Sergeevna Popova

Russia • 1889−1924

Painter, graphic artist, theater. artist. Sister of the literary critic and philosopher P. Popov. He studied in the Studio of K. Yuon in Moscow (1908-09), then in Paris (1912-13). Participant of exhibitions. The representative of the Russian hood. avant-garde, 1914 close to the Cubists-futurists. Member hood. about "Tram", "Supremus". From 1920 sotr. Mosk. Inhale. In 1922-24 was part of the LEF, promoter of "production" art. Pictorial composition (including "Construction", 1920) and other works. From 1922 the artist on textiles and fashion, theatre. artist. Killed himself.

Was born in Krasnovidovo estate (the village of Ivanovskoe, Moscow province) on 24 April (6 may), 1889 in the family of a wealthy entrepreneur. Worked in the studios of S. Yu. Zhukovsky (1907) and K. F. Yuon (1908-1909) in Moscow, in Paris – in the Studio "Palette", under the guidance of A. Le Fauconnier, A. Segonzac and Metzinger, J. (1912-1913), and, finally, in the Moscow Studio of V. E. Tatlin (1913). During these years travelled extensively in Russia and Western Europe.

In 1914-1916 he participated in several avant-garde exhibitions ("Jack of diamonds", "Tram", "10", "Store"). Acquainted with Malevich, in the winter of 1916-1917 participated in the organization of the short-lived society "Supremus". Early things artist settled in the spirit of Fauvism and analytic cubism. Later moved on to more dynamic, "kubofuturisticheskom" manner (Man + air + space, 1913; portrait of a philosopher, 1915; both works are in the Russian Museum) and semi-synthetic cubism. Manner of the artist to perceive the world as a giant still life, recreated on the canvas in a graphical worksheet in ostracising and coloristic – decorative-saturated, richly-sonorous forms, fully demonstrated in the works of the mid 1910-ies. A milestone in this sense was the Picturesque architectonics cycle, executed in the 1916-1918 years. The variety of colorful rhythms distinguishes these works from the more strict Suprematism of Malevich.

In the 1920s, the artist turned to scenography, anticipating her style a compromise between the modernist and the avant-garde "art Deco" (sketches of the curtain and puppets for the play the tale of the priest and his workman Balda by Pushkin for the First state theatre for children; design of the performance of the Chancellor and the locksmith on the play of A. V. Lunacharsky the Theatre of Comedy). From 1920 he taught at the all-Union artistic-technical studios (VKhUTEMAS) and worked at the Institute of artistic culture (INKhUK), doing it in the monumental art section, led by V. V. Kandinsky; in 1922 he joined the Lef ("Left front of the arts"). The design of the play the Magnanimous cuckold by F. Krommelinka play (staged in 1922 the workshop of V. E. Meyerhold) was a landmark masterpiece of avant-garde scenography, with the dominant on the scene of the world is absurd-grotesque structures and things; constructivism here for the first time, so strongly advanced in the fields of theatre, however, they "inhulska" constructivists Popova staged over the exponential (in his theatre) the court, considering this "out of laboratory" stage is premature. However, the theory of the avant-garde continued to go to practice: in 1923, Popova designed for Meyerhold's another play to (Land on end on the play by M. Martin – S. M. Tretyakov), and in 1924 he engaged in "production art", developing drawings textiles for the 1st cotton-printing factory.

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