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Lyubov Sergeyevna Popova (Russian: Любо́вь Серге́евна Попо́ва; April 24, 1889 – May 25, 1924) was a Russian-Soviet avant-garde artist, painter and designer.
- Varvara Stepanova
In 1921, she organized the landmark exhibition 5 × 5 = 25...
- Vladimir Tatlin
Introduction Vladimir Yevgrafovich Tatlin (28 December [O.S....
- Nadezhda Udal'tsova
Introduction Nadezhda Andreevna Udaltsova (Russian: Наде́жда...
- Mikhail Larionov
Introduction Mikhail Fyodorovich Larionov (Russian: Михаи́л...
- Varvara Stepanova
Lyubov Sergeyevna Popova (Russian: Любо́вь Серге́евна Попо́ва; April 24, 1889 – May 25, 1924) was a Russian-Soviet avant-garde artist, painter and designer.
Lyubov Popova was a radical multimedia artist and designer, who was an active Communist in the 1917 Russian Revolution and the years that followed. She also worked at a time when there were extremely few women artists respected by art institutions or schools, or even in the revolution.
- Russian
- April 24, 1889
- Ivanovskoe, Russia
- May 25, 1924
Lyubov Popova lived in the XIX – XX cent., a remarkable figure of Russian Cubism and Suprematism. Find more works of this artist at Wikiart.org – best visual art database.
- Russian
- April 24, 1889
- Ivanovskoe, near Moscow, Russian Federation
- May 25, 1924
In 1923 the painter Liubov Popova began creating designs for fabric to be manufactured by the First State Textile Printing Works in Moscow. This paper looks at the development of her involvement with constructivism while also examining the relationship between her textile prints and the abstract language of her earlier paintings.
Nov 20, 2019 · The title of Liubov’ Popova’s painting Objects from a Dyer’s Shop (Fig. 1) prompts the viewer to decipher the work’s imagery as a collection of fabrics, threads, and other objects, such as gloves and newspapers, piled on a table. The painting pays homage to both French Cubism and Italian Futurism and exemplifies a high point of Russian ...
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Painterly Architectonic is one of a series of works Popova created between 1915 and 1919 in response to Kazimir Malevich's Suprematist paintings. Her definition of painting as a constructive process also recalls her engagement with the materially based abstraction of fellow Russian Vladimir Tatlin, in whose teaching studio she worked.
