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Popova died in Moscow on at age 35 when she contracted scarlet fever. Cubo-Futurism (Kubo-Futurizm) was a term used by the early 20th-century Russian avant-garde to describe literary and artistic works that represented a fusion of Cubist and Futurist styles and principles. By 1918 colour is used as an iconic focus the bright colour at the centre drawing the outer shapes together.įrom 1921-24 Popova became active in Constructivist projects: Stage designs Vsevolod Meierkhold's production of Fernand Crommeldynck's The Magnanamous Cuckold, 1922 Teaching: Spacial Force Constructions were used as the basis of an art teaching theory Typography of books, production art and textile design. At the same time the elements are held in a balanced and proportioned whole as if linking the compositions of the classical past to the future. The canvas surface is an energy field of overlapping and intersecting angular planes in a constant state of potential release.

El cubo-futurismo fue especialmente popular en la vanguardia rusa, tanto en pintura como en poesía.

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Before joining the Supremus group her paintings, the architectonic series have defined their own artistic trajectory, quite different to that of Malevich, Rozanova, Tatlin and Mondrian in abstract form. El cubo-futurismo fue la principal escuela de pintura y escultura practicada por los futuristas rusos. Cubo-Futurism was the main school of painting and sculpture practiced by the Russian Futurists. In the painting The Violin of 1914 the development from cubism towards the painterly architectonics of 1917-18 is clearly visible. Cubo-Futurism (also, Kubo-Futurizm) was an art movement, developed within Russian Futurism, that arose in early 20th century Russian Empire, defined by its amalgamation of the artistic elements found in Italian Futurism and French Analytical Cubism. Exploring firstly an impressionist style, by 1913, in Composition with Figures, she is experimenting with the particularly Russian development of Cubo-Futurism a fusion of two equal influences from France and Italy. Through a synthesis if disparate tendencies Popova worked towards the culminating painterly arcitectonics. Returns to Russia and works with Tatlin, Udaltsova and Vesnin.ġ914 Travels in France and Italy at the development of cubism and futurism. Visits Sergei Shchukin's collection of modern French paintings.ġ912-13 Studied art in Paris with Nadezhda Udaltsova.ġ913 Meets Alexander Archipenko and Ossip Zadkine. Petersburg to study icons.ġ912 Works in Moscow studio known as the Tower with Ivan Aksenov, Vladimir Tatlin. Popova traveled widely to investigate and learn from diverse styles of painting, but it was the ancient Russian Icons and 15th and 16th century Italian painters, Giotto and others which at first interested her the most.ġ911 Other ancient Russian cities including St.

Then in 1908 - 1909 she attended the art school of Konstantin Yuon and Ivan Dudin. At eleven years old she began art lessons at home and in 1907 she studied art with S. She grew up in an enlightened merchant family with a strong interest in art, especially Italian Renaissance painting. Liubov Sergeyevna Popova was born Apnear Moscow.

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