Liubov popova biography template

Ways to support us. Movements and Styles: Russian Futurism. Important Art. Composition with Figures Painterly Architectonic Untitled, from Six Prints c. Set design for The Magnanimous Cuckold Textile Design Textile Design, reproduced on the cover of Lef no. Early Training and Work. Mature Period. Late Period. Influences and Connections.

Useful Resources. The present and the future are for organizing life, for organizing what is both creative will and creative exigency". We ourselves are creating our own hypotheses anew and only upon them, as in our inventions, can we build our new life and new world-view". Influences on Artist. Jean Metzinger. Umberto Boccioni. Henri Le Fauconnier.

Kazimir Malevich. Vladimir Tatlin. Alexander Rodchenko. Production Art. The books and articles below constitute a bibliography of the sources used in the writing of this page.

Liubov popova biography template

These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet. Rodchenko and Popova: Defining Constructivism. The Russian Experiment in Art, - Constructivist Fabrics and Dress Design. Constructivism and Russian Stage Design. Related Artists Kazimir Malevich. Overview, Artworks, and Biography.

Olga Rozanova. Natalia Goncharova. Proto-Feminist Artists. Cite article. Correct article. Related Movements. Russian Futurism. By this time, the Futurist movement of the Italian art world had definitely begun to influence her. Her works, notably Italian Still Life in , reflected such Futurist techniques as brilliant color and a repetition of forms designed to produce a dynamic sense of movement.

Her confidence as a painter allowed her to shift with apparent freedom among various styles. Some art historians describe her at this juncture as a practitioner of "Cubo-Futurism," a movement centered in the Russian art world that brought together the shapes of Cubism with the aforementioned characteristics of Futurism. World War I deprived most of the Russian population of contact with the outside world.

Within the now closed environment of Russian avant-guard artists, Popova took on greater influence. She held a weekly salon at her home where artists and critics presented papers, and she exhibited her work widely. Incorporating devices such as collage allowed her to move her paintings away from the flat surface of the easel. Like other Russian artists, she was interested in heightening the texture of a painting: beyond her use of collage she added sand or sometimes marble dust to raise a picture's surface.

Between and , Popova turned increasingly toward non-objective painting. By this time, the young artist was working under the influence of Malevich, whose Suprematist movement was at the cutting edge of Russian abstract art, and she exhibited her paintings alongside his. Malevich's style featured squares and rectangles set against a background painted white.

At the close of and the start of , she was a member of "Supremus," Male-vich's society of painters, and she designed a logo for a journal the group hoped to publish. Commenting on the young artist's works in such as Grocery Store and Box Factory, Dambrowski noted that "figuration becomes a vestigial element, and pictorial structure becomes dominant.

Nonetheless, Popova maintained an original approach that departed from the path set down by Malevich. For example, her abstract art contained elements such as colored planes drawn from the Islamic architecture which she had examined in a visit to Russian Central Asia in Moreover, she continued to draw from the artistic legacy of Cubism, employing some forms, albeit distorted ones, that resembled real-life objects.

She also reflected the influence of another leading Russian artist, Vladimir Tatlin. Tatlin in these years was experimenting with art that employed real objects in space, the initial stage in the movement known as "Constructivism," which he founded and to which Popova made her way after Russia itself was in the midst of great changes. The poor, rural country, under the rule of the absolute monarch Tsar Nicholas II, had been buffeted by government-sponsored industrialization, and by disastrous wars against Japan —05 and Imperial Germany — Russia's peasants and her newly urbanized factory workers rose in revolt.

The twin Russian revolutions of soon made themselves felt in the artistic world Popova inhabited. The March Revolution of in the nation's capital took place in the midst of the defeats of World War I. Women demonstrators joined by factory workers and then by mutinous soldiers forced the tsar to abdicate and helped install a Western-style Provisional Government committed to continuing the war and to deferring major reforms until the conflict had ended.

It lasted six months until it was overthrown by V. Under the impact of Lenin's Bolshevik Revolution of November , whose leaders claimed to put the factory workers in power for the first time, leading Russian artists sought to create works comprehensible and useful for the masses. As early as , Popova joined a group of artists known as Svomas Free State Studios , who were sympathetic to the Bolshevik Revolution.

In late , she joined the Council of Masters, a group of artists which grew in May into the Institute of Artistic Culture Inkhuk. From the new government the Institute received the task of developing a novel approach to art consistent with the goals of the Bolshevik Revolution. It was to find innovative ways to teach art to a mass audience. Thus, it sought both new artistic techniques and materials that would be suitable for post-revolutionary Russia.

One guiding force for art in this world was an extreme version of Constructivism, which now called for a complete move away from painting on an easel. Only three-dimensional objects using real materials and presenting an easily recognizable shape were acceptable art. This radical Constructivism pointed toward art that derived its images from industrial society , an art that would be useful and comprehensible to the masses.

Though Popova participated in the development. For example, she continued to paint in an abstract vein, employing what she called "painterly values. The young woman's private life, about which little has been recorded, took a clear turn in this period. She married a historian of art, Boris von Eding, in March and gave birth to a son at the close of the year.

In the summer of , von Eding died in one of the typhus epidemics that were common in the chaotic circumstances of the Russian Civil War. Popova herself became infected with both typhus and typhoid, but she survived to continue her painting in Moscow. In , her work turned in a final, dramatic direction. The influence of the Revolution became her guideline.

Popova's work was included in the exhibition Women in Abstraction at the Centre Pompidou. Contents move to sidebar hide. Article Talk. Read Edit View history. Tools Tools. Download as PDF Printable version. In other projects. Wikimedia Commons Wikiquote Wikidata item. Russian artist — Ivanovskoe , Moscow Governorate , Russian Empire.

Moscow , Soviet Union. Early life [ edit ]. Career [ edit ]. Travels [ edit ]. Style [ edit ]. Cubo-Futurism [ edit ]. Suprematism [ edit ]. Constructivism [ edit ]. Death and legacy [ edit ]. Gallery [ edit ]. Like many of her colleagues, Popova was integrally involved with the cultural response to the social upheavals caused by the October Revolution of She worked on public projects, designed propaganda posters, and in joined the faculty of Svomas Free State Art Studios, reorganized in as Vkhutemas: Higher State Art-Technical Studios , where her foundation course on color helped to form a curriculum oriented toward fusing art and industry.

In March of she married the Russian art historian Boris von Eding, and in November gave birth to her son. A year later, while on a summer trip to Rostov on the Don, her husband died of typhoid fever. She nearly died of the illness herself. In Popova became active in Inkhuk Institute of Artistic Culture , the eventual bastion of Constructivism that oversaw the gradual rejection of aesthetic valuation in favor of art created with real materials and in real space for utilitarian purposes.

Although for a time Popova attempted to reconcile her work with the three-dimensional Constructivist ideal by asserting that her paintings were essentially two-dimensional constructions, by the fall of she too had accepted the inclination within Inkhuk toward production art. Popova turned her attention toward the theater in At the same time she devoted herself to production work, executing designs for posters, book covers, porcelain, and, beginning in the fall of , textiles and clothing.

Her efforts in this direction were unfortunately short-lived. On May 25, , a few days after her son, she died of scarlet fever. There are two publications in English on Popova: Dmitri V. Sarabianov and Natalia L. Adaskina, Popova, trans. Other good texts include Angelica Z. Rudenstein, ed. Cite this article Pick a style below, and copy the text for your bibliography.