Galina
Andreevna Orlova

Г. A. Orlova was born on February 23, 1913 in the village of Perevesenki, Saratov Province, in a peasant family. In 1924, the artist's family moved to Moscow. In 1930 she enters the Moscow Petrochemical Technical School, graduating from which, until 1935 she works in the laboratory of the Central Institute of Aviation Fuels and Oils.

In 1935 she entered the Textile Institute. G. Orlova is one of the representatives of Soviet textile artists, whose talent and skill were nurtured in the 30-40s at the Art Department of the Moscow Textile Institute. In those years in this institute taught unique teachers artists and art critics: A. A. Fedorova-Davydova, A. V. Kuprin, L. A. Bruni, A. V. Shevchenko, and others. Under their guidance and influence formed Orlova G. A., N. Kirsanova, S. Zaslavskaya and N. Zhovtis, A. Andreeva and N. Eremeseva, artists who formed the creative core of the school of Soviet art textiles.

After graduating from the institute he worked as an artist in the Central Weaving Laboratory of Glavshelkprom (Moscow).

She was a member of the group of artists who designed the interior decoration of the Palace of Soviets. Galina made the fabric "Chelyuskinites" for the Palace of Soviets, which was accepted as her diploma work at the Textile Institute.

While working in the laboratory, she developed samples of decorative fabrics, which were used in the production of factories of the USSR, in particular the factory "Decorativtkan" and Pavlo-Posadsky district of Moscow region.

"As an artist I was formed in those years when the classical school was the basis of the foundations of creativity." Orlova G. A.

Excellent knowledge of the classical school of painting, received during the years of study at the institute, and understanding of the decorative nature of folk art, received during the years of work in ethnographic expeditions, helped to become a creative personality and the formation of the author's artistic method.

Compositional solutions in the works of Orlova G. I. are combinations of rigid geometric forms on the plane and filigree weaving into the space of plant objects. As a result, her tapestries are a peculiar universum, but usually lying within the boundaries of the visible world, uniting classical and folk art.

The artist's works are kept in museums and private collections.

The archive of 39 graphic works created during ethnographic expeditions to Central Asia (1946-1947) was donated to the Museum of Oriental Art in 2000.