Lyubov Popova
Lyubov Popova | |
|---|---|
 Lyubov Popova, before 1920 | |
| Born | April 24, 1889 Ivanovskoe, Russian Empire |
| Died | May 25, 1924 (aged 35) |
| Movement | Cubo-Futurism Suprematism Constructivism |
Lyubov Sergeyevna Popova (
.Early life
Popova was born in Ivanovskoe, near Moscow, to the wealthy family of Sergei Maximovich Popov, a very successful textile merchant and vigorous patron of the arts, and Lyubov Vasilievna Zubova, who came from a highly cultured family. Lyubov Sergeyevna had two brothers and a sister: Sergei was the eldest, then Lyubov, Pavel and Olga. Pavel became a philosopher and the guardian of his sister's artistic legacy.[1]
Popova grew up with a strong interest in art, especially Italian Renaissance painting. At eleven years old she began formal art lessons at home; she was first enrolled in Yaltinskaia's Women's Gymnasium, then in Arseneva's Gymnasium in Moscow.[2] By the age of 18 she was studying with Stanislav Zhukovsky, and in 1908 entered the private studios of Konstantin Yuon and Ivan Dudin. In 1912 to 1913, she began attending the studios of the Cubist painters Henri Le Fauconnier and Jean Metzinger at Académie de La Palette in Paris.[2]
Career
Travels
Popova traveled widely to investigate and learn from diverse styles of painting, but it was the ancient Russian icons, the paintings of Giotto, and the works of the 15th- and 16th-century Italian painters which interested her the most.
In 1909 she traveled to
In 1912–1913 she studied art with Nadezhda Udaltsova in Paris, where she met Alexander Archipenko and Ossip Zadkine in 1913. After returning to Russia that same year, she worked with Tatlin, Udaltsova and the Vesnin brothers.
In 1914 she traveled in France and Italy at the development of Cubism and Futurism.[3]
Style
Cubo-Futurism
Popova was one of the first female pioneers in Cubo-Futurism.[4] Through a synthesis of styles she worked towards what she termed painterly architectonics. After first exploring Impressionism, by 1913, in Composition with Figures, she was experimenting with the particularly Russian development of Cubo-Futurism: a fusion of two equal influences from France and Italy.
From 1914 to 1915 her Moscow home became the meeting-place for artists and writers. In 1914–1916 Popova together with other
Suprematism
Her painting The Violin of 1914 suggests the development from Cubism towards the "painterly architectonics" series of 1916–1918. This series defined her distinct artistic trajectory in abstract form. The canvas surface is an energy field of overlapping and intersecting angular planes in a constant state of potential release of energy. At the same time the elements are held in a balanced and proportioned whole as if linking the compositions of the classical past to the future. Color is used as the iconic focus; the strong primary color at the center drawing the outer shapes together.
In 1916 she joined the
In 1918 Popova married the art historian Boris von Eding, and gave birth to a son. Von Eding died the following year of typhoid fever. Popova was also seriously ill but recovered.
Constructivism
As early as 1917, in parallel with her Suprematist work, the artist had made fabric designs and worked on Agitprop books and posters, In the
From 1921 to 1924 Popova became entirely involved in Constructivist projects, sometimes in collaboration with Varvara Stepanova, the architect Alexander Vesnin and Alexander Rodchenko. She produced stage designs: Vsevolod Meyerhold's production of Fernand Crommelynck's The Magnanimous Cuckold, 1922; her Spatial Force Constructions were used as the basis of her art teaching theory at Vkhutemas. She designed typography of books, production art and textiles, and contributed designs for dresses to LEF.
She worked briefly in the Cotton Printing Factory in Moscow with Varvara Stepanova.
Death
Popova died at the peak of her artistic powers two days after the death of her son, from whom she had contracted
Rodchenko/Popova: Defining Constructivism, an exhibition of the work of Popova, Rodchenko, and other Constructivists was shown at
Exhibitions
| 1910 | Knave of Diamonds I, Moscow |
| 1912 | Knave of Diamonds II, Moscow |
| 1915 | The Futurist Exhibition: Tramway V, Petrograd |
| 1916 | 0.10, Petrograd |
| 1916 | The Store, Moscow |
| 1918 | Tenth State Exhibition: Non-Objective Creativity and Suprematism, Moscow |
| 1921 | 5x5=25 , Moscow
|
Gallery
-
Air+Man+Space, 1912, Oil on canvas, 125 x 107 cm, The State Russian Museum, St. Petersburg -
Untitled, 1915, Oil on canvas, 106.4 × 71.1 cm (41.9 × 28 in), Solomon R. Guggenheim Museum, New York Gift, George Costakis, 1981 Guggenheim Museum -
Birsk, 1916, Oil on canvas, 106 × 69.5 cm (41.7 × 27.4 in), Solomon R. Guggenheim Museum, New York Gift, George Costakis, 1981 Guggenheim Museum -
Textile design, c.1924
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See also
References
- ^ a b Dabrowski, M., Liubov Popova, Museum of Modern Art, New York, 1991, p.122.
- ^ ISBN 0-394-41169-2.
- ^ Sarabianov, Dmitri, and Adaskina, Natalia, Popova, Harry N Abrams Inc. New York, 1990
- ^ Drutt, Matt. "Lyubov Popova". Guggenheim. Guggenheim.
- Drutt, Matthew, Amazons of the Avant-Garde, Guggenheim Museum, New York, 1999
- ^ Gooding, Mel, Abstract Art, Tate Publishing, 2001
- John Hunt Publishing, 2012
- ^ Gray, Camilla, The Russian Experiment in Art, Thames and Hudson, 1965
- ^ "Liubov Popova" (PDF). Archived from the original (PDF) on 2016-07-05. Retrieved 2017-03-11.
- ISBN 978-0870705687.
- ^ "Rodchenko/Popova: Defining Constructivism". Tate Modern. Retrieved October 13, 2012.
External links
Media from Commons
Quotations from Wikiquote
- Lyubov Popova at the Library of Congress Web Archives (archived 2001-11-25) – Rollins College
- Biography at the Wayback Machine (archived 2004-12-06) – Solomon R. Guggenheim Museum
- Collection at the Wayback Machine (archived 2015-04-23) – Solomon R. Guggenheim Museum
- Liubov Popova: From Painting to Textile Design by Christina Lodder, Tate Papers no.14
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