Kseniya Boguslavskaya was a Russian avant-garde artist and interior decorator. Her husband Ivan Puni was a painter, she seems to be the originator of the Mavva featured in poems written by Velimir Khlebnikov. Born in St. Petersburg, she studied art in Paris from 1911 to 1913, she married Ivan Puni. Their apartment in St Petersburg became a meeting place for avant-garde poets. With Puni she published the cubo-futurist booklet Roaring Parnassus in 1914. During the year 1915, Boguslavskaya joined a group of avant-garde artists; some group members included (Liubov Popova, Nadezhda Udaltsova, Varvara Stepanova, Aleksandra Ekster, Ivan Kliun, Nina Genke-Meller, Ivan Puni and others. The group was led by the founder of Kazimir Malevich. In 1915-1916 with other Suprematist artists, she worked in the Verbovka Village Folk Centre in the Ukrainian province near Kiev, she exhibited at the first Futurist exhibition in 1915, helped organise the Suprematist 0.10 Exhibition in late 1915. She was a member of Jack of Diamonds and Mir iskusstva.
In 1919 she and Puni escaped from the Soviet Union across the ice of the Gulf of Finland. She lived in Berlin from 1919 to 1923, working as a scene designer for the cabaret Blue Bird and for the Russian Romantic Theatre. In Berlin, she established ties with the International Futurists, including poet Ruggero Vasari and Kārlis Zāle. After 1923 she lived with her husband in Paris, her husband died in Paris in 1956. She exhibited at the Salon des Indépendants in 1966, helped organise an exhibition of Puni's works at the Musée de l'Orangerie the same years, she died in Montparnasse
Red Square (painting)
Painterly Realism of a Peasant Woman in Two Dimensions, more known as Red Square, is a 1915 painting by Kazimir Malevich. The painting is of a red quadrilateral on a white field. According to New York Times art critic Grace Gluek, the "Peasant Woman" of the title of the work is represented in the color red of traditional Russian religious icon paintings. Red Square is in the collection of the Russian Museum
Lyubov Sergeyevna Popova was a Russian avant-garde artist and designer. Popova was born in Ivanovskoe, near Moscow, to the wealthy family of Sergei Maximovich Popov, a successful textile merchant and vigorous patron of the arts, Lyubov Vasilievna Zubova, who came from a cultured family. Lyubov Sergeyevna had two brothers and a sister: Sergei was the eldest Lyubov and Olga. Pavel became the guardian of his sister's artistic legacy. Popova grew up with a strong interest in art Italian Renaissance painting. At eleven years old she began formal art lessons at home. By the age of 18 she was studying with Stanislav Zhukovsky, 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. Popova traveled to investigate and learn from diverse styles of painting, but it was the ancient Russian icons, the paintings of Giotto, the works of the 15th- and 16th-century Italian painters which interested her the most.
In 1909 she traveled to Kiev in 1910 to Pskov and Novgorod. The following year she visited other ancient Russian cities, including St. Petersburg, to study icons. In 1912 she worked in a Moscow studio known as "The Tower" with Ivan Aksenov and Vladimir Tatlin, visited Sergei Shchukin's collection of modern French paintings. 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 and the Vesnin brothers. In 1914 she traveled in Italy at the development of Cubism and Futurism. Popova was one of the first female pioneers in Cubo-Futurism. Through a synthesis of styles she worked towards. After first exploring Impressionism, by 1913, in Composition with Figures, she was experimenting with the Russian development of Cubo-Futurism: a fusion of two equal influences from France and Italy. From 1914–1915 her Moscow home became the meeting-place for artists and writers. In 1914–1916 Popova together with other avant-garde artists contributed to the two Knave of Diamonds exhibitions, in Petrograd Tramway V and the 0.10, The Store in Moscow.
An analysis of Popova's cubo-futurist work suggests an affinity with the work of Fernand Leger, whose geometry of tubular and conical forms in his series of paintings from 1913–1914 is similar to that in Popova's paintings. 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. In 1916 she joined the Supremus group with Kazimir Malevich, the founder of Suprematism, Aleksandra Ekster, Ivan Kliun, Nadezhda Udaltsova, Olga Rozanova, Ivan Puni, Nina Genke, Ksenia Boguslavskaya and others who at this time worked in Verbovka Village Folk Centre.
The creation of a new kind of painting was part of the revolutionary urge of the Russian avant-garde to remake the world. The term'supreme' refers to a'non-objective' or abstract world beyond that of everyday reality. However, there was a tension between those who, like Malevich, saw art as a spiritual quest, others who responded to the need for the artist to create a new physical world. Popova embraced both of these ideals but identified herself with the aims of the Revolution working in poster, book design and theatre design, as well as teaching. At 0.10 she had exhibited a number of figurative painted cardboard reliefs in a cubist derived style. In 1916 she began to paint abstract Suprematist compositions, but the title "Painterly Architectonics" suggests that as a Suprematist, Popova was more interested in painting as a projection of material reality than as the personal expression of a metaphysical reality. Popova's superimposed planes and strong color have the objective presence of actual space and materials.
In 1918 Popova married the art historian Boris von Eding, gave birth to a son. Von Eding died the following year of typhoid fever. Popova was seriously ill but recovered; as early as 1917 in parallel with her Suprematist work, she had made fabric designs and worked on Agitprop books and posters, In the Tenth State Exhibition: Non Objective Creativity and Suprematism, 1918, she contributed the architectonic series of paintings. She continued painting advanced abstract works until 1921. In the 5 x 5 Exhibition of 1921, Popova and her four fellow Constructivists declared that easel painting was to be abandoned and all creative work was to be for the people and the making of the new society. Popova worked in a broad range of mediums and disciplines, including painting, works on paper, designs for the theater and typography. Popova did not join the Working Group of Constructivists when it was set up in Moscow in March 1921, but joined by the end of 1921. In 1923 she began creating designs for fabric to be manufactured by the First State Textile Printing Wo
Suprematist Composition is a painting by Kazimir Malevich, a Russian painter known as a pioneer of geometric abstraction. The painting represents a constellation of color in space with remarkable austerity; the painting was created in 1916 and stayed with the artist until June 1927. Malevich exhibited his work in the Grosse Berliner Kunstausstellung in Berlin, but was soon to leave for the Soviet Union; the painting soon went to German architect Hugo Häring, who sold it to the Stedelijk Museum Amsterdam. It stayed there for the next 50 years, it was shown at various expositions in Europe. After an extended legal battle over the painting's ownership, which endured for 17 years, the painting was returned to heirs of the artist. A few months in November 2008, the artist's heirs sold it at a Sotheby's auction for $60 million to the Nahmad family. In 2018 it was sold at a Christie's auction for $85.8 million with fees to art dealer Brett Gorvy. It is the most expensive work in the history of Russian art.
List of most expensive paintings Suprematism Supremus
The Knifegrinder Principle of Glittering, or sometimes shortened to The Knifegrinder, is a 1912-13 cubo-futurist painting by Russian artist Kazimir Malevich. It contains both the fragmententation of form associated with futurism as well as abstract geometry related to cubism; as of 2014 it is in the collection of the Yale University Art Gallery in New Haven, Connecticut
Nadezhda Andreevna Udaltsova was a Russian avant-garde artist and teacher. Nadezhda Udaltsova was born in the village of Orel, Russia, on December 29, 1885; when she was six, her family moved to Moscow, where she graduated from high school and began her artistic career. In September 1905 Udaltsova enrolled in the art school run by Konstantin Yuon and Ivan Dudin, where she studied for two years and met fellow-students Vera Mukhina, Liubov Popova, Aleksander Vesnin. In the spring of 1908 she traveled to Berlin and Dresden, upon her return to Russia, she unsuccessfully applied for admission to the Moscow Institute of Painting and Architecture. In 1910 -- 11, Udaltsova studied among them Tatlin's Tower. In 1912–13 she and Popova traveled to Paris to continue their studies under the tutelage of Henri Le Fauconnier, Jean Metzinger and André Segonzac at Académie de La Palette. Udaltsova returned to Moscow in 1913 and worked in Vladimir Tatlin's studio together with Popova and others. Udaltsova's professional debut was as a participant in a Jack of Diamonds exhibition in Moscow in the winter of 1914.
But it was in 1915 that she made her name as a Cubist artist, participating in three major exhibitions in that single year, including "Tramway V", "Exhibition of Leftist Tendencies", "The Last Futurist Exhibition: 0.10". Her paintings were subsequently collected and exhibited in the 1920s by the Tretiakov Gallery, the Russian Museum, other venues as examples of Russian Cubism. Under the influence of Tatlin, Udaltsova experimented with Constructivism, but embraced the more painterly approach of the Suprematist movement. In 1916, she participated with other Suprematist artists in a Jack of Diamonds exhibition, during that same time period she joined Kazimir Malevich's Supremus group. In 1915–1916, together with other suprematist artists worked at the Verbovka Village Folk Centre. Like many of her avant-garde contemporaries, Udaltsova embraced the October Revolution. In 1917, she was elected to the Club of the Young Leftist Federation of the Professional Union of Artists and Painters and began work in various state cultural institutions, including the Moscow Proletkult.
In 1918, she joined the Free State Studios, first working as Malevich's assistant, heading up her own studio. She collaborated with Aleksei Gan, Aleksei Morgunov, Aleksandr Rodchenko and Malevich on a newspaper entitled Anarkhiia. In 1919, Udaltsova contributed eleven works from the time she was working in Tatlin's studio to the "Fifth State Exhibition." She married her second husband, the painter Alexander Drevin. When Vkhutemas, the Russian state art and technical school, was established in 1920, she was appointed professor and senior lecturer and would remain on staff until 1934. In 1920 she became a member of the Institute for Artistic Culture and participated in discussions there on the fate of easel art. However, when the Institute endorsed Constructivism and declared the end of easel painting, she resigned her membership in protest in 1921. In the early 1920s, Udaltsova's work began to show a turn away from the radical avant-garde and a sensibility more aligned with artists associated with the Jack of Diamonds, among them Ilya Mashkov, Petr Konchalovsky and Aristarkh Lentulov, exhibiting her Fauvist portraits and landscapes alongside them at the Vkhutemas "Exhibition of Paintings" of 1923 and at the Venice "Biennale" of 1924.
She continued to teach, including instruction in textile design at Vhkutemas and the Textile Institute in Moscow from 1920 until 1930. Under the influence of Drevin, Udaltsova began painting landscapes. Between 1926 and 1934 they traveled painting the Ural and Altai Mountains, as well as landscapes in Armenia and Central Asia. From 1927 to 1935, she contributed to national and international exhibitions and participated with Drevin in joint exhibitions at the Russian Museum and in Erevan, Armenia. In 1932–33, Udaltsova's contributions to the exhibition of "Artists of the RSFSR Over the Last Fifteen Years" were publicly criticized for so-called "formalist tendencies." In 1938 Alexander Drevin was arrested and executed by the NKVD, Udaltsova became a persona non grata in the world of Soviet art. She was allowed a solo exhibition at the Moscow Union of Soviet Artists in 1945, after Stalin's death, she contributed to a group exhibition at Moscow's House of the Artist in October 1958. Udaltsova died in 1961 in Moscow.
The Udaltsova crater on Venus is named after her. Her son was the prominent Russian sculptor Andrei Drevin. Biography and works of Nadezhda Udaltsova
Victory over the Sun
Victory over the Sun is a Russian Futurist opera premiered in 1913 at the Luna Park in Saint Petersburg. The libretto written in zaum language was contributed by Aleksei Kruchonykh, the music was written by Mikhail Matyushin, the prologue was added by Velimir Khlebnikov, the stage designer was Kazimir Malevich; the performance was organized by the artistic group Soyuz Molodyozhi. The opera has become famous as the event; the opera was intended to underline parallels between literary text, musical score, the art of painting, featured a cast of such extravagant characters as Nero and Caligula in the Same Person, Traveller through All the Ages, Telephone Talker, The New Ones, etc. The audience reacted negatively and violently to the performance, as have some subsequent critics and historians. A documentary film about the opera was made in 1980. Victory Over the Sun, ed. Patricia Railing, trans. Evgeny Steiner, 2 vols. ISBN 978-0-946311-19-4 Victory Over the Sun: The World's First Futurist Opera, eds.
Rosamund Bartlett and Sarah Dadswell. ISBN 978-0-85989-839-3 Anfang Gut, Alles Gut - Actualizations of the Futurist Opera Victory Over the Sun 1913, eds. Eva Birkenstock, Kerstin Stakemier, Nina Köller. Contributors: Roger Behrens, Devin Fore, Anke Hennig, Oliver Jelinski, Christiane Ketteler, Avigail Moss, Nikolai Punin, Marina Vishmidt. Kunsthaus Bregenz. ISBN 978-3863351441 The original 1980 English translation of the opera by poet Larissa Shmailo was performed for the celebrated reconstruction of the First Futurist Opera at the Los Angeles County Museum of Art as well as the Brooklyn Academy of Music, it was performed in full staging with digital sets and synthesized music at Boston University April 23, 2015. Cervena Barva Press 2014 ISBN 978-0692302316 In 2015, during the Art Basel fair, the Swiss Fondation Bayaler presented a production of the opera, shown in the Theater Basel on 17th June 2015, it was a kind of preview to the In Search of 0,10 – The Last Futurist Exhibition of Painting exhibition that run from 4 October 2015 to 10 January 2016 at the Fondation Bayaler.
Costume Design by Malevich A modern reconstruction of the opera Zaum and Sun: The'first Futurist opera' revisited Article by Isobel Hunter VICTORY OVER THE SUN The New York Times article Vienna 1993 staging including pictures of performance Rober Benedetti - Reconstructing Victory over the Sun at JSTOR Victory over the Sun The Guardian article on the 1999 London recreation Valeri Shishanov. VITEBSK’ BUDETLANE