) | 1915 | Drawing |
| Alogisme 29. Derevnya | 1915 | Drawing |
| Alogisme 3. Chastichnoe zatmenie (Alogisme 3. Gedeeltelijke eclips) | 1914 | Drawing |
| Alogisme 4. Apteka (Alogisme 4. Apotheek) | 1914 | Drawing |
| Alpha | 1923 / 1978 | Sculpture or object |
| An Austrian was going to Radzivily | 1914 | |
| An Austrian was going to Radzivily | 1914 | |
| Analytical Chart | 1924–27 | Drawing |
| Analytical Chart | 1924–27 | Drawing |
| Analytical Chart | 1924–27 | Drawing |
| Analytical Chart | 1924–27 | Drawing |
| Analytical Chart | 1924–27 | Drawing |
| Announcement for Malevich's lecture in Orenburg | 1917-1920 | |
| Apple Tree in Blossom | c. 1930 | Painting |
| Architecton Alpha | 1920 | Sculpture or object |
| Architecton Gota | 1923 (?) | Sculpture or object |
| Architectonische constructie | 1917 (versie ca. 1925) | Drawing |
| Architectons and Figurines | Späte 1920er Jahre | Sculpture or object |
| Architecturaal-kosmische compositie | 1920 (latere versie (1927?)) | Drawing |
| Architectural construction | ca. 1917 | Drawing |
| Aritmetica | 1913 | Drawing |
| Aritmetica | 1913 | Drawing |
| Arkhitekton Zeta | 1926 | Photograph |
| At Harvesting (Marfa and Vanka) | 1928-1929 | Painting |
| Aveniriens | vers 1931 - 1932 | Drawing |
| Aviator | 1914 | Painting |
| Aviator v Pobede nad solntsem (Vliegenier in Overwinning op de zon) | 1913 (versie ca. 1929) | Drawing |
| Baadsters op de rug gezien | 1910 | Painting |
| Back cover from Igra v adu (A Game in Hell) | 1913–14, published 1914 | Book |
| Back cover from Vzorval' (Explodity) | 1913 | Book |
| Bader | 1911 | Drawing |
| Betende Bäuerin | 1933 | Drawing |
| Biddende figuur | motief ca 1922, versie voor 1927 | Drawing |
| Birkenhain | um 1905 - 06 | Painting |
| Black Circle | c. 1923 | Painting |
| Black Cross | c. 1923 | Painting |
| Black quadrilateral | 1915 | Painting |
| Black Square | c. 1923 | Painting |
| Black Square and Circle | 1920-1921 | Drawing |
| Black Square and White Cylindrical Form | 1915 | Drawing |
| Black Square, Second State | 1915/20 | Drawing |
| Blacksmith | Study. 1933 | Painting |
| Blestifze (Pencils) | 1917–1918 | Drawing |
| Boer met baard | ca 1930 | Drawing |
| Boerenvrouw in het veld | ca. 1929-1930 | Drawing |
| Boerenvrouw met emmers | 1912 | Painting |
| Book of Selected Poems (Kniga izbrannykh Stikhotvorenii) | 1930 | Book |
| Boy (Vanka) | 1928–1929 | Painting |
| Boy wuth knapsack / Mal'chyk s rantsem | 1915 | |
| Brooch | 1920 | Sculpture or object |
| Brooch | 1920 | Sculpture or object |
| Bubnovy Valet 21. Boerenvrouw met kind | 1911-1912 (latere versie) | Drawing |
| Bubnovy Valet 40. Portret (van M.F. Larionov?) | 1910 | Drawing |
| Bubnovy Valet 41. Na uglu stoit apteka, lyubov sushit tseloveka (De drogist is op de hoek, van liefde droogt een man uit) | 1910-1911 (versie ca. 1930) | Drawing |
| Bubnovy Valet 42. Portret moei rodstvennitsy (Bubnovy Valet 42. Portret van mijn familielid) | 1911 | Drawing |
| Bubnovy Valet 43. Kop van een boer | 1912 (latere versie) | Drawing |
| Bubnovy Valet 44. Dansend paar | 1912 | Drawing |
| Bubnovy Valet 57. Lopende man | 1911 | Drawing |
| Bubnovy valet 8. Kop van een boer | 1912 | Drawing |
| Budetliyansky silach (Futuristische sterke man) | 1913 (versie 1915) | Drawing |
| Bêta | avant 1926 / 1978 | Sculpture or object |
| Car and Lady | Photograph | |
| Carpenter | 1928–1929 | Painting |
| Carré noir | [1923 - 1930] | Sculpture or object |
| Chelovek v ochkakh (Man met bril) | ca 1929 | Drawing |
| Compositie 1 z (Supremus nr. 67) | 1916 (versie jaren 1920) | Drawing |
| Compositie 10 t (Suprematisme: constructief moment) | 1917 | Drawing |
| Compositie 11 t (Supremus nr.18: constructievorming afhankelijk van de beweging naar een bol ) | 1916 | Drawing |
| Compositie 13 t (Supremus nr 38) | 1915-1916 | Drawing |
| Compositie 13 t (Supremus nr 38) | 1915-1916 (gedrukt 1920, annotaties jaren 1920) | |
| Compositie 14 t Oshchushchenie elektrichestva (Compositie 14 t Gevoel van electriciteit) | 1915 | Drawing |
| Compositie 15 k (Suprematisme) | 1916 (versie begin jaren 1920) | Drawing |
| Compositie 15 q (Supremus nr. 118) | 1918 | Drawing |
| Compositie 16 t (Suprematisme: groot zwart trapezium en vierkant tussen rechthoeken en lijnen) | 1915 | Drawing |
| Compositie 2 i (Suprematisme: gecombineerd gevoel: cirkel en vierkant) | 1916 (latere versie) | Drawing |
| Compositie 2 t (Verlengd vierkant met elementen overdwars) | 1915 (versie ca. 1920) | Drawing |
| Compositie 2 z Obshchushchenie magnita (Compositie 2 z Gevoel van een magneet) | 1916 (hernomen in 1919, versie jaren 1920) | Drawing |
| Compositie 3 t | 1916 | Drawing |
| Compositie 4 l Suprematisme van de geest | 1919 | Drawing |
| Compositie 4 t (Suprematisme: cirkel tussen rechthoeken en driehoeken) | 1916 | Drawing |
| Compositie 4 z (Supremus nr. 84) | 1916 (latere versie) | Drawing |
| Compositie 5 l Suprematisme van de geest | 1919 | Drawing |
| Compositie 6 d (Tekening verwant aan ‘Huis in aanbouw’) | 1915 | Drawing |
| Compositie 6 t Obshchushchenie vremeni (Compositie 6 t Gevoel van tijd) | 1916 | Drawing |
| Compositie 9 b. Fevralizm kak emotionizm (Compositie 9 b. Februarisme als emotionisme) | 1915 | Drawing |
| Compositie 9 h (Suprematisme: kruis en drie rechthoeken) | 1916 (versie 1920) | Drawing |
| Compositie 9 k (Suprematisme: zeven rechthoeken) | 1915 | Drawing |
| Compositie 9 t (Suprematisme: vier ruimtelijke elementen tegen een zwart trapezium) | 1915 | Drawing |
| Composition 1 e (Suprematisme: vierkant op diagonaal vlak) | 1915 | Drawing |
| Composition 1 t | [1916 / vers 1920] | Drawing |
| Composition 14 f | [1918] | Drawing |
| Composition 15 t | 1916 | Drawing |
| Composition 2 a | [1917 - 1918] | Drawing |
| Composition 3 z | [1919 / avant 1930] | Drawing |
| Composition 5 x | [été 1915] | Drawing |
| Composition 5 x | [été 1915] | Drawing |
| Composition alogique | [1915] | Drawing |
| Composition with La Gioconda (Partial Eclipse) | 1914 | Painting |
| Compositions 11 R | circa 1915–16 | Drawing |
| Construction 5 h | 1916 | Drawing |
| Costume study for the Budetlyan Athlete in Victory over the Sun | 1913 | Drawing |
| Cow and Violin | 1913 | Painting |
| Cow and Violin from On New Systems in Art (O Novykh Sistemakh Visk Usstve) | 1911–19 | |
| Croix [noire] | [1915] | Painting |
| Croix noire | [vers 1923 - 1926] | Sculpture or object |
| Dame | 1915 | Drawing |
| Dame an der Straßenbahnhaltestelle | 1913 | Drawing |
| Dame bij reclamezuil | 1914 | Painting |
| De gardist | 1913-1914 | Other |
| De houthakker (recto) / Boerenvrouwen in kerk (verso) | 1912 | Painting |
| De likdoornsnijder | 1911 | Drawing |
| De likdoornsnijder | 1911 | Drawing |
| De provincie | 1910 | Painting |
| De tuinman | 1911 | Painting |
| De vloerboeners | 1911 | Drawing |
| Der Häftling | 1930 | Drawing |
| Der Tod eines Menschen, gleichzeitig im Flugzeug und der Eisenbahn | um 1913 | |
| Desk and Room (legacy site: Bureau and Room) | 1913 | Painting |
| Dessin de Lissitzky d'après "Supremus n° 58, composition dynamique jaune et noire", 1916, de Malevitch | [1924] | Drawing |
| Deux plans de villes | [1916 / avant 1930] | Drawing |
| Deux plans en extension | [1916 - 1919] | Drawing |
| Diagramm | around 1917/1918 | Drawing |
| Die Hochzeit | 1903 | Other |
| Die Waschfrau | 1911 | Painting |
| Dorp | ca. 1906 | Other |
| Dorpje | 1908 | Drawing |
| Drei Köpfe | after 1930 | Drawing |
| Drie boerenvrouwen | 1917-1919 of eind jaren 1920 | Drawing |
| Drie figuren in een landschap | ca. 1928-1930 | Drawing |
| Drie naakte vrouwen en een kind, peren plukkend | 1909 | Drawing |
| Drie staande vrouwen | 1930 | Drawing |
| Drie vrouwenfiguren | ca 1905-1906 | Drawing |
| Druckstock für Holzschnitt | 1920 | |
| Dynamic Construction | 1923 | Photograph |
| Dynamic Figure from On New Systems in Art (O Novykh Sistemakh V Iskusstve) | 1911 | |
| Dynamic Suprematism | 1915/16 | Painting |
| Dynamisch suprematisme | 1917-1918 | Drawing |
| Een Engelsman in Moskou | 1914 | Painting |
| Een paar onder bomen | ca 1929 | Drawing |
| Elegant gezelschap in een park | ca 1908 | Drawing |
| Elementarer Suprematismus | 1917 | Drawing |
| Eléments d'architectone | [après 1924] | Drawing |
| Eléments non identifiés | [1923 - 1935] | Sculpture or object |
| Engelsman in Moskou | 1913-1914 | Drawing |
| Entwurf für das Gemälde 'Die roten Häuser' | 1910 | Drawing |
| Entwurf für die Bemalung der Pfeiler aus der Serie von Entwürfen für die Ausgestaltung des Roten Theaters in Leningrad | 1931 | Drawing |
| Entwurf für eine Deckenmalerei im Roten Theater in Leningrad | 1931 | Drawing |
| Eskiz k portretu Roslavtsa. Pesn golubym oblakam (Schets voor portret van de componist Roslavets. Lied van de blauwe wolken) | 1907-1908 | Drawing |
| Etude de paysan | fin 1911 | Drawing |
| Etyud suprematis 52 sistema A 4 | 1916-1917 (versie 1920-1927) | Drawing |
| Explodity (Vzorval') | 1913 | Book |
| Explodity (Vzorval') | 1913 | Book |
| Explodity (Vzorval) | 1913 | Book |
| Female Figure | 1928–1929 | Painting |
| Female portrait | ca. 1910-1911 | Painting |
| Female Torso | 1928–1929 | Painting |
| Female Torso | 1928-1929 | Painting |
| Figur mit ausgebreiteten Armen, ein Kreuz bildend | 1933 | Drawing |
| Figuren in Schwarz und Weiß | 1928/1930 | Drawing |
| Flower Seller | 1930 | Painting |
| Folio 1 from Igra v adu (A Game in Hell) | 1913–14, published 1914 | Book |
| Folio 15 from Igra v adu (A Game in Hell) | 1913–14, published 1914 | Book |
| Folio 17 verso from Igra v adu (A Game in Hell) | 1913–14, published 1914 | Book |
| Folio 18 from Igra v adu (A Game in Hell) | 1913–14, published 1914 | Book |
| Folio 19 from Igra v adu (A Game in Hell) | 1913–14, published 1914 | Book |
| Folio 19 from Vzorval' (Explodity) | 1913 | Book |
| Folio 20 from Igra v adu (A Game in Hell) | 1913–14, published 1914 | Book |
| Folio 23 from Vzorval' (Explodity) | 1913 | Book |
| Folio 25 from Igra v adu (A Game in Hell) | 1913–14, published 1914 | Book |
| Folio 27 from Igra v adu (A Game in Hell) | 1913–14, published 1914 | Book |
| Folio 27 from Vzorval' (Explodity) | 1913 | Book |
| Folio 29 from Igra v adu (A Game in Hell) | 1913–14, published 1914 | Book |
| Folio 31 from Vzorval' (Explodity) | 1913 | Book |
| Folio 32 verso from Igra v adu (A Game in Hell) | 1913–14, published 1914 | Book |
| Folio 34 verso from Igra v adu (A Game in Hell) | 1913–14, published 1914 | Book |
| Folio 37 from Igra v adu (A Game in Hell) | 1913–14, published 1914 | Book |
| Folio 4 verso from Igra v adu (A Game in Hell) | 1913–14, published 1914 | Book |
| Folio 7 from Igra v adu (A Game in Hell) | 1913–14, published 1914 | Book |
| Folio 9 from Igra v adu (A Game in Hell) | 1913–14, published 1914 | Book |
| Footballer / Futbolist | 1915 | |
| Four Squares | 1915 | Painting |
| Fragmenten van een tekst over het suprematisme | 1927 | Other |
| From Cubism and Futurism to Suprematism (Ot kubizma i futurizma k suprematizmu) | 1916 | Book |
| Front cover from Igra v adu (A Game in Hell) | 1913–14, published 1914 | Book |
| Fruit plukken / Overvloed | 1909 | Painting |
| Fuhrleute | 1909-1910 | Drawing |
| Full portrait of Malevich | 1931 | Photograph |
| Futuristische draak | 1913 | |
| Futurizm: dvizhenie cheloveka po lestnitse (Futurisme: beweging van een man op een trap) | 1919 | Drawing |
| Gebet II | um 1913 | |
| Gesellschaft in Zylindern | 1907 | Drawing |
| Girl in the Countryside | 1928–1929 | Painting |
| Girls in a Field | 1928-1929 | Painting |
| Gliad', pogliad' uzh blizko Visly. Nemtsev puchit, znachit kislo. | 1914/1918? | |
| Glyad, poglyad, uzh blizko Visly | 1914 | |
| Golgatha | around 1911 | Drawing |
| Gota | 1923 / 1978 | Sculpture or object |
| Gota 2-a | 1923 / 1978 | Sculpture or object |
| Grafik ... | ca. 1923 | Other |
| Grafik dvizheniya tvorcheskikh edinits v beskonechnosti | ca. 1923 | Other |
| Grammatica | 1913 | Drawing |
| Harvesting | Study for a painting. 1928–1929 | Painting |
| Head of a Peasant | Early 1930s | Painting |
| Head of a Peasant | 1928-1929 | Painting |
| Head of a Peasant | 1928–1929 | Painting |
| Hiëratisch suprematistisch kruis (groot kruis in zwart over rood op wit) | 1920-1921 | Painting |
| Houses of the Future Leningrad: Pilot's House | 1924 | Drawing |
| Huis, man, ladder | 1930-1931 | Drawing |
| Huit dessins suprématistes | [1917 / avant 1930] | Drawing |
| Huizen op het platteland | ca. 1906 | Other |
| Häuser und Kreuze (Golgatha) | 1930 | Drawing |
| I yu mane tor | ca. 1915 | Drawing |
| Igra v adu | 1914 | Other |
| Igra v adu (A Game in Hell) | 1914 | Book |
| Igra v adu (A Game in Hell) | 1914 | Book |
| Igra v adu (A Game in Hell) | 1914 | Book |
| Igra v adu (A Game in Hell) | 1913–14, published 1914 | Book |
| II | 1913 | Drawing |
| Illustration for the book by Aleksei Kruchenykh and Velimir Khlebnikov "Igra v Adu»" (2nd edition, Moscow 1914) | 1914 | |
| Ils vont à l'église | 1928 - 1932 | Drawing |
| Into Wagons of the French, German Corpses Were Tightly Wrenched; Their English Brothers Carried Kegs Stuffed with Germans Who Lost Their Legs | c. 1914 | |
| Izbornik stikhov s poslesloviem rechiaria. 1907–1914 gg. (A Selection of Poems with an Afterword by the Wordsmith: 1907–1914) | 1914 | Book |
| Jnitsa | 1913 | Drawing |
| K.Malevich, M.Matiushin, A.Kruchenykh, St.Petersburg, December 1913 | 1913 | Photograph |
| K.Malevich, M.Matiushin, A.Kruchenykh, St.Petersburg, December 1913 | 1913 | Photograph |
| K.Malevich, M.Matiushin, A.Kruchenykh, St.Petersburg, December 1913 | 1913 | Photograph |
| Kabarett | 1930 | Drawing |
| Kazimir Malevich lying seriously ill in his bed, shortly before he died | 1935 | Photograph |
| Kettle with lid | 1923 | Sculpture or object |
| Komposition mit einer Figur | after 1930 | Drawing |
| Konstruktion | around 1915 | Drawing |
| Kop van een boer, kruis, en landschap | 1928-1929 | Drawing |
| Kop van een boerenmeisje | 1912 | Painting |
| Kop van een boerenvrouw | 1913 | Drawing |
| Kopf | 1930 | Drawing |
| Kopf | around 1930 | Drawing |
| Kostüm für das Stück 'Maskenball' | 1913 | Drawing |
| Krestyanka (Boerenvrouw) | 1913 | |
| Krestyanka idet po vodu (Boerin haalt water) | 1913 | |
| Kubisme 25. Avtoportret (Kubisme 25. Zelfportret) | 1913 | Drawing |
| Kubisme 6. Wandklok | 1913 | Drawing |
| Kubisme 9. Molitva (Kubisme 9. Gebed) | 1913 | Drawing |
| Kubistische compositie | ca 1925 | Drawing |
| Kubistische figuur staand op de rug gezien | 1912-1913 (versie ca. 1925) | Drawing |
| Kubofuturistische compositie met piano | 1913-1914 | Painting |
| Kubosuprematismus | 1916/1920 | Drawing |
| Kuppel des Volkshauses in Leningrad | 1931 | Drawing |
| Lamp - Musical Instruments | Δεκαετία 1920 | Photograph |
| Lamp / Muziekinstrumenten | 1913 | Painting |
| Landscape | 1911 | Painting |
| Landscape | c. 1906 | Painting |
| Landscape with a White House | 1928–1929 in Gasper-Hulvat 2012; Christie’s groups work with early-1930s landscapes | Painting |
| Landscape with a Yellow House (Winter Landscape) | c. 1906 | Painting |
| Landscape with Five Houses | 1928–1929 | Painting |
| Landscape with house | c. 1905-1906 | Painting |
| Landschaft | around 1933/34 | Other |
| Landschaft (Der Winter) (Landscape (Winter)) | after 1927 | Painting |
| Lauf | 1917 | Drawing |
| Let's Grumble (Vozropshchem) | 1913 | Book |
| Liggende naakte vrouw met twee spelende kinderen | 1908 | Drawing |
| Lopende man met zaag onder de arm | ca. 1928-1929 | Drawing |
| Maaiende vrouw | 1913 | Drawing |
| Maaiende vrouw | 1913 | Drawing |
| Maaiende vrouw | 1913 | Drawing |
| Maaiende vrouw | 1912-1913 | Drawing |
| Magnetic construction | Drawing | |
| Magnetisch architectonische compositie | ca. 1920 (versie 1925-1926) | Drawing |
| Magnetischer Suprematismus | 1916 | Drawing |
| Male Portrait | 1933–1934 | Painting |
| Malevich archief | 1913-1927 | Other |
| Malevich with his students (UNOVIS) | Μάιος 1922 | Photograph |
| Man met zak | 1910-1911 | Painting |
| Manifesto handbill for the 0.10 exhibition | 1915 | Book |
| Mann in suprematistischer Landschaft | um 1930 - 31 | Painting |
| Mann mit Pferd | 1933 | Drawing |
| Manuscript with drawings, Page 27, 1 July 1916 | 1916 | Other |
| Maternity. Woman in Birth | 1908 | Drawing |
| Moederschap / Overvloed | 1910 | Painting |
| Morning in the Village after Snowstorm | 1912 | Painting |
| Muziekinstrument | 1913 | Drawing |
| Muziekinstrumenten | 1913-1914 | Drawing |
| Mystic Suprematism (Black Cross on Red Oval) | 1920–22 | Painting |
| Mysticus | 1930 | Drawing |
| Mystiek suprematisme (rood kruis op zwarte cirkel) | 1920-1922 | Other |
| Naakt met geheven handen | 1908 | Drawing |
| Nachtwandeling | 1909-1910 | Drawing |
| Nu i tresk-zhe, nu i grom-zhe byl ot niemtsev podlie Lomzhi. | 1914/1918? | |
| O Novykh Sistemakh V Iskusstve (On New Systems in Art) | 1919. (Prints executed 1910-1919). | Book |
| O novykh sistemakh v iskusstve. Statika i skorost' | 1919 | Other |
| O novykh systemakh v iskusstve. Statika i skorost' ( On New Systems in Art: Statics and Speed ) | 1919 | Book |
| O novykh systemakh v iskusstve: Statika i skorost’ (On New Systems in Art: Statics and Speed), Vitebsk | 1919 | Book |
| Ohne Titel | around 1904-1908 | Drawing |
| Ohne Titel | 1916 | Drawing |
| Ohne Titel | around 1931 | Drawing |
| Ohne Titel | 1916 | Drawing |
| Ohne Titel | around 1916 | Drawing |
| Ohne Titel (Untitled) | 1917–1930 | Drawing |
| Omslag van A. Kruchenykh en V. Khlebnikov, Igra v adu (Een spel in de hel) | 1913-1914 | |
| Omslag van Sezd Komitetov Derevenskoi Bednoty (Congres van Comités van Armoede op het Platteland) | 1918 | |
| Omslag van Troe (Het drietal) | 1913 | |
| Omslagontwerp voor Internatsional iskusstva (Internationale van de kunst) | 1918 | |
| Omslagontwerp voor N.N. Punin, Pervy tsikl lektsii (Eerste cyclus van lezingen) | 1920 | Drawing |
| Omslagontwerp voor Troe (Het drietal) | 1913 | Drawing |
| Ontwerp voor een architecton type 'Alfa' | ca 1925-1926 | Drawing |
| Ontwerp voor een architecton type Alfa | 1925-1929 | Drawing |
| Ontwerp voor een monument | ca. 1932-1933 | Drawing |
| Ontwerp voor een monument | ca. 1932-1933 | Drawing |
| Ontwerp voor een monument | ca. 1932-1933 | Drawing |
| Oogstende vrouwen/Het binnenhalen van de rogge II | 1912 | Other |
| Op de boulevard | 1910 | Painting |
| Opdoemende kruisvorm | 1917-1918 | Drawing |
| Ornements suprématistes | 1927 / 1978 | Sculpture or object |
| Ot kubizma i futurizma k suprematizmu. Novyi zhivopisnyi realizm (From Cubism and Futurism to Suprematism: New Painterly Realism) | 1916 | Book |
| Ot kubizma k suprematizmu. Novy zhivopisny realizm | 1916 | Other |
| Ot Sezanna do Suprematizma. Kritichesky ocherk | 1920 | Book |
| Ot Sezanna do Suprematizma. Kritichesky ocherk. | 1920 | Other |
| Paard en koets in beweging | 1913 | Drawing |
| Painterly Realism of a Boy with a Knapsack - Color Masses in the Fourth Dimension | 1915 | Painting |
| Painterly Realism of a Football Player—Color Masses in the 4th Dimension | Summer/fall 1915 | Painting |
| Patriotic poster against the Germans | 1914 | |
| Patriotic Poster Against the Germans | 1914 | |
| Patriotic Poster Against the Germans | 1914 | |
| Patriotic Poster Against the Germans | ||
| Patriotic propaganda postcard with verse by Vladimir Mayakovsky | 1914 | Book |
| Patriotic propaganda postcard with verse by Vladimir Mayakovsky | 1914 | Book |
| Patriotic propaganda postcard with verse by Vladimir Mayakovsky | 1914 | Book |
| Patriotic propaganda postcard with verse by Vladimir Mayakovsky | 1914 | Book |
| Patriotic propaganda postcard with verse by Vladimir Mayakovsky | 1914 | Book |
| Patriotic propaganda postcard with verse by Vladimir Mayakovsky | 1914 | Book |
| Patriotic propaganda postcard with verse by Vladimir Mayakovsky | 1914 | Book |
| Patriotic propaganda postcard with verse by Vladimir Mayakovsky | 1914 | Book |
| Patriotic propaganda postcard with verse by Vladimir Mayakovsky | 1914 | Book |
| Patriotic propaganda postcard with verse by Vladimir Mayakovsky | 1914 | Book |
| Patriotic propaganda postcard with verse by Vladimir Mayakovsky | 1914 | Book |
| Patriotic propaganda postcards with verse by Vladimir Mayakovsky | 1914 | Book |
| Paysanne | [1912 / 1932] | Drawing |
| Paysanne et deux enfants | [1911 / avant 1930] | Drawing |
| Peasant | Between 1930–1932 | Painting |
| Peasant bringing Water | 1912 (Thema), 1920er Jahre (Ausführung) | Drawing |
| Peasant in a Field | 1928–1929 | Painting |
| Peasant Woman | Early 1930s | Painting |
| Peasants | c. 1930 | Painting |
| Peasants | circa 1928 (NGA); 1928–1929 (Gasper-Hulvat) | Painting |
| Perfected Portrait of Ivan Kliun | 1913 | Painting |
| Peruyi Tsikl Lektsii | 1920 | Book |
| Pervyi tsikl lektsii chitannykh na kratkosrochnykh kursakh dlia uchitelei risovaniia (First Series of Lectures, Given at a Short-Term Course for Teachers of Drawing) | 1920 | Book |
| Plan d'éléments d'architectone | [après 1924] | Drawing |
| Planetaire constructie (magnetische kruisvorm) | 1916-1917 (ontwikkeld 1920-1922, latere versie (voor 1927)) | Drawing |
| Planetary-Architectural Suprematism | 1919-1920 | Drawing |
| Plate (folio 17) from Vzorval' (Explodity) | 1913 | Book |
| Plate (folio 21) from Igra v adu (A Game in Hell) | 1913–14, published 1914 | Book |
| Plate (folio 22) from Vzorval' (Explodity) | 1913 | Book |
| Po utru iz Lvova vyshli | 1914 | |
| Pobeda nad solntsem. Opera (Victory over the Sun: An Opera) | 1913 | Book |
| Podoshel kolbasnik k Lodzi | 1914 | Drawing |
| Pokhoronnoe byuro (Begrafeniskantoor) | 1914-1915 | Drawing |
| Porosiata | Saint Petersburg: 1913 | Book |
| Porosiata (Piglets) | 1913 | Book |
| Portrait of a Youth | 1933 | Painting |
| Portrait of M. V. Matyushin | 1913 in gallery-magazine object record; 1913–14 in Tretyakov education page | Painting |
| Portrait of the Artist’s Wife | 1933 | Painting |
| Portret M.V. Matyushina (Portret van M.V. Matyushin) | 1913 | Drawing |
| Portret stroitelya usovershenstvovan (Verbeterd portret van een bouwer) | 1913 | Drawing |
| Portret van de vader van de kunstenaar | ca 1902-1903 | Painting |
| Portret van een jonge vrouw (waarschijnlijk Sofia Rafalovitch) | 1908-1909 | Drawing |
| Portret van een man (Aleksei Morgunov?) | 1912 | Other |
| Portret van M.V. Matyushin | 1913 | Drawing |
| Prayer | 1913 | Drawing |
| Prayer | 1913 | |
| Prayer | Study for a fresco painting. 1907 | Painting |
| Prayer (plate, folio 19) from Vzorval' (Explodity) | 1913–14, published 1914 | Book |
| Primitiv (Schuhmacher) | 1910 | Drawing |
| Prografachnik | 1916 | Drawing |
| Projekt einer kosmischen Anlage | around 1917 | Drawing |
| Quadrat und Oval | 1915/1916 | Drawing |
| Quadrat und Viereck | 1914-1915 | Drawing |
| Red Cavalry | c. 1932 | Painting |
| Red House | 1932 | Painting |
| Red Square | Undated | Drawing |
| Red Square. Painterly Realism of a Peasant Woman in Two Dimensions | 1915 | Painting |
| Reicher Mann | around 1910 | Drawing |
| Relaxing (Society in Top Hats) | 1908 | Drawing |
| Reservist of the First Division | fall-winter 1914 | Painting |
| Roar!: Gauntlets of 1908-1914 (Riav!: Perchatki 1908-1914) | 1914 | Book |
| Rotes Quadrat auf Schwarz | around 1922 | Other |
| Samovar | 1913 | Painting |
| Schema I: Construction of Axes of a Model; Schema II: Cubist Structure (Construction); Schema III: Cubist Constructed Drawing from On New Systems in Art (O Novykh Sistemakh Visk Usstve) | 1919 | |
| Schets vooor de opera Voyna (Oorlog): Topor molodets ne brekhal (de jongeman Topor heeft niet gelogen) | 1918 | Drawing |
| Schets voor de opera Voyna (Oorlog): Bas, day stakan (Bas, geef me een glas) | 1918 | Drawing |
| Schets voor de opera Voyna (Oorlog): gekruisigde tegen een lichte achtergrond | 1918 | Drawing |
| Schets voor de opera Voyna (Oorlog): gekruisigde tegen een zwarte achtergrond | 1918 | Drawing |
| Schets voor de opera Voyna (Oorlog): interieur met figuur en hangend kruisbeeld | 1918 | Drawing |
| Schets voor de opera Voyna (Oorlog): Odin tikho (een stille) | 1918 | Drawing |
| Schets voor een architectonische structuur | 1920-1921 (versie 1923-1924) | Drawing |
| Schetsboekomslag | Drawing | |
| Schneider, Allogismus, Aushang | around 1915 | Drawing |
| Schnitter | 1909-1910 | Drawing |
| Schnitterinnen | 1909-1910 | Drawing |
| Schnitterinnen (Reapers) | 1909–1910 | Drawing |
| Schwarzes Viereck | 1914-1915 | Drawing |
| Scène uit Anathema | 1909-1910 | |
| Segodnyashnye sooruzheniya | 1920 (versie 1923-1924) | Drawing |
| Segodnyashnye sooruzheniya | 1923-1924 / 2010 | Other |
| Selected Verse, 1907–1914 (Izbornik stikhov, 1907-1914) | 1915 | Book |
| Self-Portrait | Study for a fresco painting. 1907 | Painting |
| Self-Portrait | 1910–1911 | Drawing |
| Self-Portrait (Artist) | 1933 | Painting |
| Shel avstriec v Radzivily | 1914 | |
| Sieg über die Sonne 1913-1973 | 1973 | |
| Sieg über die Sonne 1913-1973 | 1973 / 2010 | Other |
| Simultaneous Death in an Airplane and at the Railway | (1913) | |
| Simultaneous Death of a Man in an Airplane and on the Railroad (plate, folio 15) from Vzorval' (Explodity) | 1913–14, published 1914 | Book |
| Sketch for "Vertical Suprematist Construction»" | Undated | Drawing |
| Sketch for a Stage Curtain for the Opera Victory over the Sun | 1928 | Drawing |
| Sketch for Agit-Train | περ. 1918 | Drawing |
| Slovo Kak Takavoe (The Word as Such) | 1913 | Book |
| Slovo kak takovoe (The Word as Such) | 1913 | Book |
| Smert cheloveka odnovremmeno na aeroplane i zhel. doroge (De gelijktijdige dood van een man in een vliegtuig en op de spoorlijn) | 1913 | |
| Sportsmen | 1928–1932 | Painting |
| Square and Cone | 1915 | Drawing |
| Staande boer | 1928-1929 | Drawing |
| Staande boer met emmer | 1930-1932 | Drawing |
| Staande boer met zeis bij het hooien | 1928-1929 | Drawing |
| Staande duivel | 1913-1914 | |
| Staande figuur | 1927 | Drawing |
| Staande mannenfiguur | 1930-1931 | Drawing |
| Staande vrouw en man Kop en schouders Vijf figuren met twee suprematistische elementen | 1918 (latere versie) | Drawing |
| Staande vrouw met de armen over elkaar | ca 1930 | Drawing |
| Standing Figure | 1913 | Drawing |
| Standing Woman | circa 1930 | Drawing |
| Stikhi V. Maiakovskogo. Vypyt (The Poetry of V. Mayakovsky. [Vypyt]) | 1914 | Book |
| Still Life | c. 1910 | Drawing |
| Stroyuschiysya dom [House under construction] | 1915–16 (museum); reverse inscription 1914 distinguished from execution date | Painting |
| Studie für das Gemälde 'Die Rote Kavallerie' | 1930 | Drawing |
| Studie nach Picasso. Entwurf für das Bauhausbuch 'Die Gegenstandslose Welt' | 1926/1927 | Drawing |
| Studie nach Picasso. Entwurf für das Bauhausbuch 'Die Gegenstandslose Welt' | 1926/1927 | Drawing |
| Study for the rear curtain for Victory over the Sun | 1913 | Drawing |
| Study for the rear curtain for Victory over the Sun | 1913 | Drawing |
| Summer Landscape (Zomerlandschap) | circa 1929 | Painting |
| Suprematicheskoe postroenie N 118 (Suprematistische constructie nr. 118) | 1917-1918 (versie 1920) | Drawing |
| Suprematisch kruis (klein kruis in zwart over rood op wit) | 1920-1927 | Other |
| Suprematism | 1915 | Drawing |
| Suprematism | 1915 | Painting |
| Suprematism | 1915–1916 | Painting |
| Suprematism (Supremus No. 56) | 1915-16 | Painting |
| Suprematism (Supremus No. 58) | 1916 | Painting |
| Suprematism, 18th Construction | 1915 (artist's reverse inscription reads 1914) | Painting |
| Suprematisme | 1917-1918 | Drawing |
| Suprematisme van de geest | 1919 | Other |
| Suprematisme. Oplossende constructie, vorm 78 | 1918 (latere versie (1927)) | Drawing |
| Suprematisme: Compositie 5 c | 1915-1917 | Drawing |
| Suprematisme: drie overlappende rechthoeken | 1916-1917 (latere versie) | Drawing |
| Suprematisme: drie snijdende vlakken, vervagend | 1917-1918 | Drawing |
| Suprematisme: elementen in wisselwerking, vervagend | 1917-1918 | Drawing |
| Suprematisme: formatie van rechthoeken | 1916 (latere versie) | Drawing |
| Suprematisme: formatie van rechthoeken en vierkanten van verschillende grootte | 1916 (latere versie) | Drawing |
| Suprematisme: formatie van rechthoeken van verschillende grootte | 1916 (latere versie) | Drawing |
| Suprematisme: gevoelens van angst | 1917-1919 | Drawing |
| Suprematisme: in tweeën | 1917-1919 | Drawing |
| Suprematisme: krommingen en bogen | 1917-1918 | Drawing |
| Suprematisme: magnetische rechthoeken in stervorm Vier kaderlijnen | 1917-1919 | Drawing |
| Suprematisme: magnetische staven | 1917 | Drawing |
| Suprematisme: ovaal en rechthoek Twee staande vrouwen in een landschap Man met hoed (zogenaamd portret van Larionov?) Boer Vier figuren | 1916-1917 (latere versie) | Drawing |
| Suprematisme: Ovaal, boog en rechthoeken | 1917 | Drawing |
| Suprematisme: twee snijdende vlakken, vervagend | 1917-1918 | Drawing |
| Suprematisme: twee snijdende vlakken, vervagend Suprematisme: drie snijdende vlakken, vervagend | 1917-1918 | Drawing |
| Suprematisme: zwart vierkant en witte rechthoek met rode strepen | 1917-1919 | Drawing |
| Suprematismus | 1912-1913 | Drawing |
| Suprematist Composition | 1915 | Drawing |
| Suprematist composition | c. 1916 | Drawing |
| Suprematist Composition | 1916 | Photograph |
| Suprematist Composition | 1916 | Painting |
| Suprematist Composition with Plane in Projection | 1915 | Painting |
| Suprematist Composition: Airplane Flying | 1915 (dated on reverse 1914) | Painting |
| Suprematist Composition: White on White | 1918 | Painting |
| Suprematist Diagonal Construction 79 | 1917 | Drawing |
| Suprematist Drawing | (c. 1916-17) | Drawing |
| Suprematist Drawing | (c. 1916-17) | Drawing |
| Suprematist Element: Circle | (1923) | Drawing |
| Suprematist Elements: Squares | 1923 | Drawing |
| Suprematist interior decoration | 1920-1921 | Drawing |
| Suprematist Painting | 1916-17 | Painting |
| Suprematistisch schilderij (met zwart trapezium en rood vierkant) | 1915 | Other |
| Suprematistische compositie | 1915 (versie 1920-1927) | Drawing |
| Suprematistische compositie (met acht rode rechthoeken) | 1915 | Painting |
| Suprematistische compositie (met blauwe driehoek en zwarte rechthoek) | 1915 | Painting |
| Suprematistische compositie (met gele, oranje en groene rechthoek) | 1915-1916 | Other |
| Suprematistische Elemente im Raum | 1914-1915 | Drawing |
| Suprematistische Komposition | 1915-1916 | Drawing |
| Suprematistische Komposition | 1915/1916 | Drawing |
| Suprematistische Komposition (Suprematist Composition) | 1915 | Painting |
| Suprematistische schets | 1915-1920 | Drawing |
| Suprematistische Zeichnung (Plan eines Erdflugplatzes) | 1927 | Drawing |
| Suprematistisches Architekton | around 1926 | Sculpture or object |
| Suprematizm. 34 risunka | 1920 | |
| Suprematizm. 34 risunka (Suprematism: 34 Drawings) | 1920 | Book |
| Supremus No. 18 | 1916–1917 | Drawing |
| Supremus nr 51 | 1916 (versie 1920-1927) | Drawing |
| Supremus Nr. 38 | 1916 | Other |
| Supremus nr. 50 | 1915 | Other |
| Supremus nr. 58 | 1916 (versie begin jaren 1920) | Drawing |
| Sushchestvuet énergiya v sushchestve kot | ca. 1923 | Other |
| Sämann | 1910/1912 | Drawing |
| Tenhemelopneming van een heilige | 1907-1908 | Drawing |
| The Triumph of Heaven | 1907 | Painting |
| The UNOVIS way (Put' Unovisa) | Ιανουάριος 1921 | |
| The Word As Such (Slovo kak takovoe) | 1913 | Book |
| Third State of Being | designed in 1915, made in the 1920s | Drawing |
| Three Female Figures | Early 1930s | Painting |
| Threesome (Troe) | 1913 | Book |
| Thèmes pour des monuments architecturaux dans des parcs et sur des places | 1927 / 1978 | Sculpture or object |
| Tizian | around 1930 | Drawing |
| Tochil’schik Printsip Mel’kaniia (The Knife Grinder or Principle of Glittering) | 1912–13 | Painting |
| Toekomstige planits voor Leningrad. Het huis van de vliegenier | 1924 | Drawing |
| Toekomstige planits, huizen voor aardbewoners | 1920-1921 (versie 1923-1924) | Drawing |
| Toneelontwerp voor akte 1, scène 4 van Overwinning op de zon | 1913 | Drawing |
| Toneelontwerp voor Overwinning op de zon | 1913 (versie 1915) | Drawing |
| Torse féminin | [1908 / avant 1930] | Drawing |
| Torso (Figure with a Pink Face) | 1928–1929 | Painting |
| Torso (Prototype of a New Image) | 1928–1929 | Painting |
| Torso in a Yellow Shirt (Complicated Premonition) | c. 1932 | Painting |
| Transrationele compositie: geluiden | 1913 | Drawing |
| Trees | circa 1904 | Painting |
| Triple Portrait | Study for Socialist City (unexecuted). 1933 | Painting |
| Troe (The Three) | 1913 | Book |
| Troe (The Three) | 1913 | Book |
| Trois croix | vers 1930 - 1932 | Drawing |
| Trois dessins : tête de femme, buste et visage | [1908 / avant 1930] | Drawing |
| Troye | 1913 | Other |
| Tvorchestvo ne mozhet byt' svobodno | ca. 1923 | Other |
| Tvorchestvo ne mozhet byt' svobodno | ca. 1923 | Other |
| Twee duivels die een vrouw doormidden zagen | 1913-1914 | |
| Twee mannen in beweging | 1917-1918 of ca. 1930 | Drawing |
| Twee naakte vrouwen peren plukkend | 1909 | Painting |
| Twee vrouwen en een man tegen een lage horizon | 1930 | Drawing |
| Two figures with a stretcher | ca. 1930-1931 | Drawing |
| Two Male Figures | Early 1930s | Painting |
| Tête noire | vers 1930 | Drawing |
| Universal Landscape | 1913 | |
| UNOVIS Questionnaire | 1920 | |
| Untitled | 1920 | Drawing |
| Untitled | c. 1920 | |
| Untitled | αχρονολόγητο | |
| Untitled | Undated | Drawing |
| Untitled | Undated | Drawing |
| Untitled | 1913? | Drawing |
| Untitled (Suprematist Composition) | circa 1919–1926 | Drawing |
| Untitled (Suprematist Composition) | circa 1919–1926 | Drawing |
| Untitled (Suprematist Cross) | 1920, printed 1973 | |
| Untitled, Illustration for the book by Aleksei Kruchenykh and Velimir Khlebnikov "Igra v Adu»" (2nd edition, Moscow 1914) | 1913 | |
| Verdwijnend geel vlak | 1917-1918 | Painting |
| Verdwijnende constructie (diagonale balk met drie bogen in wit) | ca. 1917 | Other |
| Verdwijnende witte vlakken | 1917-1918 | Other |
| Verklarende kaarten over de theorie van het additionele of toegevoegde element in de schilderkunst | 1927 | Drawing |
| Verticale constructie, suprematisme | 1919-1920 (versie 1920-1925) | Drawing |
| Vier figuren in een landschap | ca. 1928-1930 | Drawing |
| Vijf geketende figuren op de rug gezien, geflankeerd door twee bewakers | 1910-1911 | Drawing |
| Vil'gel'mova Karusel' (Wilhelm's Carousel) | 1914 | |
| Vloerboeners | 1911 | Drawing |
| Voorstudie voor het omslag van het programma van het Congres van Comités van Armoede op het Platteland | 1918 | Drawing |
| Voorstudie voor het omslag van het programma van het Congres van Comités van Armoede op het Platteland | 1918 | Drawing |
| Voorstudie voor het omslag van Sezd Komitetov Derevenskoi Bednoty (Congres van Comités van Armoede op het Platteland) | 1918 | Drawing |
| Voorstudie voor het omslag van Sezd Komitetov Derevenskoi Bednoty (Congres van Comités van Armoede op het Platteland) | 1918 | Drawing |
| Voyna (Oorlog) | 1914 | Drawing |
| Vozropshchem (Let's Grumble) | 1913 | Book |
| Vrouw bij tramhalte | 1913-1914 | Other |
| Vrouw in lange jurk met kind | 1930 | Drawing |
| Vrouw met de armen over elkaar | 1931-1932 | Drawing |
| Vrouw met krant op schoot | 1904 | Other |
| Vrouw omgeven door vruchten | 1909 | Painting |
| Vrouwelijke figuur met uitgespreide armen | 1930? | Drawing |
| Vrouwenfiguur | 1909 | Drawing |
| Vrouwenfiguur met gespreide armen | 1930-1931 | Drawing |
| Vrouwenfiguur, vis, cirkel, kruis | ca. 1928-1930 | Drawing |
| Vsemirny peyzazh (Universeel landschap) | 1913 | Drawing |
| Vzorval | 1913 | Book |
| Vzorval' (Explodity) | 1913 | Book |
| Vzorval' (Explodity) | 1913 | Book |
| Vzorval' (Explodity) | 1913–14, published 1914 | Book |
| Wachthuisje, drie kruisen | ca 1930-1931 | Drawing |
| What a Rattle | 1914 | |
| Wilhelm Carousel | 1914 | |
| Windmills | ca. 1909-1910 | Painting |
| Wit suprematistisch kruis | 1920-1921 | Painting |
| Woman Reaper (front cover) from Slovo Kak Takavoe (The Word as Such) | 1913 | Book |
| Woman with Pails: Dynamic Arrangement | 1912-13 (dated on reverse 1912) | Painting |
| Woman Worker | 1933 | Painting |
| Women Bathers | Circa 1930 | Painting |
| Women Reapers (The Reapers) | 1928–1929; 1905 inscription separately documented by Gasper-Hulvat 2012 | Painting |
| Wraparound cover for the program S'ezd komitetov derevenskoi bednoty (Congress of Committees of Peasant Poverty) | 1918 | Book |
| Wäscherin | 1909-1910 | Drawing |
| Ya apostol novykh ponyaty b iskusstve (Ik, de apostel van nieuwe begrippen in de kunst | 1916 | Drawing |
| Zelfportret in twee dimensies | 1915 | Painting |
| Zeta | 1923 / 1978 | Sculpture or object |
| Zhnitsa (Maaiende vrouw) | 1913 | Drawing |
| Zittend naakt op de rug gezien | 1907-1908 | Drawing |
| Zwei Schwestern | around 1904-1906 | Drawing |
| «Живо заняли мы Галич...». | 1914 | |
| «Ну и треск же, ну и гром же...» | 1914 | |
| «Подошел колбасник к Лодзи...» | 1914 | |
| Весна – цветущий сад | 1928–1929 | Painting |
| Вильгельмова карусель | 1914 | |
| Голова крестьянина | Конец 1920-х | Drawing |
| Девочка под деревом. Этюд | 1932–1933 | Painting |
| Девушка с гребнем в волосах | 1932–1933 | Painting |
| Девушка с красным древком | 1932–1933 | Painting |
| Деревня. Три рисунка | 1928-1929 | Drawing |
| Динамический супрематизм | 1920 | Drawing |
| Динамический супрематизм. Аэроплан летит | 1920 | |
| Доктор Мабузо. Образец киноплаката | 1925–1926 | Painting |
| Ескіз розпису конференц-залу ВУАН в Києві (Sketch for the painting of the conference hall of the All-Ukrainian Academy of Sciences, Kyiv) | 1930 | Drawing |
| Женщина с граблями | 1930-1931 | Painting |
| Композиция с двумя прямоугольниками | 1920 | Drawing |
| Крестьянка | 1928-1929 | Drawing |
| Кубофутуризм. Динамическое ощущение натурщика. Авторская реплика композиций 1911 и 1919 года | Вторая половина 1920-х | Drawing |
| Кубофутуристический пейзаж | 1913 | Drawing |
| Лубок. «Вильгельмова карусель» | 1914 | |
| Лубок. «Глядь, поглядь, уж близко Висла» | 1914 | |
| Лубок. «Подошел колбасник к Лодзи» | 1914 | |
| Лубок. «Шел австриец в Радзивиллы» | 1914 | |
| На сенокосе | 1928-1929 | Painting |
| Пейзаж под Киевом | 1930 | Painting |
| Плащаница | 1908 | Drawing |
| Портрет А.А. Лепорской | Около 1933 | Painting |
| Портрет В.А. Павлова | 1933 | Painting |
| Портрет жены | 1934 | Painting |
| Портрет Н. Н. Пунина | 1933 | Painting |
| Портрет ударника (Краснознаменец Жарновский) | 1932 | Painting |
| Почтовая карточка «По утру из Львова вышли...» | 1914 | |
| Почтовая карточка. «Ах ты, милый город Люблин...» | 1914 | |
| Почтовая карточка. «Выезжали мы за Млаву...» | 1914 | |
| Почтовая карточка. «Выезжали мы из Ковны...» | 1914 | |
| Почтовая карточка. «Глядь, по глядь, уж близко Висла...» | 1914 | |
| Почтовая карточка. «Как заехали за Лык..» | 1914 | |
| Почтовая карточка. «Не ходи австриец плутом...» | 1914 | |
| Почтовая карточка. «Ну и треск, да ну и гром же...» | 1914 | |
| Почтовая карточка. «Скоро, скоро будем в Краков...» | 1914 | |
| Почтовая карточка. «Шел австриец в Радзивилы...» | 1914 | |
| Почтовые карточки | 1914 | |
| Принцип росписи стены | 1919 | Drawing |
| Сестры | 1930 | Painting |
| Смерть конного генерала | 1914 | Drawing |
| Станция без остановки. Кунцево | 1913-1914 | Painting |
| Супрематизм | 1920 | Drawing |
| Супрематизм | 1919 | Drawing |
| Супрематизм. Композиция с кругом | 1917-1918 | Drawing |
| Супрематическая композиция | 1917-1918 | Drawing |
| Три супрематических композиции | Начало 1920-х | Drawing |
| Туалетная шкатулка | 1913-1914 | Painting |
| Чашка (получашка) | 1923 | Sculpture or object |
| Чашка (получашка) «Супрематизм» | 1923 | Sculpture or object |
| Черный квадрат | 1929 | Painting |
| Черный квадрат (Black Square) | 1913 / circa 1932 in formal field; circa 1930–32 in museum essay | Painting |
| Черный супрематический квадрат | 1915 | Painting |
| ‘aF’ forma obema (‘aF’ vorm van volume) | 1915, versie 1924 of 1926 | Drawing |
Frequently asked questions
Is the Woodcutter an abstract painting?
Is Peasant Women in Church a different canvas?
Why did Malevich paint on both sides?
The sources checked do not establish a personal reason. Hoenigswald notes that this was the only double-sided canvas in the exhibition she studied and cautions against using it alone as proof of material scarcity. [2]
Where is the original?
It belongs to the Stedelijk Museum Amsterdam, object A 7679. Check current display details with the museum before visiting. [1]
Discussion
Where does your eye move first: to the worker’s face, the axe, or the repeated log shapes?
How does knowing there is a second painting on the reverse change how you think about this canvas?
Reader Insights
Trace how the worker’s arm and the logs use related curves and cylinders.
Compare the pale tunic against the surrounding red, orange, blue and black.
Notice where the axe remains clearly legible amid the compressed geometric shapes.
Join the Conversation
Share a close observation about the worker, the painted forms, or the two-sided object.
References
- Stedelijk Museum Amsterdam, collection object 2422, De houthakker (recto) / Boerenvrouwen in kerk (verso): owning museum record, read directly in browser on 29 September 2026 for title, translated title, 1912 date, oil-on-canvas medium, A 7679, current dimensions and 2008 credit. View source.
- Ann Hoenigswald, “Kazimir Malevich's Paintings: Surface and Intended Appearance,” Conservation Research 1996–1997, National Gallery of Art: directly examined local text of pp. 109–10 and work table; documents the two painted sides and carefully qualified discussion of canvas reuse. View source.
- Wikimedia Commons, exact-work Woodcutter by Kazimir Malevich file: image of the recto, 4,100 × 5,338 px, historical 94 × 71.5 cm listing, Stedelijk press-image upstream credit and public-domain mark. View source.
- The Malevich Society, “About the Artist”: artist overview of peasant imagery, formal changes and early avant-garde context; used for period comparison, not the Stedelijk object's measurements. View source.
- Yale University Art Gallery, The Knife Grinder: separate 1912–13 work for a bounded visual comparison. View source.
- MoMA, Woman with Pails: Dynamic Arrangement: separate 1912–13 work for a bounded visual comparison. View source.
- Tretyakov Gallery, first Black Square: distinct 1915 canvas for comparison with the recognizable Woodcutter figure. View source.
- Splash image: Kazimir Malevich, The Woodcutter (recto), 1912; Peasant Women in Church is painted on the verso. Oil on canvas. Stedelijk Museum Amsterdam, A 7679. Image: Wikimedia Commons, public-domain marked faithful reproduction credited upstream to Stedelijk press material; resized full-frame with visible border. Published measurements differ; see the article.
