작품 상세

Signed 'Ljubow Popowa' in pencil on reverse. With a photo-certificate by Andréi Nakov, Paris, from November 1978 Liubow Sergeyewna Popowa had already received drawing lessons as a child and began to study art in 1911. In the following year she worked in the studio "The Tower" as well as with Tatlin, and she lived in Paris from 1912 to 1914, where she continued to study art - under Jean Metzinger, among others. She participated in the 1914 exhibition of the Jack of Diamonds group, and she joined Malevich's "Supremus" group in 1916. In the early 1920s she taught at various art institutions, including her professorship at Moscow's WCHUTEMAS, the Higher State Artistic and Technical Workshops: here the course offerings of the so-called fine arts (painting and sculpture) were linked with the production arts (architecture, printing, metalworking and woodworking, ceramics, textiles). Popowa worked not only as a fine artist, but also in the applied arts, such as theatre and textile design and the design of books, posters and magazines. Together with colleagues including Kandinsky, Stepanowa and Rodchenko, Popowa was an independent member of the INCHUK, the Moscow Institute of Artistic Culture. There, together with Rodchenko, she argued for the abolition of "easel painting" in favour of technical procedures. Rodchenko developed his Linearism, an artistic position that was also supported by Popowa. "With the introduction of the autonomous line as a new material in painting, Rodchenko took a decisive step in the direction of Constructivism, because he declared the line to be the sole material in painting with the same radicalism as had previously been done with pigment." (Hubertus Gassner, Konstruktivisten: Die Moderne auf dem Weg in die Modernisierung, in: exhib. cat. Die Grosse Utopie, Frankfurt 1992, p. 135). The present work on paper is a typical composition by Popowa, not many of which are still preserved today. 38.2 x 28.1 cm