Suprematist Diagonal Construction 79

Suprematist Diagonal Construction 79 by Kazimir Malevich, executed in 1917, is a foundational example of the artist’s mature Suprematist drawing practice. This work, rendered solely in pencil on paper, with compositions visible on both the recto and verso, underscores Malevich’s dedication to exploring pure geometric form and non-objective representation. This piece was created at a pivotal moment in art history, coinciding with the Russian Revolution, when Malevich was firmly committed to moving away from Cubo-Futurist influences toward absolute abstraction.

As a key proponent of the Suprematist movement, Malevich utilized basic geometric shapes—primarily the square and the line—to construct compositions that entirely rejected traditional narrative and illusionistic space. This specific drawing employs strong diagonal lines cutting across the page, creating a dynamic tension and suggesting a radical, unstable spatial arrangement. The simplicity of the medium—mere pencil on paper—highlights the intellectual rigor behind the construction, allowing the viewer to focus solely on the interplay of line and plane. The fact that the sheet contains active drawings on both sides emphasizes that the Russian master treated the paper as a continuous working surface for spatial experimentation, cycling rapidly through compositional ideas in 1917.

The geometric precision displayed in Suprematist Diagonal Construction 79 demonstrates Malevich’s rigorous methodology during this fertile period of innovation. Though the original is a delicate study, the visual language established by the artist became globally influential, fundamentally altering the trajectory of modern art. Today, high-quality reproductions and prints of seminal abstract works from this era are highly valued by collectors and researchers, sometimes becoming available through public domain initiatives after necessary copyright periods expire. This essential work remains securely housed in the permanent collection of the Museum of Modern Art (MoMA), New York, serving as a critical reference point for understanding the development of abstraction post-1917.