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Lyubov Popova

( Artist)

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Biography Lyubov Popova
Lyubov Popova (1889-1924). Lyubov Popova was born in the village of Ivanovo, near Moscow in a merchant family, her grandfather's father's side was cloth case. Perhaps when Popov in 1920 decisively left the easel painting in the "production" and create thumbnails for fabrics, it was to some extent a consequence of genetic attachment to the craft. But while, . when born Lyubov Popova, . her father - Sergey Maksimovich have almost no "business", . was a known patron, . patronized music and theater and is a familiar image of Savva Mamontov nature enlightened merchant, . which had nothing to do with the merchants of "the dark kingdom" Ostrovsky.,
. No wonder the first lessons of drawing Lyubov Popova was a friend of his father - the artist K. M. Orlov
. The early years she spent in Yalta, where she studied at the same school and only in 1906, arrived in Moscow, here she received secondary education and enrolled in teacher training courses.

. In 1908, Popova, a child committed to the art of painting, began to attend a private art school, KF Juon, where she met many artists, including Nadezhda Udaltsova
. Sister Udaltsova - Ludmila Prudkovskii Lyubov Popova somewhat later rented a shop in Antipevskom Lane, . However, according to most independent artist's work from them was not particularly good, . and about 1911 they went to work on the "Tower".,

. It was Russia's first free collective workshop, nature is put the artists themselves, more often than others, Mikhail Larionov, who was then the recognized "leader"
. In Popova's been there N. Udaltsova, C. Zdanowicz, W. Barth, Goncharova and others. In this environment was very strong passion for primitive and ancient Russian art of young artists how to re-open its national past. Do not forget that it was at this time include the first scientific restoration of the icons and they appeared in all polnozvuchii their original colors.

. Interest in the iconography, which is mainly attributed to artists, "neoprimitivistam - Larionov and others, was peculiar to all who seek new ways in art.

. in 1909-1911, Lyubov Popova to study ancient art and architecture, visited Novgorod, Pskov, Rostov, Yaroslavl, Suzdal
. In 1910 she went to Kiev, and there was another impetus for his work - she saw a monumental paintings Vrubel at St. Cyril monastery.

. In the same 1910 Lyubov Popova traveled to Italy, where it attracted the attention of the Italian primitives, Giotto and Pinturicchio.

. And the final touch in the great and intensive work done by Popov in the apprehension of artistic culture - she met with a collection of SI Shchukin in Moscow
. At that time, a new hobby Shchukin was Henri Matisse. Art of Matisse has become a key element, which is connected in the artistic world-Popova's past and present, East and West. She could not appreciate the courage of innovative language of paintings by Matisse and at the same time felt his relationship with the art of the Middle Ages.

. Now Popova, it became clear where to study painting - in 1912 she went to Paris, went to have a mature artist: her "Trees" in 1911 are qualitatively different from the early still lifes and landscapes, which she wrote in the studio Juon.

. Popov went to Paris together with Nadezhda Udaltsova, who later recalled about this: "Popov, and I visited all possible, began to look for studio
. We expected to work at Matisse, Matisse, but the school was already closed. We went to the studio of Maurice Denis, came upon an Indian with feathers sitting on a red background, we ran. Someone said about the workshop "La Palette, Le Fauconnier, went there and immediately decided that this is something that should. It was the art of building, the art of the fantastic. They came once a week, Le Fauconnier, Metzinger or Segonzak. Le Fauconnier said on large surfaces, on the construction of the canvas and space, Metzinger spoke about the recent achievements of Picasso. This was the era of classic Cubism.

Lyubov Popova seriously worked in the studio, spent many hours in the Louvre and the Cluny museum. She lived in a hostel in Paris, Madame Jeanne, where mostly Russian and stayed where he was even a "Russian desk", where at that time lived Ternovets Boris and Vera Mukhina, who studied sculpture by Bourdelle.

. Popova different sociable, she quickly made friends with the Fly and the second arrived in Paris in 1914, made her trip to Italy.

. In winter, Lyubov Popova worked in a shop in Moscow, Vladimir Tatlin
. Tatlin and in 1914 went to Paris and met there with Popova. The artist once again plunged into the special atmosphere of Parisian life and art, but when she met her friends at La Palette, it seemed that they had "not gone anywhere", the same as "last year". The very same Popova outgrown "La Palette", she visited the collection Ude, where the saw works by Picasso and Braque, and is now focused on the search for Picasso. And if the composition Popova "Two Figures" in 1913, , . which was her debut at the exhibition "Jack of Diamonds" 1914, . bore traces of the impact of Metzinger, . in particular, his painting "Blue Bird", . already in the later works, she comes to a better understanding of Cubism.,

. "Portrait of the philosopher" (1915) features a large reserve of color solutions, . dynamic composition of fabric is constructed by alternating sonorous planes of color and intense rhythms of "convex" lines, . that create angular picturesque "relief" on the surface of the canvas,
. The composition includes the inscription and the figure "32" - a kind of license plate designating the picture as a "thing", like the brand name.

Should pay attention to the particular understanding of Cubism Popova. She attracted the world of things, identify opportunities, inmates in the material itself, with the exact address: if she wrote still life with dishes, it's Tin utensils "(1913); if the items - the" Objects of the dye "(1914).

. She was interested in the mechanism, . hidden behind the outer shell forms; in 1915, she created several works "Clock" - a fairly common story in the Cubist and Futurist art, . as a symbol of time - the fourth dimension, . introduced into the spatial arts,
. Popov is not satisfied with a landmark designation dial, it shows the 'internal' coupling cogs and wheels, it is fascinating work of human hands - a wonderful machine. This may be a bit naive, but sincere faith in technological progress can not bribe the pictures Popova.

. However, the present prosperity of Popova - constructivist and production worker, the builder of new forms of "existence" of people - came after the revolution
. She took an active part in the restructuring of all forms of life and life: draw mass revolutionary celebrations, make posters, doing layouts of books, sketches, fashion, designs for textiles, was one of the founders of the school of domestic design.

. In addition to the practical work of Popov taught in public high drama workshops, where she has taught many leaders of the Soviet art, including film director Sergei Eisenstein
. These workshops led Vs.Meyerhold, in his theater productions undertaken Popova: "Magnanimous Cuckold" (1922) and "The earth on end" (1923), which entered the history of theatrical-decorative art.

. Lyubov Popova also taught in the Higher Art School in the main office, actively participated in debates at the Institute of Artistic Culture
. She supported the call to replace the easel art - industrial nominated "production workers" and constructivists in INKhuK in 1921. And, unlike many of the romantic figures of the pores, which went into production only "theoretically". Lyubov Popova did not meet the half -. Her latest work was performed for the first Sittse -. printed factory - drawings for textiles, decorative and practical, do not lose the quality of "modernity" and to this day. According to his comrades in the LEF - Brik and Mayakovsky, she found in this work of true satisfaction.

. Even in 1914, Lyubov Popova, wrote: "A significant still being a man: if he should stop working, as all life stops, the city made entirely dead, and made the people and city living
. What a terrible power - a human work. "

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