One hundred works · from icon to suprematism
The 100known paintings that tell the storyKazimir Malevich
From the Black Square to the Faceless Peasants, Malevich started painting again several times - a considerable ambition for a man who proved that a single square could already occupy everyone.
Black square1915 · Tretyakov Gallery, Moscow
Born in Kyiv and active between Moscow, Petrograd and Vitebsk, Kazimir Malevich went through symbolism, primitivism and cubo-futurism before founding suprematism. His paintings do not tell of a quiet march towards abstraction: they advance through ruptures, returns and new beginnings, with the Black Square as the zero point and late peasant figures as the worried memory of the world.
Kazimir Malevich
Black square
Presented in Petrograd during the "0.10" exhibition in 1915, the Black Square was placed high in a corner, in the place reserved for icons in Russian houses. Malevich did not offer a simple geometric pattern: he announced that the painting could start from scratch, even if it meant starting by turning off the light.
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Kazimir Malevich
White on white
Painted in 1918 and kept at the Museum of Modern Art, this inclined square is barely distinguishable from the background which bears it. After the inaugural black, Malevich pushes suprematism towards an almost objectless light; the painting murmurs where the manifesto shouted.
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Kazimir Malevich
Suprematist composition
The rectangles seem to float without horizon or gravity, as if the canvas had become a mental space rather than a window. This work concentrates the suprematist ambition: to free color and shape from the obligation to represent the visible world.
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Kazimir Malevich
Red square: pictorial realism of a peasant woman in two dimensions
The deliberately disconcerting subtitle transforms a red quadrilateral into the "realism" of a peasant woman. Malevich thus reverses the academic vocabulary: what matters is no longer the appearance of the figure, but the colorful sensation it triggers.
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Kazimir Malevich
Black circle
Along with the square and the cross, the black circle belongs to the fundamental shapes that Malevich treats as signs of a new alphabet. The slight irregularity of the outline, however, reminds us that this absolute geometry remains hand painted, and therefore stubbornly human.
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Kazimir Malevich
Black Cross
"Black Cross" belongs to the laboratory of pictorial rhythm, according to "Black Cross". "Black Cross" tests the story with "Black Cross". "Black Cross" finally lets the surface decide at rank 6.
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Kazimir Malevich
Suprematism (Supremus n° 56)
With "Suprematism (Supremus n° 56)", Malevich takes up the pictorial rhythm from "Suprematism (Supremus n° 56)". "Suprematism (Supremus n° 56)" builds its rhythm around "Suprematism (Supremus n° 56)". "Suprematism (Supremus n° 56)" builds its rhythm around "Suprematism (Supremus n° 56)". "Suprematism (Supremus n° 56)" refuses, however, to be reduced to rank 7.
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Kazimir Malevich
Suprematist painting: eight red rectangles
"Suprematist painting: eight red rectangles" transforms the pictorial rhythm, thanks to "Suprematist painting: eight red rectangles". "Suprematist painting: eight red rectangles" distributes each color in "Painting suprematist: eight red rectangles. "Suprematist painting: eight red rectangles" retains a very precise strangeness at rank 8.
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Kazimir Malevich
Suprematist composition: Airplane in flight
"Suprematist Composition: Airplane in Flight" explores pictorial rhythm, in "Suprematist Composition: Airplane in Flight". "Suprematist Composition: Airplane in Flight" connects the colorful shots around "Suprematist Composition: Airplane in Flight" flight. "Suprematist composition: Airplane in flight" thus maintains a radical tension specific to its rank 9.
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Kazimir Malevich
Cow and violin
In 1913, Malevich brought together a cow and a violin with the confidence of a rebus who refused to give his solution. The clash between rural subject and bourgeois instrument attacks naturalist logic while preparing the collisions of Cubo-Futurism.
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Kazimir Malevich
The Grinder
The repetition of the arms, legs and wheel translates the work into mechanical vibration. Painted at the moment when Malevich assimilates cubism and futurism, Le Rémouleur transforms a craftsman leaning over his machine into a real pictorial engine.
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Kazimir Malevich
Morning in the village after the snowstorm
The peasants and houses are fragmented into colorful facets, but the village remains readable under the snow. This cubo-futuristic stage shows Malevich just before the big abstract leap: the world is still standing, although already seriously shaken.
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Kazimir Malevich
An Englishman in Moscow
Fish, ladder, saber, candle and printed words overlap around a character almost lost in his own signs. The work transforms the modern city into a visual enigma; in Moscow, even the Englishman seems to need instructions.
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Kazimir Malevich
Aviator
"Aviator" belongs to the laboratory of cubo-futuristic energy, according to "Aviator". "Aviator" experiences the story through "Aviator". "Aviator" finally lets the surface decide at rank 14.
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Kazimir Malevich
Bucket Woman: Dynamic Arrangement
With "Woman with Buckets: Dynamic Arrangement", Malevich takes up the rural world from "Woman with Buckets: Dynamic Arrangement". "Woman with Buckets: Dynamic Arrangement" builds its rhythm around "Woman with Buckets: dynamic arrangement. "Woman with buckets: dynamic arrangement" however refuses to be reduced to rank 15.
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Kazimir Malevich
Peasant girl with buckets
"Paysanne aux buckets" transforms the rural world, thanks to "Paysanne aux buckets". "Paysanne aux buckets" distributes each color in "Paysanne aux buckets". "Paysanne aux buckets" retains a very precise strangeness at rank 16.
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Kazimir Malevich
The Charge of the Red Cavalry
A thin red procession crosses a landscape made up of almost abstract horizontal bands. Painted in the late period, this tiny cavalry brings Soviet history into an immense space that seems much less certain than propaganda.
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Kazimir Malevich
Malevich's self-portrait from 1933
"Self-portrait of Malevich from 1933" belongs to the laboratory of the human figure, according to "Self-portrait of Malevich from 1933". "Self-portrait of Malevich from 1933" tests the story by "Self-portrait of Malevich from 1933". "Self-portrait of Malevich from 1933" from Malevich of 1933" finally lets the surface decide at rank 18.
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Kazimir Malevich
Reservist of the First Division
With "Reservist of the First Division", Malevich takes up the pictorial rhythm since "Reservist of the First Division". "Reservist of the First Division" builds its rhythm around "Reservist of the First Division". " Reservist of the First Division, however, refuses to be reduced to rank 19.
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Kazimir Malevich
Woman with rake
"Woman with a Rake" transforms the rural world, thanks to "Woman with a Rake". "Woman with a Rake" distributes each color in "Woman with a Rake". "Woman with a Rake" retains a very precise strangeness at rank 20.
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Kazimir Malevich
The Lumberjack
"The Lumberjack" explores the pictorial rhythm, in "The Lumberjack". "The Lumberjack" connects the colored planes around "The Lumberjack". "The Lumberjack" thus maintains a radical tension specific to his rank 21.
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Kazimir Malevich
Harvesters/Rye Harvest II
"Rye Harvesters/Harvest II" belongs to the rural laboratory, according to "Harvesters/Rye Harvest II". "Harvesters/Rye Harvest II" experiences the narrative by "Harvesters/Rye Harvest II". " Harvesters/Rye Harvest II" finally lets the surface decide at row 22.
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Kazimir Malevich
Suprematist painting (with black trapezoid and red square)
With "Suprematist painting (with black trapezoid and red square)", Malevich takes up the pictorial rhythm since "Suprematist painting (with black trapezoid and red square)". "Suprematist painting (with black trapezoid and red square)". "Suprematist painting (with black trapezoid and red square)" builds its rhythm around "Suprematist painting (with black trapezoid and red square)". "Suprematist painting (with black trapezoid and red square)" nevertheless refuses to be reduced to rank 23.
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Kazimir Malevich
Supremus #58: Yellow and Black
"Supremus #58: Yellow and Black" transforms the pictorial rhythm, thanks to "Supremus #58: Yellow and Black". "Supremus #58: Yellow and Black" distributes each color in "Supremus #58: Yellow and Black". "Supremus #58: Yellow and Black" distributes each color in "Supremus #58: Yellow and Black". "Supremus #58: Yellow and Black" retains a very precise strangeness at rank 24.
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Kazimir Malevich
Assumption of a saint
"Assumption of a Saint" explores the spiritual imagination, in "Assumption of a Saint". "Assumption of a Saint" connects the colored planes around "Assumption of a Saint". "Assumption of a Saint" thus retains a radical tension specific to his rank 25.
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Kazimir Malevich
Automobil and Lady - Masses of colors in the 4th dimension
"Automobil and Lady - Masses of colors in the 4th dimension" belongs to the laboratory of cubo-futuristic energy, according to "Automobil and Lady - Masses of colors in the 4th dimension". "Automobil and Lady - Masses of colors in the 4th dimension". dimension tests the story with "Automobil and Lady - Masses of colors in the 4th dimension". "Automobil and Lady - Masses of colors in the 4th dimension" finally lets the surface decide at row 26.
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Kazimir Malevich
Self-portrait
With "Self-portrait", Malevich takes up the human figure from "Self-portrait". "Self-portrait" builds its rhythm around "Self-portrait". "Self-portrait" however refuses to be reduced to rank 27.
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Kazimir Malevich
Bather
"Bather" transforms the pictorial rhythm, thanks to "Bather". "Bather" distributes each color in "Bather". "Bather" retains a very precise strangeness at rank 28.
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Kazimir Malevich
Laundress
"Blanchisseuse" explores the pictorial rhythm, in "Blanchisseuse". "Blanchisseuse" connects the colorful shots around "Blanchisseuse". "Blanchisseuse" thus maintains a radical tension specific to its rank 29.
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Kazimir Malevich
Boulevard
"Boulevard" belongs to the laboratory of cubo-futuristic energy, according to "Boulevard". "Boulevard" experiences the story through "Boulevard". "Boulevard" finally lets the surface decide at row 30.
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Kazimir Malevich
Cubo-futuristic composition with piano
With "Cubo-futuristic composition with piano", Malevich takes up the Cubo-futuristic energy since "Cubo-futuristic composition with piano". "Cubo-futuristic composition with piano" builds its rhythm around "Composition cubo-futurist with piano. "Cubo-futurist composition with piano" however refuses to be reduced to rank 31.
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Kazimir Malevich
Compact magnetic composition
"Compact magnetic composition" transforms the pictorial rhythm, thanks to "Compact magnetic composition". "Compact magnetic composition" distributes each color in "Compact magnetic composition". "Compact magnetic composition" maintains a very precise strangeness at rank 32.
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Kazimir Malevich
Suprematist composition with blue triangle and black rectangle
"Suprematist composition with blue triangle and black rectangle" explores pictorial rhythm, in "Suprematist composition with blue triangle and black rectangle". "Suprematist composition with blue triangle and black rectangle" connects the colorful shots around "Suprematist composition with blue triangle and black rectangle". "Suprematist composition with blue triangle and black rectangle" thus maintains a radical tension specific to its rank 33.
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Kazimir Malevich
Lady near a display column
"Lady near a display column" belongs to the pictorial rhythm laboratory, according to "Lady near a display column". "Lady near a display column" experiences the story through "Lady near a display column" ". "Lady near a display column" finally lets the surface decide at row 34.
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Kazimir Malevich
Two sisters I
With "Two Sisters I", Malevich takes up the pictorial rhythm since "Two Sisters I". "Two Sisters I" builds its rhythm around "Two Sisters I". "Two Sisters I" however refuses to be reduced to rank 35.
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Kazimir Malevich
Two sisters II
"Two Sisters II" transforms the pictorial rhythm, thanks to "Two Sisters II". "Two Sisters II" distributes each color in "Two Sisters II". "Two Sisters II" retains a very precise strangeness at rank 36.
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Kazimir Malevich
Partial eclipse
"Partial Eclipse" explores pictorial rhythm, in "Partial Eclipse". "Partial Eclipse" connects the colored planes around "Partial Eclipse". "Partial Eclipse" thus retains a radical tension specific to its rank 37.
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Kazimir Malevich
Church
"Church" belongs to the laboratory of pictorial rhythm, according to "Church". "Church" tests the story by "Church". "Church" finally lets the surface decide at rank 38.
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Kazimir Malevich
Woman ironing
With "Woman in Ironing", Malevich takes up the rural world from "Woman in Ironing". "Woman in Ironing" builds its rhythm around "Woman in Ironing". "Woman in Ironing" however, refuses to be reduced to rank 39.
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Kazimir Malevich
Portrait of a woman
In this still figurative Portrait of a Woman, the face is treated as an architecture of colors rather than as a psychological confidence. Malevich observes his model, but already simplifies the volumes with the authority of a painter who will end up asking the square to pose in his place.
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Kazimir Malevich
Reaper Woman II
"Maid Reaper II" explores the rural world, in "Woman Reaper II". "Woman Reaper II" connects the colorful shots around "Woman Reaper II". "Woman Reaper II" thus maintains a radical tension specific to her rank 41.
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Kazimir Malevich
Woman reading a newspaper
"Woman reading a newspaper" belongs to the rural laboratory, according to "Woman reading a newspaper". "Woman reading a newspaper" experiences the story through "Woman reading a newspaper". "Woman reading a newspaper" finally lets the surface decide at rank 42.
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Kazimir Malevich
Farm
With "Farm", Malevich takes up the Russian landscape from "Farm". "Farm" builds its rhythm around "Farm". "Farm" however refuses to be reduced to rank 43.
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Kazimir Malevich
Glorification, body and soul
"Glorification, body and soul" transforms the spiritual imagination, thanks to "Glorification, body and soul". "Glorification, body and soul" distributes each color in "Glorification, body and soul". "Glorification, body and soul" retains a very precise strangeness at rank 44.
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Kazimir Malevich
Garden in bloom
"Garden in Flowers" explores the Russian landscape, in "Garden in Flowers". "Garden in Flowers" connects the colorful plans around "Garden in Flowers". "Garden in Flowers" thus retains a radical tension specific to its rank 45.
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Kazimir Malevich
Jeannot
"Jeannot" belongs to the laboratory of pictorial rhythm, according to "Jeannot". "Jeannot" tests the story through "Jeannot". "Jeannot" finally lets the surface decide at rank 46.
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Kazimir Malevich
Unemployed girl (redhead girl)
With "Unemployed Young Girl (Red Girl)", Malevich takes over the rural world since "Unemployed Young Girl (Red Girl)". "Unemployed girl (red girl)" builds its rhythm around "Unemployed girl (girl) redhead)". "Unemployed young girl (redhead girl)" nevertheless refuses to be reduced to rank 47.
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Kazimir Malevich
The Flower Girl II
"The Girl with Flowers II" transforms the rural world, thanks to "The Girl with Flowers II". "The Girl with Flowers II" distributes each color in "The Girl with Flowers II". "The Girl with Flowers II" retains a very precise strangeness at rank 48.
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Kazimir Malevich
The Flower Girl III
"The Girl with Flowers III" explores the rural world, in "The Girl with Flowers III". "The Girl with Flowers III" connects the colorful shots around "The Girl with Flowers III". "The Girl with Flowers III" thus maintains a radical tension specific to its rank 49.
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Kazimir Malevich
Lamp /Musical instruments
"Lamp /Musical instruments" belongs to the laboratory of cubo-futuristic energy, according to "Lamp /Musical instruments". "Lamp /Musical instruments" experiences the story through "Lamp /Musical instruments". "Lamp / Musical instruments finally lets the surface decide at rank 50.
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Kazimir Malevich
The White Horse
With "The White Horse", Malevich takes up the pictorial rhythm since "The White Horse". "The White Horse" builds its rhythm around "The White Horse". "The White Horse" however refuses to be reduced to rank 51.
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Kazimir Malevich
The Shoemaker
"The Shoemaker" transforms the human figure, thanks to "The Shoemaker". "The Shoemaker" distributes each color in "The Shoemaker". "The Shoemaker" retains a very precise strangeness at rank 52.
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Kazimir Malevich
The guard
"The Guard" explores the human figure, in "The Guard". "The Guard" connects the colored planes around "The Guard". "The guard" thus maintains a radical tension specific to his rank 53.
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Kazimir Malevich
The Shroud of Christ
"The Shroud of Christ" belongs to the laboratory of spiritual imagination, according to "The Shroud of Christ". "The Shroud of Christ" experiences the story through "The Shroud of Christ". "The Shroud of Christ" ultimately lets the surface decide at row 54.
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Kazimir Malevich
House in a courtyard
With "House in a Courtyard", Malevich takes up the Russian landscape from "House in a Courtyard". "House in a courtyard" builds its rhythm around "House in a courtyard". "House in a courtyard" refuses, however, to be reduced to row 55.
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Kazimir Malevich
Pictorial masses in movement. Suprematist composition
"Pictorial masses in movement. Suprematist composition" transforms the pictorial rhythm, thanks to "Pictorial masses in movement. Suprematist composition". "Pictorial masses in movement. Suprematist composition" distributes each color in "Pictorial masses in motion. Suprematist composition". "Pictorial masses in motion. Suprematist composition" retains a very precise strangeness at rank 56.
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Kazimir Malevich
Meditation
"Meditation" explores pictorial rhythm, in "Meditation". "Meditation" connects the colored planes around "Meditation". "Meditation" thus maintains a radical tension specific to its rank 57.
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Kazimir Malevich
Landscape
"Landscape" belongs to the Russian landscape laboratory, according to "Landscape". "Landscape" tests the story by "Landscape". "Landscape" finally lets the surface decide at rank 58.
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Kazimir Malevich
Landscape (Winter)
With "Landscape (Winter)", Malevich takes up the Russian landscape from "Landscape (Winter)". "Landscape (Winter)" builds its rhythm around "Landscape (Winter)". "Landscape (Winter)" however refuses to be reduced to rank 59.
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Kazimir Malevich
Yellow house landscape
"Yellow House Landscape" transforms the Russian landscape, thanks to "Yellow House Landscape". "Yellow House Landscape" distributes each color in "Yellow House Landscape". "Yellow House Landscape" retains a very precise strangeness at rank 60.
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Kazimir Malevich
Landscape in spring
"Landscape in Spring" explores the Russian landscape, in "Landscape in Spring". "Landscape in Spring" connects the colorful plans around "Landscape in Spring". "Landscape in Spring" thus maintains a radical tension specific to its rank 61.
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Kazimir Malevich
Landscape with five houses
"Five House Landscape" belongs to the Russian Landscape Laboratory, according to "Five House Landscape". "Five House Landscape" tests the story by "Five House Landscape". "Five House Landscape" finally lets the surface decide at row 62.
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Kazimir Malevich
Landscape at the mills
With "Landscape with Mills", Malevich takes up the Russian landscape from "Landscape with Mills". "Landscape with Mills" builds its rhythm around "Landscape with Mills". "Landscape with Mills" however, refuses to be reduced to row 63.
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Kazimir Malevich
Woman and child
Painted before the suprematist breakup, Woman and Child retains an intimate subject while hardening silhouettes and colorful relationships. The domestic scene thus becomes a testing ground where emotion comes less through anecdote than through the compact presence of shapes.
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Kazimir Malevich
Landscape with red house
"Landscape with Red House" explores the Russian landscape, in "Landscape with Red House". "Landscape with Red House" connects the colorful plans around "Landscape with Red House". "Landscape with Red House" thus maintains a radical tension specific to its rank 65.
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Kazimir Malevich
Rest, society at the top of the form
This social gathering of 1908 transformed the top hats into signs almost more eloquent than their owners. Beneath its decorative appearance, the canvas shows Malevich already simplifying characters and landscape to the point of making good society an assembly of rhythms.
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Kazimir Malevich
Landscape from 1911
With "Landscape of 1911", Malevich takes up the Russian landscape since "Landscape of 1911". "Landscape of 1911" builds its rhythm around "Landscape of 1911". "Landscape of 1911" nevertheless refuses to be reduced to rank 67.
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Kazimir Malevich
Fruit picking, Abundance
In Fruit Picking, Abondance, rural activity unfolds like a frieze of generous colors. The subject celebrates fertility, while the voluntary flattening of space announces the moment when Malevich will frankly give up making people believe in depth.
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Kazimir Malevich
Night landscape
"Night Landscape" explores the Russian landscape, in "Night Landscape". "Night Landscape" connects the colorful shots around "Night Landscape". "Night Landscape" thus maintains a radical tension specific to its rank 69.
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Kazimir Malevich
Landscape, fields
"Landscape, fields" belongs to the Russian landscape laboratory, according to "Landscape, fields". "Landscape, fields" tests the story by "Landscape, fields". "Landscape, fields" finally lets the surface decide at rank 70.
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Kazimir Malevich
Landscape, fields F-52
With "Landscape, F-52 Fields", Malevich takes up the Russian landscape from "Landscape, F-52 Fields". "Landscape, F-52 fields" builds its rhythm around "Landscape, F-52 fields". "Landscape, F-52 fields" builds its rhythm around "Landscape, F-52 fields". "Landscape, F-52 fields" refuses, however, to be reduced to rank 71.
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Kazimir Malevich
Peasant in the fields
"Peasant in the fields" transforms the rural world, thanks to "Peasant in the fields". "Peasant in the fields" distributes each color in "Peasant in the fields". "Peasant in the fields" retains a very precise strangeness at rank 72.
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Kazimir Malevich
Peasant girl fetching water
"Peasant girl going to look for water" explores the rural world, in "Peasant girl going to look for water". "Peasant girl going to look for water" connects the colorful plans around "Peasant girl going to look for water". "Peasant girl going to look for water". looking for water thus maintains a radical tension specific to its rank 73.
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Kazimir Malevich
Suprematist painting
"Suprematist painting" belongs to the laboratory of pictorial rhythm, according to "Suprematist Painting". "Suprematist painting" tests the narrative through "Suprematist painting". "Suprematist painting" ultimately lets the surface decide at rank 74.
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Kazimir Malevich
Apple trees in bloom
With "Apple trees in bloom", Malevich takes up the pictorial rhythm from "Apple trees in bloom". "Apple trees in bloom" builds its rhythm around "Apple trees in bloom". "Apple trees in bloom" however, "Apple trees in bloom" refuses to be reduced to rank 75.
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Kazimir Malevich
Blue portrait
"Blue Portrait" transforms the human figure, thanks to "Blue Portrait". "Blue Portrait" distributes each color in "Blue Portrait". "Blue Portrait" retains a very precise strangeness at rank 76.
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Kazimir Malevich
Portrait of Una
"Portrait of Una" explores the human figure, in "Portrait of Una". "Portrait of Una" connects the colored planes around "Portrait of Una". "Portrait of Una" thus retains a radical tension specific to its rank 77.
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Kazimir Malevich
Portrait of a woman in a yellow hat
"Portrait of a woman in a yellow hat" belongs to the rural laboratory, according to "Portrait of a woman in a yellow hat". "Portrait of a woman in a yellow hat" experiences the story with "Portrait of a woman in a yellow hat". " Portrait of a woman in a yellow hat finally lets the surface decide at rank 78.
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Kazimir Malevich
Portrait of the artist's father
With "Portrait of the Artist's Father", Malevich takes up the human figure from "Portrait of the Artist's Father". "Portrait of the artist's father" builds its rhythm around "Portrait of the artist's father". "Portrait of the artist's father" however, refuses to be reduced to rank 79.
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Kazimir Malevich
Spring
"Spring" transforms the Russian landscape, thanks to "Spring". "Spring" distributes each color in "Spring". "Spring" retains a very precise strangeness at rank 80.
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Kazimir Malevich
Pictorial realism of a boy with a backpack - Masses of colors in the fourth dimension
"Pictorial Realism of a Boy with a Backpack - Masses of Colors in the Fourth Dimension" explores pictorial rhythm, in "Pictorial Realism of a Boy with a Backpack - Masses of Colors in the Fourth Dimension". " Pictorial Realism of a Boy with a Backpack - Masses of Colors in the Fourth Dimension connects the colorful shots around "Pictorial Realism of a Boy with a Backpack - Masses of Colors in the Fourth Dimension". " Pictorial realism of a boy with a backpack - Masses of colors in the fourth dimension thus retains a radical tension specific to his rank 81.
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Kazimir Malevich
Pictorial realism of a football player - Masses of colors in 4th dimension
"Pictorial realism of a football player - Masses of colors in 4th dimension" belongs to the laboratory of pictorial rhythm, according to "Pictorial realism of a football player - Masses of colors in 4th dimension". "Pictorial realism of a football player - Masses of colors in 4th dimension" experiences the story through "Pictorial realism of a football player - Masses of colors in 4th dimension". "Pictorial realism of a football player - Masses of colors in 4th dimension". "Pictorial realism of a football player - Masses of colors in 4th dimension dimension finally lets the surface decide at row 82.
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Kazimir Malevich
Rest. Company with top hats
With "Rest. Society with top hats", Malevich takes up the pictorial rhythm from "Rest. Society with top hats". "Rest. Society with top hats" builds its rhythm around " Rest. Society with top hats. "Rest. Society with top hats" however refuses to be reduced to rank 83.
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Kazimir Malevich
Rotes Quadrat auf Schwarz
"Rotes Quadrat auf Schwarz" transforms the pictorial rhythm, thanks to "Rotes Quadrat auf Schwarz". "Rotes Quadrat auf Schwarz" distributes each color in "Rotes Quadrat auf Schwarz". "Rotes Quadrat auf Schwarz" retains a very precise strangeness at row 84.
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Kazimir Malevich
Samovar
"Samovar" explores cubo-futuristic energy, in "Samovar". "Samovar" connects the colorful planes around "Samovar". "Samovar" thus maintains a radical tension specific to its rank 85.
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Kazimir Malevich
Untitled
"Untitled" belongs to the laboratory of pictorial rhythm, according to "Untitled". "Untitled" tests the story with "Untitled". "Untitled" finally lets the surface decide at rank 86.
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Kazimir Malevich
Feeling of danger
With "Sensation of Danger", Malevich takes up the pictorial rhythm since "Sensation of Danger". "Sensation of danger" builds its rhythm around "Sensation of danger". "Sensation of danger" however, "Sensation of danger" refuses to be reduced to rank 87.
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Kazimir Malevich
Stroyuschiysya dom
"Stroyuschiysya dom" transforms the pictorial rhythm, thanks to "Stroyuschiysya dom". "Stroyuschiysya dom" distributes each color in "Stroyuschiysya dom". "Stroyuschiysya dom" retains a very precise strangeness at rank 88.
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Kazimir Malevich
suprematism
"suprematism" explores pictorial rhythm, in "suprematism". "suprematism" connects the colored planes around "suprematism". "suprematism" thus retains a radical tension specific to its rank 89.
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Kazimir Malevich
Suprematism: Two-dimensional self-portrait
"Suprematism: Two-Dimensional Self-Portrait" belongs to the laboratory of the human figure, according to "Suprematism: Two-Dimensional Self-Portrait". "Suprematism: Two-Dimensional Self-Portrait" tests the story by "Suprematism : Two-dimensional self-portrait. "Suprematism: Two-dimensional self-portrait" finally lets the surface decide at rank 90.
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Kazimir Malevich
Suprematistische Komposition
With "Suprematistische Komposition", Malevich takes up the pictorial rhythm since "Suprematistische Komposition". "Suprematistische Komposition" builds its rhythm around "Suprematistische Komposition". "Suprematistische Komposition" however refuses to be reduced to rank 91.
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Kazimir Malevich
Supremus
"Supremus" transforms the pictorial rhythm, thanks to "Supremus". "Supremus" distributes each color in "Supremus". "Supremus" retains a very precise strangeness at rank 92.
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Kazimir Malevich
Supremus n° 38
"Supremus n° 38" explores pictorial rhythm, in "Supremus n° 38". "Supremus n° 38" connects the colored planes around "Supremus n° 38". "Supremus n° 38" thus maintains a radical tension specific to its rank 93.
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Kazimir Malevich
Supremus n°50
"Supremus n° 50" belongs to the laboratory of pictorial rhythm, according to "Supremus n° 50". "Supremus n° 50" tests the story with "Supremus n° 50". "Supremus n° 50" finally lets the surface decide at row 94.
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Kazimir Malevich
On the boulevard
With "On the Boulevard", Malevich takes up the cubo-futuristic energy from "On the Boulevard". "On the Boulevard" builds its rhythm around "On the Boulevard". "On the Boulevard" refuses, however, to be reduced to row 95.
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Kazimir Malevich
Peasant head
"Tête de paysan" transforms the rural world, thanks to "Tête de paysan". "Tête de paysan" distributes each color in "Tête de paysan". "Peasant’s head" retains a very precise strangeness at rank 96.
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Kazimir Malevich
Triumph of the sky
"Triumph of Heaven" explores spiritual imagination, in "Triumph of Heaven". "Triumph of Heaven" connects the colored planes around "Triumph of Heaven". "Triumph of Heaven" thus maintains a radical tension specific to its rank 97.
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Kazimir Malevich
Three bathers
"Three bathers" belongs to the laboratory of pictorial rhythm, according to "Three bathers". "Three bathers" experiences the story through "Three bathers". "Three bathers" finally lets the surface decide at row 98.
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Kazimir Malevich
Three female figures
With "Three Female Figures", Malevich takes up the pictorial rhythm since "Three Female Figures". "Three female figures" builds its rhythm around "Three female figures". "Three female figures" however, refuses to be reduced to rank 99.
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Kazimir Malevich
Village
"Village" transforms the Russian landscape, thanks to "Village". "Village" distributes each color in "Village". "Village" retains a very precise strangeness at rank 100.
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