Kazimir Malevich: a revolutionist in art

One of the most influential artists of the 20th century, Kazimir Malevich, was born on February 23, 1879. He became the founder of Suprematism, a movement that completely rejected realism in favor of pure form and color. He transformed the way we perceive art, proving that painting can exist without narrative or any connection to the physical world.

His works are more than just paintings; they represent a philosophy of new visual language where the key elements are color energy, form, and a sense of infinity. On his birthday, ELLE O’zbekiston remembers 10 of Malevich’s most legendary paintings, which secured his name in the history of art forever. 

"Black Square" (1915) 

An absolute symbol of Suprematism and one of the most revolutionary works in art history. Malevich called it the “zero of form”, declaring the end of traditional painting. The artwork became a manifesto of a new era, where meaning is expressed through pure geometry.

Photо: Tretyakov Gallery, My Tretyakov

"Suprematist Composition" (1916) 

A key work of Suprematism features a dynamic interplay of geometric shapes on a white background. Here, Malevich takes his vision to its peak, reducing art to its purest form, free from unnecessary detail – only the energy of color and movement remains.

Photо: Stedelijk Museum, Amsterdam

"Red Square (Peasant Woman in Two Dimensions)"  (1915) 

Malevich ironically referred to this painting as a “peasant woman in two dimensions.” It represents his departure from realism, focusing on how simple forms and colors can express deeper meaning.

Photo: abcgallery.com

"The Knifegrinder" (1912) 

A striking example from Malevich’s Cubo-Futurist period. Figures are fractured into sharp, dynamic forms, resembling the mechanized world of modernity. The painting reflects how modernization changes both humans and their surroundings.

Photо: Yale University Art Gallery

"Pleasant Woman with Buckets" (1912) 

Another Cubo-Futurist piece, where movement is fragmented into angular, rhythmic shapes. Here, Malevich experiments with perspective and structure, capturing the pulse of everyday life in a bold style.

Photо: Museum of Modern Art Matthew Carter

"Sportsmen" (1930–1931) 

A hypnotic composition where faceless figures lack individuality, reflecting a new, depersonalized human of the era. Yet, at the same time, it is an ode to movement, physical strength, and balance.

Photо: Reproduction from the book “Kazimir Malevich in the Russian Museum”

"Cow and Friddle" (1913) 

A Futurist painting where Malevich destroys conventional forms, merging the absurd and the surreal. The painting is filled with the contrast between a musical instrument and an animal, which symbolizes the tension between rational and intuitive forces in art.

Photо: Artchive.ru

"Self-Portrait" (1933) 

One of Malevich’s last and most enigmatic self-portraits. He painted himself in a strict Renaissance style, yet instead of signing his name, he simply wrote:

“Kazimir Malevich. Artist.” This deliberate choice was a farewell gesture, affirming his place in art history. 

Photо: Artchive.ru