Russian painter
Olga Rozanova
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![](//upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Rozanova.jpg/220px-Rozanova.jpg) Rozanova in 1900
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Born
| Olga Vladimirovna Rozanova
(
1886-07-22
)
July 22, 1886
|
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Died
| November 7, 1918
(1918-11-07)
(aged 32)
Moscow, Russia
|
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Movement
| Cubo-Futurism
,
Suprematism
|
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Olga Vladimirovna Rozanova
(also spelled
Rosanova
,
Russian
: Ольга Владимировна Розанова) (22 June 1886 ? 7 November 1918,
Moscow
) was a
Russian avant-garde
artist
[1]
painting in the styles of
Suprematism
,
Neo-Primitivism
, and
Cubo-Futurism
.
[2]
Biography
[
edit
]
Smithy
, 1912
Early life
[
edit
]
Olga Rozanova was born in
Melenki
, a small town near
Vladimir
.
[3]
Her father, Vladimir Rozanov, was a district police officer and her mother, Elizaveta Rozanova, was the daughter of an
Orthodox priest
. She was the family's fifth child; she had two sisters, Anna and Alevtina, and two brothers, Anatolii and Vladimir.
[4]
Rozanova's father died in 1903, and her mother became the head of the household.
[5]
She graduated from the Vladimir Women's Gymnasium in 1904.
[3]
Due to her interest in the avant-garde movement, she moved to
Moscow
to study painting.
[6]
Artistic career
[
edit
]
Metronome
(1915)
After arriving in Moscow, she attended the Bolshakov Art School, where she worked under
Nikolai Ulyanov
and sculptor
Andrey Matveev
.
[
citation needed
]
She audited courses at the
Stroganov School of Applied Art
in 1907 but was not accepted for admission. After this, she trained in the private studio of
Konstantin Yuon
.
[3]
From 1907 to 1910, fellow drawing and painting students studying in these private studios included
Lyubov Popova
,
Nadezhda Udaltsova
,
Aleksei Kruchenykh
, and
Serge Charchoune
.
[7]
Unlike most of the other female avant-garde artists, Rozanova was the only one who did not study abroad to learn about European art.
[8]
By 1910, she was fairly well-known in Russian art circles.
[6]
She moved to St. Petersburg and joined
Soyuz Molodyozhi
(Union of Youth) in 1911. She became one of the most active members of this organization, which organized art exhibitions, lectures, and discussions.
[8]
Two of her canvases,
Nature-morte
and
The Cafe
debuted at the second
Soyuz Molodyozhi
exhibition in April 1911. She would submit her canvases to their group exhibitions until 1913.
[6]
Razanova briefly studied at the art school of
Elizabeta Zvantseva
, which housed many Russian
art nouveau
artists. In January 1912, her two works,
Portrait
and
Still-Life,
appeared at the next
Soyuz Molodyozhi
exhibition in January 1912. This exhibition was the first appearance of the
Donkey's Tail
, a Moscow-based artistic group led by
Mikhail Larionov
. Rozanova later traveled to Moscow to try to establish joint projects between the two groups; these negotiations proved to be unsuccessful.
Soyuz Molodyozhi
disbanded in 1914.
[9]
From 1913 to 1914,
Cubo-Futurist
ideas appeared in her work, but she appears to have been especially inspired by
Futurism
.
[6]
Of all the Russian Cubo-Futurists, Rozanova's work most closely upholds the ideals of
Italian Futurism
. During
Filippo Tommaso Marinetti
's visit to Russia in 1914, he was very impressed with her work.
[6]
Rozanova later exhibited four works in the
First Free International Futurist Exhibition
in Rome, which took place from April 13 to May 25, 1914. Other Russian artists featured in the exhibition included
Alexander Archipenko
,
Nikolai Kulbin
, and
Aleksandra Ekster
.
[10]
She met the poet
Aleksei Kruchenykh
in 1912; he then introduced her to the Russian Futurist concept of
zaum
(translated as "beyonsence") poetry, a language with no fixed meanings and constant neologisms, which is probably used by birds. Rozanova would write her own poetry in that style, and also illustrated books of zaum poetry,
[6]
two examples being
A Little Duck's Nest of Bad Words
and
Explodity
(both 1913). With Kruchenykh, she would invent a new kind of Futurist book, the
samopismo
, where the illustrations and the text would be literally connected.
[6]
Rozanova, Boguslavkaya, and Malevich at the
0,10 Exhibition
Rozanova joined the avant-garde group
Supremus
that year, which was led by former fellow Cubo-Futurist
Kazimir Malevich
.
[6]
By this time, her paintings have developed from the influences of Cubism and Futurism, and took an original departure into pure abstraction, where the composition is organized by the visual weight and relationship of color.
In the same year she exhibited at the
0,10 Exhibition
, and, together with other Suprematist artists (
Kazimir Malevich
,
Aleksandra Ekster
,
Nina Genke
,
Liubov Popova
,
Ksenia Boguslavskaya
,
Nadezhda Udaltsova
,
Ivan Kliun
,
Ivan Puni
and others) worked at the
Verbovka Village Folk Centre
.
[11]
From 1917 to 1918 she created a series of non-objective paintings which she called
tsv'etopis'
. Her
Non-objective composition, 1918
also known as
Green stripe
anticipates the flat picture plane and poetic nuancing of color of some
Abstract Expressionists
.
[11]
[6]
Rozanova also published literary works, which included the essay
The Bases of the New Creation and the Reasons Why it is Misunderstood
. This was written in response to critics of modern art and held that the world is a raw material - that it is the back of a mirror for the unreceptive soul and a mirror of images for the reflective soul.
[12]
She maintained that the creation of pictures based on the "Abstract Principle" constitute three stages: the intuitive principle; the individual transformation of the visible; and, abstract creation.
[13]
In her criticism of photography, Rozanova agreed with
Oscar Wilde
that photography is for the "servile artist".
[13]
Death and legacy
[
edit
]
She died of
diphtheria
at the age of 32 in Moscow in 1918,
[6]
following a cold she contracted while working on preparations for the first anniversary of the October Revolution.
[14]
Her work is now in the collections of the
Museum of Modern Art
, the
Philadelphia Museum of Art
, the
Carnegie Museum of Art
, the
Harvard Art Museums
and the
MOMus?Museum of Modern Art?Costakis Collection
in
Thessaloniki
.
Major works
[
edit
]
- In a Cafe
(c.1911-1912) - One of Rozanova's earlier pieces,
In a Cafe
, depicts a man and a woman on opposing sides of a table, the man with his head in his hand and the women with a drink in hers. Rozanova makes use of vibrant colors and thick lines to create a piece with aspects of French avant-garde and Russian Neo-Primitivistic art.
[15]
- The Factory and the Bridge
(c. 1913) -
The Factory and the Bridge
was included in the First Free International Futurist Exhibition in 1914. This piece had inspiration from the Italian Futurism movement, and its bright colors gives it an expressionist tone.
[16]
- Metronome
(c. 1914) - A piece from the middle of her career,
Metronome
was displayed at the
Last Futurist Exhibition 0,10
in Petrograd in 1915.
- Playing Cards
series
(1915) - One of her most famous works, the series represents the height of her artistic career. It consists of portraits of her peers set as designs for playing cards.
[6]
Gallery
[
edit
]
-
Female Portrait
(1907)
-
Jug with Flowers
(1911-1912)
-
Dissonance
(1913)
-
Factory and Bridge
(1913)
-
Cityscape
(1914)
-
Third
Colour Composition
(all 1914)
-
Still-Life (Futurist Composition)
(1915)
-
Watches and Cards
(1915)
-
Automobile
(1915)
-
Suprematism
(1916)
-
Non-Objective Composition
(1917)
-
Green Stripe
(1917)
-
Non-Objective Composition
(1917)
-
Hand Fan - Design for
Verbovka
(1917)
References
[
edit
]
- ^
Olga Rozanova.
MoMA 2013. Retrieved 6 May 2013.
- ^
Amazons of the avant-garde : Alexandra Exter [and others]
. Bowlt, John E., Drutt, Matthew., Deutsche Guggenheim Berlin. New York: Guggenheim Museum. 2000.
ISBN
0892072253
.
OCLC
43879449
.
{{
cite book
}}
: CS1 maint: others (
link
)
- ^
a
b
c
Perloff, Nancy (2017).
Explodity: Sound, Image, and Word in Russian Futurist Book Art
. Getty Publications. p. 115.
ISBN
978-1-60606-508-2
.
- ^
Gurianova, Nina (6 December 2012).
Olga Rozanova and the Early Russian Avant-Garde 1910-1918
. New York: Taylor and Francis. p. 135.
- ^
"Olga Rozanova Biography, Life & Quotes"
.
The Art Story
. Retrieved
2020-03-10
.
- ^
a
b
c
d
e
f
g
h
i
j
k
Sarabianov, Andrei D.
"Olga Rozanova"
.
Encyclopedia Britannica
. Retrieved
28 May
2020
.
- ^
Gurianova, Nina (6 December 2012).
Olga Rozanova and the Early Russian Avant-Garde 1910-1918
. New York: Taylor and Francis. p. 6.
- ^
a
b
Tedman, Gary (2012).
Aesthetics & Alienation
. John Hunt Publishing.
ISBN
978-1-78099-302-7
.
- ^
Gurianova, Nina (6 December 2012).
Olga Rozanova and the Early Russian Avant-Garde 1910-1918
. New York: Taylor and Francis. p. 140.
- ^
Gurianova, Nina (6 December 2012).
Olga Rozanova and the Early Russian Avant-Garde 1910-1918
. New York: Taylor and Francis. p. 152.
- ^
a
b
"Olga Rozanova Biography ? Olga Rozanova on artnet"
.
www.artnet.com
. Retrieved
2020-03-10
.
- ^
Gurianova, Nina (2012).
Exploring Color: Olga Rozanova and the Early Russian Avant-Garde 1910-1918
. New York, NY: Routledge. p. 187.
ISBN
978-905701192-4
.
- ^
a
b
Altintzoglou, Euripides (2018).
Portraiture and Critical Reflections on Being
. New York: Routledge.
ISBN
978-0-429-01670-7
.
- ^
Stepanova, Vavara (1919).
Biograpficheskaia zametka o Rozanovoi
. Moscow: Rodchenko and Stepanova Archive.
- ^
"Olga Rozanova Artworks & Famous Paintings"
.
The Art Story
. Retrieved
2020-03-10
.
- ^
"Olga Rozanova Paintings, Bio, Ideas"
.
The Art Story
. Retrieved
2020-03-10
.
Sources
[
edit
]
- Russian avant-garde
,
Andrei Nakov
, Art Data, 1986
- Abstract Art
, Mel Gooding,
Tate Publishing
, 2001
- "Shishanov V.A.
Vitebsk Museum of Modern Art
history of creation and collection. 1918?1941. ? Minsk: Medisont, 2007. ? 144 p.
[1]
(in Russian)
Russian Books Catalog. Vitebskii muzei sovremennogo iskusstva : istoriia sozdaniia i kollektsii, (1918--1941), Visual Arts, Belarus, Минск, Belarus, Russian
,
- Further Reading
Olga Rozanova Paintings, Bio, Ideas
Rozanova, Olga
- Tedman, Gary. Soviet Avant Garde Aesthetics, chapter from Aesthetics & Alienation. pp 203?229. Zero Books. 2012.
ISBN
978-1-78099-301-0
- Gur'yanova,Nina. Ol'ga Rozanova i rannii russkii avangard (Olga Rozanova and early Russian avant garde. 318 pp. Gileya, Moscow, 2002 (
ISBN
9785879870213
)
External links
[
edit
]
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