Space Force Construction
Popova Liubov (1889-1924)
1921 | 71.1 x 64.3 cm
Oil with marble dust on plywood
Museum of Modern Art | Costakis Collection
MMA.CC64
Greek State purchase by the heirs of the Costakis family
ARTWORK DETAILS
Type: Painting
Subject: Russian Avantgarde, Constructivism, Painting
Art techniques: Oil painting
ARTWORK DESCRIPTION
After her involvement with Cubo-Futurism, Popova initiated some early attempts around 1915-1916 that are associated with Suprematism. These artworks consist of coloured shapes drawn in two dimensions against a white background (e.g., " Painterly Architectonics" 1915-1916). Despite the evident characteristics of geometric colour forms in two dimensions on a white background in her artworks, Popova refrained from using the term "Suprematism" in the titles of her artworks. Examples include "Untitled" from 1917-1919 and "Study for Six Color Lithographs" from 1919, both of which are part of the collection of the Museum of Modern Art, Costakis Collection. Later, Popova introduced shading techniques into her paintings, creating a sense of movement and "the third dimension". For example, in her painting " Painterly Architectonics" from 1918-1919, she experimented with the dynamics and structural possibilities of lines and planes, making them distinct artistic elements. She incorporated texture created by colour mixing into her "space force constructions" exemplified by pieces like " Space Force Construction" from 1921 and "Composition. Space Force Construction" from 1919-1921. These artworks are part of the Collection of the Museum of Modern Art - Costakis Collection.
CREATOR
Liubov Sergeyevna Popova was born in 1889 in Ivanovskoe, a village very close to Moscow. From a very young age she showed an interest in painting and started painting lessons. She studied literature and attended painting classes in the workshops of Stanislav Zhukovsky, Konstantin Yuon and Ivan Duon. Wanting to broaden her artistic education in the period 1909-1911, she travelled to Kiev, Italy and inland Russia, where she came into contact with the Russian visual tradition and Renaissance art. The influences of these travels are directly reflected in her works as she begins to develop a less naturalistic approach. In the winter of 1912-1913 she visited Paris, came into contact with Cubism, enrolled at the Academie de la Palette and began the Cubofuturist period in her works. From 1914 she participates in the exhibitions of the "Jack of Diamonds" group and has a systematic exhibition activity and a pioneering presence in the movements of Cub Futurism, Suprematism [member of Kazimir Malevich's "Supremus" group] and Constructivism. In 1918 she joined the staff of the Free State Artistic Workshops (SBOMAS) and in 1920 she became a professor and taught the Theory of Colour at the Higher State Artistic and Technical Workshops (VHUTEMAS). A member of INHUK from 1920, she undertook to write a textbook on the teaching of art. In the period 1916-1921 she creates a series of works which she calls "Painting Architectures" and "Spatial-Dynamic Constructions". At the same time, she was involved in the theatre, creating sets and costumes for Cromelinck's "The Magnanimous Cuckold" and Tretyakov's "Earth in Turmoil", and worked on the design of fabrics and clothing for the First State Textile Factory in Moscow. Furthermore, she was involved in graphic design and the integration of art into production and designed posters, magazine covers, books, textiles and porcelain. She died in 1924 in Moscow.