Nadezhda
Andreevna Udaltsova

One of the most prominent artists of the Russian avant-garde.

In 1906 he Studied at the art school of K. F. Yuon. In 1912 - 1913 he studied in Paris in the Studio palette. In 1913, Together with the artists V. E. Tatlin and L. S. Popova worked in Moscow in the Studio "On the tower" (founded in 1911 by M. Larionov).

Member of the Association and the participant of exhibitions: "knave of diamonds" (originated in 1910), "the Tram" (the name of the first futurist exhibition in Petrograd in March-April 1915), "Store" (the name of the futuristic exhibition, organized by V. E. Tatlin in 1916 in Moscow), "World of art", "Moscow painters", "OMX", group "13".

In 1918 he taught at the State free art studios(assistant to K. S. Malevich).In 1920-1921 member of Inhuk (Institute of artistic culture in Leningrad), the Moscow Collegium on the arts of Narkompros. In 1921 – 1934 he taught at the VKhUTEMAS.

Works of the artist are in the State Tretyakov Gallery, State Russian Museum and other major museums of Russia and abroad.

Creativity N. A. Udaltsova is as if the moderate wing of the radical avant-garde of the 1910s under the influence of V. E. Tatlin and Malevich, she became an adept of one's faith, attention to the purely pictorial problems, to easel form as such helped her later naturally and with dignity out of the situation of dissolution of the avant-garde in the applied sphere, and in preserving the natural canvas of color and texture energy.

Udaltsov visited the Moscow Studio of K. F. Yuon (1906; here her first teacher was N. P. Ulyanov) and kisha K. (1909-11), he worked in the Studio of V. E. Tatlin; then he continued his education at the Paris Academy "La Palette" in A. Le Fauconnier and J. Mesange (1912).

Hence its predilection for cubism: variations textbook cubist motifs ("Violin", "Musical instruments", "Kitchen", "Bottle and glass", all 1910-15) show absolute mastery of technique, constructive pressure and color intensity.

Even inspired by Suprematism (and Udaltsova was a member of the "Supremus" and an assistant to Malevich in VKhUTEMAS), it continues in parallel to create cubist compositions, valuing hidden in them the beginning of a picturesque and lively feeling and colorful material ("Beautiful building", 1916; "Red figure", 1919, etc.). It is the attachment to the pattern of predetermined care Udaltsova and her husband, the artist Alexander Drevin, from Inhaca (1921) in protest against the domination of the producers; in fact, it was their departure from the avant-garde. But care in this case was not the end of the road. Long-term full - scale period- still lifes, landscapes of Altai, Kazakhstan and Armenia - the maximum revealed a remarkable cvetovete Udaltsova. "I am accused of formalism, but in essence I work on color," she wrote in the diary. Such charges are naturally crowded out "accused" of artistic life.

Since 1934 the work Udaltsova was not present (with the exception of the chamber showing in the theater "Romen" in 1945). However, doomed to loneliness, post-arrest and death of her husband, the artist has not lost confidence in his way and eating this consciousness, her painting did not lose the inner depths.