Lyubov Sergeevna Popova

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Popowa (before 1920)

Lyubov Sergeevna Popova ( Russian Любовь Сергеевна Попова , scientific. Transliteration Lyubov 'Sergeevna Popova ; April * 24 . Jul / 6. May  1889 greg. In Ivanovskoe , Government Moscow ; † 25. May 1924 in Moscow) was a Russian painter who belonged to the Russian avant-garde . She worked in the style of cubofuturism and constructivism .

life and work

Lyubov Popova was born in 1889 on an estate near Moscow. Since her artistic inclinations became apparent at an early stage, she was able to study from 1907 to 1908 in the very popular private studios of Stanislaw Schukowski and Konstantin Juon in Moscow. A trip to Italy followed in 1910. After meeting Vladimir Tatlin , she was able to work in the legendary Moscow studio The Tower .

Cubic urban landscape , around 1914
Architectural painting, 1917

Together with Nadezhda Udalzowa , she went on a study trip to Paris in 1912 and then worked with Vladimir Tatlin , with whom she formed a studio community between 1913 and 1916. Her work from this period is shaped by cubo-futurism. In Paris she also worked with Henri Le Fauconnier , Jean Metzinger and André Dunoyer de Segonzac at the Académie la Palette at Montparnasse. Popowa returned in 1913 and traveled to France and Italy in 1914, where she came closer to Futurism .

She was an exhibition participant in the group Karo-Bube in Moscow in 1914 and also took part in a number of exhibitions such as "Tramway V", "Magazin" and " 0.10 ". The last exhibition was in Petersburg and marked the artist's breakthrough to non-representational art. Shortly afterwards, Popova visited Samarkand . The experience of the architecture and the colors of the old buildings moved her to “architectural painting”. Next, Popova erased the background from her pictures.

From 1918 she worked as an art professor at SWOMAS and WCHUTEMAS and in 1921 took part in a constructivist exhibition 5 × 5 = 25 . However, in the same year she broke away from painting and worked on book, porcelain and textile designs.

In 1921 Popova and many of her colleagues signed a manifesto in which they abandoned easel painting and turned to the art of production . Together with her friend and artistic companion Varvara Stepanova , Rodchenko's wife, Popova worked for the last years of her life in a textile factory in Moscow. The designs she created there are among the pioneering achievements of modern industrial design.

In 1922 she designed scenes and costumes for Meyerhold's production of Fernand Crommelynck's play The Magnanimous Hahnerei . In the same year her works were sent on a journey to the First Russian Art Exhibition in Berlin in 1922 in the Van Diemen gallery. From 1923 to 1924 he worked on clothing and textile designs for the First State Textile Factory in Moscow.

Lyubov Popova died of scarlet fever on May 25, 1924 at the age of 35 . Popowa was rediscovered by the collector George Costakis , who also acquired the space-force construction with the red circular elements and black lines from the stepson of Popowa's brother. It served as weather protection on a window and he was only allowed to retrieve it after he had brought along a sheet of plywood of the same size.

plant

Seated female nude , around 1914
Picturesque architecture , 1918/19

Lyubov Popova's oeuvre as a whole is seen by many as a culmination point of the Russian avant-garde, as a work of outstanding independence, at the same time in its development as the sum of the most important experiments, as a kind of artistic methodology of the Russian avant-garde as a whole. The confrontation with Cubism , which Popova first got to know in Moscow and then in Paris in 1912 together with Nadezhda Udalzova, had a lasting effect . Dealing with futurism , which she studied intensively before traveling to Italy, is also important for the artist's development. In particular, the influence of the Italian futurist Umberto Boccioni , whose Technical Manifesto of Futurist Painters was published in Moscow in 1914. In Popowa's picture Seated Female Nude, the depicted figure is completely integrated into the space, the surfaces penetrate the figure, the dynamics of which in turn capture the entire pictorial space. A second version of this picture, created a short time later, is entitled Person + Air + Space and clearly refers to Boccioni's terminology. This picture is in the Tretyakov Gallery today .

Other works (selection)

  • The model , 1913

  • Violin , 1915

  • The philosopher , 1915

  • Lively , 1916

  • The pictorial architecture , 1916

  • Picturesque construction , 1920

literature

  • Book for the exhibition 16. Russian Avantgarde 1910–1930 Collection Ludwig, Cologne , in the Kunsthalle Cologne, April 16 to May 11, 1986 (edited and with an introduction by Evelyn Weiss )

Web links

Commons : Lyubov Popova  - collection of pictures, videos and audio files

Individual evidence

  1. ↑ Christina Haberlik , Ira Diana Mazzoni : 50 Classic Artists. Painters, sculptors and photographers. Hildesheim 2002. p. 173
  2. ↑ Short biography ( memento of December 6, 2004 in the Internet Archive ) of the Solomon R. Guggenheim Museum (English)
  3. ↑ Christina Haberlik, Ira Diana Mazzoni: 50 Classic Artists. Painters, sculptors and photographers. Hildesheim 2002. p. 174.
  4. ↑ Hans-Peter Riese: The way from the avant-garde to the textile factory. P. 73 in: From the avant-garde to the underground. Texts on Russian Art 1968-2006 . Wienand Verlag, Cologne 2009, ISBN 978-3-86832-017-6
  5. ↑ Archived copy ( Memento from December 10, 2013 in the Internet Archive )
personal data
SURNAME Popowa, Lyubow Sergejewna
ALTERNATIVE NAMES Popowa, Lyubow; Popova, Ljubow Sergejewna; Попова, Любовь Сергеевна (Russian)
BRIEF DESCRIPTION Russian painter
DATE OF BIRTH May 6, 1889
PLACE OF BIRTH Ivanovskoye , Moscow Governorate
DATE OF DEATH May 25, 1924
Place of death Moscow