Liubov Sergeevna POPOVA
Also known as: Ljubow Sergejewna, Lyubov Sergeyevna Popowa
Painter, graphic artist, designer and set designer. Creator of non-objective compositions. Comes from a Moscow family of wealthy factory owners. In 1907 she attended classes at the studio of S.Yu.Zhukovsky, from 1908-1909 she studied at the school of K.F.Yuon and I.O.Dudin where she mastered the principles of Impressionism. She travelled across much of Europe. Her work encompasses impressions from Italian Renaissance painting combined with her fascination for contemporary art trends. From 1912-1914 she lived in Paris and studied at the La Palette Academy in the classes of Cubists J.Metzinger and H. Le Fauconnier. In 1912 she worked at the "Tower" studio of V.E.Tatlin. From1916-1917 she was a member of the Supremist group formed by K.S.Malevich. Between 1918-1923 she taught at the All-Russia Art and Technology Workshops, and from 1920-1923 worked at the INHUK in the monumental art section under V.V.Kandinsky' supervision. L.S.Popova is one of the most brilliant representatives of Russian avant-garde and made her way from Cubism to Constructivism in her creative work. On her return to Russia from France she developed her own principles of Cubism enlightening it with the qualities of monumentalism. This quality also appears in Popova’s work with the influence of Old Russian Art. In her paintings of the 1910s Cubism acquires a decorative quality. The artist paid special attention to her work with the painted surface achieving expressively diverse textures. The most remarkable paintings produced in this period are "Composition with Figures" (1913), The Violin (1915). Influenced by the counter-reliefs by V.E.Tatlin, she turns to "sculptured painting". Between 1916-1917 Popova produces a series of "painted architectonics". These were combinations of coloured geometrical planes. Unlike the Suprematic work of K.S.Malevich, these planes acquire weight, a tectonic interdependent mass with an awareness of vertical and support in the composition. Her next creative period was in "spatial power constructions". These construction comprise straight and curving lines of rays. In a number of pieces they penetrate through the planes of different geometrical outlines. The forms seem to be racing through space. Unpainted timber often serves as a background for them. The texture of paint is relief and coarse and, as a result, enhances the substance in the depiction. After 1922 Popova and other constructivist artist's renounced easel painting and turned to design. She produced sketches for material and clothes. In 1922 she designed the set for a performance of "The Generous Cuckold" directed by V.E.Meyerhold, where traditional design was replaced by mechanism for the parts of actors in the spirit of constructivism.