Professional Documents
Culture Documents
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by jOHn
e.
GuggenheimMUSEUM
Curated by John
E. Bowlt,
Matthew
Drutt,
and
Zelfira Tregulova
November
10.
17, 1999
1999-February
6,
2000
Guggenheim Museum
Solomon
R.
Bilbao. June
12-September 3. 2000
This exhibition
is
made
possible by
14,,
2000 January
Deutsche Bank
10,
2001
'
made
Leo Burnett
Arclinea
Lubiamigu
Automotive Products
Italia
Luciano Marcato
_,..._.
Paiiadio rinanziana
Barbero 1891
Rex Built-in
Bisazza
"
Italia
Swatch
Darmani
Gretag Imaging Group
WeUa
Gruppo 3M
Zucchi-Bassetti Group
Italia
NY
ISBN 0-89207-225-3
Printed in
Design:
Germany by GZD
DesiGn/wriTinG/researcH
1012
conTenTS
i3
inTroDUdion
Matthew Drutt
20
women of Genius
John
39
E.
Bowlt
six (anD a
of rae
Charlotte Douglas
59
russia's
moDern women
Laura Engelstein
75
95
DressinGupanD DressmGDOwn:
THe body of rue avam-GarDe
Nicoletta Uisler
109
i3i
aLexanDra exTer
Essay by Georgii Kovalenko
155
naTana GoncHarova
Essay by Jane A. Sharp
185
LIUBOVPOPOVa
Essays by Natalia Adaskina and Dmitrii Sarabianov
ai3
OLGa rozanova
Essay by Nina Gurianova
241
varvara STepanova
Essay by Alexander Lavrentiev
271
naDezHDa UDarrsova
Essay by Vasilii Rakitin
298
DocumenTS
THe soLomon
r.
GUGGenHeim FOunDanon
Honorary TrusTees
in perpeTuiTY
Solomon
Justin K.
R.
TrusTees
Giovanni Agnelli
Guggenheim
Thannhauser
Peggy Guggenheim
JonlmanolAzua
Peter M. Brant
May Engelberg
Honorary cHairman
Daniel Filipacchi
Peter Lawson-Johnston
Martin D. Gruss
Barbara Jonas
CHairman
David H. Koch
Peter B. Lewis
Thomas Krens
Barbara Lane
vice-presiDems
Peter Lawson-Johnston
Wendy
L-J.
Peter Lawson-Johnston
John
Wadsworth,
S.
McNeil
Jr.
Samuel
J.
LeFrak
Peter B. Lewis
vice-presiDem
anD Treasurer
Stephen
Frederick W. Reid
C.
Swid
Edward H. Meyer
Richard A. Rifkind
Diredor
Denise Saul
Thomas Krens
Terry Semel
James
B.
Sherwood
secreTary
RajaW. Sidawi
Edward
Seymour Slive
F.
Rover
Stephen
C.
Swid
Honorary TrusTee
John
Claude Pompidou
Cornel West
TrusTees ex officio
William T. Ylvisaker
S.
Wadsworth,
Jr.
John Wilmerding
Dakis Joannou
Benjamin
B.
Rauch
Diredor EmeriTus
Thomas M. Messer
II
presiDem
Jacques Hachuel M.
Peter Lawson-Johnston
Gilbert W. Harrison
peGGY GUGGenHeim
coLLecnon FamiLY
W. Lawrence Heisey
commiTTee
vice-presiDenT
William M. Hollis.
David Helion
Guglielmo La Scala
Fabrice Helion
Samuel H. Lindenbaum
Nicolas Helion
Jr
"f
Hononary CHairman
June Lowell
Claude Pompidou
Cristian Mantero
Clovis Vail
Achille Maramotti
Julia Vail
Honorary co-CHairman
Valeria Monti
KaroleP.B. Vail
Luigi Moscheri
Mark Vail
of
Luxembourg
Raymond
D.
Christina
Newburgh
Nasher
Honorary memBer
Giovanni Pandini
Olga Adamishina
Annelise Ratti
raeniBers
Richard A. Rifkind
Luigi Agrati
Dodie Rosekrans
Benjamin
Steven
Ames
B.
Rauch
Nanette Ross
Miles Rubin
Aldo Sacchi
Rosa Ayer
Sir
Denise Saul
Alexander Bernstein
Evelina Schapira
Patti
Cadby Birch
Timothy Sainsbury
Hannelore Schulhof
Sherwood
Davide Blei
James
Mary Bloch
Riki Taylor
Wilfred Cass
Melissa Ulfane
Claudio Cavazza
Leopoldo Villareal
Fausto Cereti
Sir Trevor
Chinn
B.
F.
Franca Coin
Isabella del Frate Eich
emeriTus memBers
Enrico Chiari
Mary Gaggia
William Feick,
David Gallagher
Evelyn Lambert
Danielle Gardner
Jacques
Patricia
Gerber
Marino Golinelli
Christian
Habermann
E.
Jr.
Lennon
Umberto Nordio
Anna
Scotti
Kristen Venable
OLGa rozanova
Non-Objective Composition (Flight of an Airplane), 1916
Oil
on canvas,
Art
Museum, Samara
118 x 101
cm
preFace
THomas Krens
presenting
result in this
pioneering Russian abstract painter becoming closely associated with the museum's
permanent
collection. Masterpieces
museum
artists,
with no fewer than nineteen since 1945 devoted to Kandinsky alone. Other Russian
masters honored by the Guggenheim include Malevich (1973), Chagall (1975 and
1993), and
Naum Gabo
Guggenheim organized
Collection-, a
sweeping survey,
1992,
Art oftheAvant-
on the
date.
within this context that we are pleased to organize another historic exhibi-
tion of Russian
torial
it
subject. In
acumen.
including
art.
It
is
model
of scholarship
and cura-
and the Royal Academy, the presentation of the exhibition at the Peggy Guggenheim
Collection offers an ideal setting for understanding the achievements of these
artists against a
as
by the Parisian
Cubists in Peggy Guggenheim's collection, and by the Italian Futurists, magnificently represented in the Gianni Mattioli Collection.
Curators John E. Bowlt, Matthew Drutt, and Zelfira Tregulova deftly organized
this project,
and
indebted to the lenders to this exhibition, not only because they allowed us to bor-
row their treasured works, but because they have made important contributions to
the scholarship of this publication. Finally,
Breuer,
of
Rolf-E.
its
for his
am thankful for
Museum. Samara
R. Guggenheim Museum, New York
Solomon
Museum
Moscow
MuseoThyssen-Bornemisza, Madrid
Cardiff
Private Collection
Private Collection, Courtesy Gallery
Regional Art
Gmurzynska, Cologne
Museum, Ulianovsk
Museum Preserve
Museum and Exhibition Center
Staatsgalerie, Stuttgart
State Art
State
State
State
Perm
Museum, Saratov
Museum,
St.
Petersburg
Moscow
Museum, Kostroma
Carmen Thyssen-Bornemisza
Collection
New Haven
sponsor's STaTemeriT
Dr. roLF-e.
Today,
at
the opening of a
Breuer
avant-garde are comprehensively documented. Yet, one aspect has so far received
scant attention
development of an
art project.
art
Amazons of the Avant- Garde more than seventy paintings and works on paper by six
Russian female
artists.
on a
long tradition.
And it is cer-
series of important cultural exchanges, beginning in 1977, with the first pre-
sentation in the West (in Diisseldorf) of the Costakis Collection of Russian avant-
garde
art.
Bank continued
its
it
was
sented in the
First
(all
at
this exhibition
was
first
site of the
Deutsche
exhibition was the first overview in the West of the art of the Russian avant-garde;
the Russian pavilion of the
in 1924
last (and,
because
was the
should be presented both in Berlin and Venice, and we are proud that Deutsche
attention in Venice
quently), as
it
this possible.
acKnowLeDGmeriTs
We have been very fortunate to work with a large network of associates, all of whom
have contributed invaluably to this project. Foremost, we thank Nicolas V.
European Representative
fast
of the
It
Iljine,
and his enthusiasm and passion combined with his experience and
diplomatic skills
"We would also like to express our deepest gratitude to Pavel Khoroshilov, Deputy
call
its
who
beginning of the
and assist-
of duty.
We are most grateful to our Russian colleagues, whose help with this exhibition
was indispensable. At the Ministry of Culture of the Russian Federation Department
of
Director,
Head
of the
Deputy
Department
of
Natalia Kobliakova
State Russian
Museum,
St.
of the
Petersburg: Vladimir
Pushkin
Alexander Lavrentiev and Varvara Rodchenko for their generous help with artworks
Norman W. Neubauer,
Hellenic Republic Ministry of Culture for their assistance with loans from Art Co.
Ltd. (the
acKiiowLeDcmenTS
Matich, Nicoletta Misler, Vasilii Rakitin, Dmitrii Sarabianov, and Jane A. Sharp.
Special
at
particular,
Guggenheim
project.
curators of the
Deutsche Bank Collection; Svenja Simon, Gallery Manager, and Sara Bernshausen,
Gallery Assistant, both of the Deutsche
The expertise
Guggenheim
Berlin.
Solomon
R.
Guggenheim
Director,
and Lisa
Dennison, Deputy Director and Chief Curator, must be recognized for nurturing the
exhibition.
loans.
of
Berlin, Paul
Max Hollein,
Executive
Ben Hartley,
and Maria
L.
For the catalogue design, we thank J. Abbott Miller and Santiago Piedrafita of
Design/Writing/Research. Anthony Calnek, Director of Publications, Elizaheth Levy,
We are grateful to David Frankel. Stephen Robert Frankel, Jennifer Knox-White, and
Tim Mennel. We would also like to extend our deep thanks to Elizabeth Franzen,
Manager of Editorial
We further thank:
Resource;
J.
Inc.,
Frank Goodwin for his translations from the Russian; Aneta Zebala for
photography in Los Angeles; and Mariia Zubova. We appreciate the input of Jared
Ash, Dimitri
P.
Ilf.
Gerard Lob,
and Alik
all
of the
John E.
Bowlt,
Matthew
TpanBaft B..
(Tie.
JPAMBA*
H*HT0
B\
figure
i.
anonymous
Types at the
"
(left to right)
Ksenia
Boguslavskaia. Alexandra Exter, Vladimir Tatlin. Ivan Puni, and Olga Rozanova
the
Zurich.
at
wtyp").
imroDucTion
maTTHew dtutt
Amazons
modest
is
It
marks a
departure from previous endeavors that have taken a broad view of the Russian
avant-garde,
Russian painting from the 1900s through the early 1930s exemplified by six
who were
at
artists
challenging undertaking.
Some
tions.
been
its
Many of the works have been lent by Russian institutions, some appearing
in the West for the first time since the early twentieth century.
its
milieu. Rather,
and
is
it
taken
at
the expense of
more than a
catalogue-,
fall
it is
under
a collecits
directly
sub-
on
provenance have attended many of the works throughout their history. However,
after extensive investigation in Russian archives,
i3
niTroDUCTion
dates have
it
nance and exhibition history for each work, has been assembled with the assistance of scholars Faina Balakhovskaia. Liudmila Bobrovskaia, Nina Gurianova.
The
some
cal
first
on a range
of subjects. In
background and insight into topics inspired by this enterprise that make the
book an extension of the exhibition rather than merely its companion. How and
confined period are questions that recur throughout this volume Through an
.
investigation of art criticism, artistic practice, and the art market in early twenti-
is
E.
"Women of Genius,"
reflects
on the
artists in
Russia
by the 1910s, the women were quite firmly a part of the Russian art world, and that
without them, future avant-garde trajectories would have been impossible.
artists regularly participated in
Women
at
pendence
that operated
garde, and their involvement within Russian artistic circles. Douglas reminds the
reader that painting was but one facet of their creative output (which also included
and textile design among other disciplines) and touches upon the complex
amalgam of indigenous traditions and foreign influences that informed the art and
stage
The roots
of their confidence
considered against the intricate historical fabric of Russia. In her essay "Between
understanding the
"new woman"
and
social, historical,
in Russia.
comprehen-
political conditions
and
culture
political
maTTHew dtutt
moves
deftly
nomics and
tsarist
culture, sociology
and
cultural history,
and eco -
politics,
The essay
literary,
and
art, literature,
and
theater,
Matich's ideas provide another lens through which the viewer might look
notion of self-presentation
is
at
the
taken up by Nicoletta
Misler in "Dressing
is
another
artistic structure,
and
creativity,
is a
and the
sensitive yet
pointed discussion of the close personal and professional partnerships that the
artists in this exhibition
strates
for
empowerment and
artist,
written by
light
some
cases differ
from
been made:
may in
Such changes have been made
only after careful consideration of recently discovered information. The reproductions that follow each of these essays are arranged chronologically: however, this
is
not meant to suggest that, within a given year, one painting definitely preceded or
followed another; and, further, certain works have been arranged according to
stylistic
considerations.
The
book contains
by the
artists
themselves. These documents not only provide insight into the critical thinking
'5
artist,
niTroDUCTion
these primary sources have previously appeared elsewhere, most have been newly
translated
and
letters.
i.
its
The Great Utopia: The Russian and Soviet Avant-Garde. 7975 1933, organized by the
Solomon R.
eDiTonaL noTe
eDnoriaL noie
The transliteration of the Russian used in this book modifies the Library of
Congress system, so that the Russian soft and hard signs have either been omitted
or indicated with an "i"
(e.g.,
is
also
is
meant
have avoided the academic transliteration systems that can render a familiar
unrecognizable
and writers spent time in Europe or the United States and often their names
received various, even contradictory, transliterations from the original Russian
names have
accordance with the system described above, except when a
been transliterated
in
of uniformity,
variant has been long established and widely recognized, such as Alexandre Benois
Dates referring to events in Russia before January 1918 are in the Old Style.
given date
calendar;
falls
if it falls
St.
1924.
As a general
of
St.
is
If a
renamed Petrograd
in 1914; Leningrad in
name
it is
it
rule,
>7
b JM1L J*
%..
kiM
$uM
HkM. MM,
tk/M.
hL JlifyNlL #C #%#
M<M ik/M.
mtM.
ma
women of Genius
JOHIl
The triumph
of the six
riders."
is
BOWLT
e.
opment. Benedikt
first to
describe
devel-
them as
Amazons, Scythian
"real
its
original
and daz-
Russian culture in Mowers, 190708 (plate 14) to Liubov Popova's hard -edge
abstraction in Construction, 1930 (plate 38),
e.g. plates
all
4953)
to
Nadezhda
movements
in such a decisive
Futurism, or
German Expressionism.
Obviously, this
is
Italian
still
pales
before the pictorial splendor of the work of these six Russian avangardistki.
a friend of
this strength
a friend
women
when,
at
of Genius
women artists and assembling their works into an exhibition is not new:
Andrei Somov, Curator of Paintings
at
"phenomenon"
the Hermitage in
Somov, published
St.
in i883
in his 1903 history of Russian art, Alexei Novitsky included a special section
Russian women
artistsS; in
1910 the
1910s
St.
on
remarkably in the wake of World War the Russian press gave increasing
I
space to the role of women artists and writers, both conservative and radical. More
recently there have been
Russian women
these
why
women were able to live, work, and play in such an unrestricted manner in
and Ann Sutherland Harris organized the impressive Women Artists /^o 7950
of Art.
and the
Udaltsova in a rich panorama that started with Levina Teerline and ended with
first
women of the
its
current research on the history of the Russian avant-garde. Exhibitions that fol-
by Valentine and
Contemporain,
Galerie
Paris, in
Gmurzynska
1983
Amazons
still
further.
on studio paintings
at
the expense of
the applied arts in which the six women also excelled, including designs for books,
textiles, fashion,
communicating some
the whole truth, and inviting us to assume that studio painting was their most
J0H11.
important
ability of
in as
activity
e.
BOWLT
(though ultimately,
it
many countries)
matic achievements of Cubo Futurism and Suprematism rather than a loose sur-
vey of the
late
life
artist; for
the
same reasons,
early
and
works are missing from the exhibition, lacunae that are to be regretted, given
the strong
return to
Realism in the 1920s through the 1940s. Ultimately, the selection of works was
driven by the effect of the whole rather than that of the parts, and the idea of creating an applied-arts section or of including, say, six early and six late paintings
paled before the vision of an iconostasis of iconoclastic paintings.
Dedicated to their
ticular social
and
art,
political ideologies,
opinions about traditional perceptions of women and the need for them to raise
their voices, as she demonstrated in her
"Open Letter"
(see
Documents section).
private statements contain few concrete references to the role of women vis-a-vis
that of
In
fact,
collaborative,
At the same time, the ostensible ethical and social freedoms of these
women
cannot be regarded as typical of the conditions in Russia just before the October
Revolution. They lived and worked within a small circle of relatives and friends
and. however genuine their passion for national Russian culture (such as
ritual
to
with the "real" Russia the peasants, urban workers, and revolutionaries
do
pre-
mix with the gilded youth of Moscow's bohemia or, paradoxically, with
the rich and powerful of St. Petersburg. 6 It is also wrong to conclude that, if these
ferring to
all
Russian
to
1910s:
women were
women
still
of Genius
expected to avert their gaze from "male shame" in statues that were considered
too explicit, 7 and reviewers remarked that young ladies found the
new art to be
thing
is
the fact that these overpowering Neo-Primitivist and Cubo- Futurist paintings
and invent
also a
to
suspend disbe-
placement of criteria.
as carriers of grace,
gave way to the newer metaphor of the creative virago and the militant Amazon.
This inevitably evoked direct political associations with the so-called "Moscow
Amazons"
of the 1870s
War
I,
13
13
toward women as an artistic force in Russian society at that time. She argued that
the
image and a
collective
led
men to the
to
some
Burliuk and Vladimir Mayakovsky, Lepkovskaia's speech was merely the "per-
bedroom.
real
16
The strong contribution of women artists to Modern Russian art was soon
noticed by critics outside Russia. Hans Hildebrandt, for example, emphasized
the role of women artists in both studio painting and design in his Die Frau als
Kunstlerinn (1928), '7 and most of the early surveys of Russian
Modernism draw
jonn.
e.
BOWLT
attention to this fact. Writing in 1916, for example, Mikhail Tsetlin. a friend of
rials,
wove the
carpet.
artistic
is
tions."
l8
echoed in the attention that the Amazons gave to the applied arts, especially
belonged
to
Exter,
artis-
On the contrary,
tic style, a
just as the
artists
all
do not
modern Russian
machines"). 30
Inevitably, this exhibition raises the often- asked question of why the
artists of the
mary role
women
in the
a pri-
to
grapple with this issue and to expose the underlying causes for the freedoms that
Exter, Goncharova,
in artistic belief,
in
because the criteria that may function when applied to Europe and the United
States fail
acolytes,
when applied to
Russia. That
spokesmen"
21
may be true
of the
to
be their
these artists produced most of their avant-garde work before 1917 and
point, at least, were not especially
committed
to
at that
If
25
women
of Genius
hoped
"all artists
23
Judging from circumstantial evidence, there seems to have been no professional jealousy between the male
at
oblivious of gender
seemed almost
and
Tramway V, and in some cases the number of female participants was equal to or
even greater than the number of men. (Six of the thirteen participants in The Store
exhibition and three of the five 1x15x5
aged Goncharova to paint and experiment with Cubism and Rayism. but he also
played
a practical role
24
at
September
his, paintings.
qs
4,
of 1914
to
Woman
around with breasts totally bare, painted or tattooed" and that some would turn up
Goncharova's Moscow venue (which does not seem to have happened),
like this at
men to shave
asymmetrically, show their legs painted or tattooed, and wear sandals. 26 How differbut to be
ent
fair,
is this
apparently serene and mutual respect from the attitude that the Italian
2"
"Women,
Donna futurista
of 191?:
same view, even if Popova did dedicate her Italian Still-Life, 1914
(plate 39)
March
show
jonn.
e.
bowlt
Good Hope,
India, Persia,
much to explain
Cubism and
Divisionism, and her integration of East and West, and urban and rural cultures. 30
The
St.
Kulbin supported Zdanevich, reasoning that the Realist works of Ilia Repin had
once seemed as "savage" as the paintings of Goncharova did then. 3 Malevich was
'
just as
amenable
to play
to his
fig.
97).
How can the cultural prominence and social tolerance of the Amazons be
explained?
tive
One answer to
this question is to
artists
St.
formation of the
first
suit.
Kruglikova was
much indebted),
whom Elizaveta
The kind
of narrative
literature in the
if
all
of whom
life
in France. 32
art
and
that informed the development of the movement known as Neo- Nationalism or the Neo- Russian style, with its emphasis on
the applied arts and industrial design. Russian women were largely responsible for
the rapid expansion of this
and
crafts,
of Russian arts
ple, a principal
at
Abramtsevo,
Mamontov's wife,
and. indeed,
Elizaveta
applied arts. Mamontova, together with the artists Natalia Davydova. Elena
27
women
of
cenms
Bakst and Goncharova would launch the spectacular success of Russian stage,
artist, collector,
and
artists,
including Nicholas
Roerich and Mikhail Vrubel, to her art colony, Talashkino. near Smolensk. As the
her
discipline, 33
Tenisheva promoted the patterns and leitmotifs of local Russian ornaments, integrating them with the sinuosity of Western Art Nouveau, a striking combination
that
at
Natalia Dobychina ran Russia's foremost private art gallery, the Art Bureau,
between 1911 and 1919. 3 4 Situated on the field of Mars in St. Petersburg, the Art
Bureau became a focus of contemporary artistic life, presenting many exhibitions
Olympuses
profitting
styles,
right to the
extreme
left.
artistic
" 3
s
While
and Somov,
she did not hesitate to indulge in more provocative ventures. For example, the Art
Bureau sponsored the Goncharova retrospective in 1914 and 0.10 the following
works by Chagall. Exter. Rozanova, and other radicals in its regular
year; included
and poetry
declamations. True, Dobychina was a merchant for whom material investment was
perhaps more important than aesthetic commitment, but, nevertheless, she can
be regarded as one of several important Russian patronesses or "facilitators" of the
activities
for example,
The Amazons
of the avant-garde
civic authorities. 36
lacking in their male colleagues. They expressed this synthetic talent not only in
their disciplined, analytical paintings, but also in their ready application of ideas
to functional designs
such as books,
textiles,
and the
stage.
bosom, challenging the public, and exhibiting paintings that the Moscow censor
become
she
left
Russia for Paris, having been invited there by Diaghilev to design sets and
JOHn.
BOWLT
e.
costumes for his Ballets Russes. 3 ? Obviously, personal interaction with the public,
and the performance of her life generated the most diverse responses.
The reviews
of her 1914
St.
Goncharova, as a woman
artist,
how provocative
Zarubin saw in her paintings "the disgusting, cross-eyed, crooked, green and red
mugs
cent
of peasants," 38 while
gift of
on the
"woman who lacks the ability and tenacity to bring things to their logical completion and who flitters from one easy victory to the next,"* and in another referring
to
her
trials
to stage design,
she
and impulsively, assimilating and refracting the most diverse aesthetic concepts.
She
left
the "huge strength of Russia" for a "dry and pale Europe"* 2 in 1914, at the
which she
fully
left for
Rozanovatodo.
Although Exter lived for extended periods in France and
constant contact with the avant-garde in Moscow,
St.
Italy,
she maintained
from the outset was an important intermediary between French Cubism and
Simultanism and between
Italian
at
David
Burliuk's Link exhibition in Kiev stimulated a response that was typical of prejudices then
and now: "Mr. Exter has daubed his canvas with unrelieved blue paint,
the right corner with green, and signed his name."* 3 While intended as a dispar-
agement, this review emphasizes both the ultimate "transsexuality" of the Russian
avant-garde and the real accomplishment of Exter's artistic system
if
French Cubism and the linear dynamics of Italian Futurism, Exter's paintings
manifest an extraordinary sensitivity to color and hence to the new concept of studio painting as an independent exploration of color consonance, dissonance,
rhythm, and arhythmicality. As a follower of Suprematism from 1916 on, the "very
bold" Exter** painted non-objective works that depended exclusively on spectral,
planar contrasts for their effect.
Certainly, Exter
rial
medium of the stage. Yet unlike many other artists especially those who worked
for Diaghilev's Ballets Russes,
29
women
of Genius
+5 It
lat-
was the
duction of Thamira Khytharedes and costumes for Yakov Protozanov's 1924 film
Aelita (fig. 84). In her stage designs, Exterde- emphasized
ornament, employed
colored lights for dynamic effect, and attempted to transfer the kinetic element of
It is
easy to understand
kinetic denominator,
so
its
its
formal definitions via gradations of light. Exter also tried to transmit this sensation of malleable space to her other design enterprises
interiors,
and books,
all
marionettes, clothes,
her hands, a simple paper lampshade turned into a work of art. "
Like Exter, Rozanova was well aware of Italian Futurism, although unlike Exter,
she did not travel in Italy and did not have an Italian companion (Exter and
Ardengo
Soffici
and Kliun
fol-
(as in his
Italian
artistic
impulse not only in her vivid, dynamic paintings, but also in what Yurii
Annenkov described as the "black plumes of her drawing. " +? She used these
"plumes" to decorate some of the most radical books of the Cubo- Futurists, especially
(Let's
Grumble, 1913), and Telile (1914); her drawings for these projects inspired
Kruchenykh to
call
her the
"first
Petersburg. "4 8
Rozanova's visual deductions were calculated and formal, and she avoided
the puns and puzzles that Goncharova applied to her Futurist paintings, such as
Bicyclist,
191313
(fig.
and
ca.
mind
1916 (plate
8).
1913,
and
As a leading advo-
behind: "Only the absence of honesty and of a true love of art provides some artists
with the affrontery to live on stale cans of artistic economics stocked up for years,
and, year in year out, until they are
to talk about
fifty,
to
first started
J0HI1.
e.
BOWLT
designs.
1918, said
Annenkov,
left
sense of intuition could never compromise with the old forms and always protested
against
If
all
repetition,
art. 5
to Italian Futurism,
stylistic laboratory.
Popova and
Not interested in
to
light
now encouraged
and to reassemble
it,
to
break the
details of collage
French Cubism, of course, had an impact on many Russian artists, from Robert
Falk to Malevich, from Vera Pestel to Tatlin, but Udaltsova was perhaps
faithful practitioner.
"didn't understand
its
most
much of what Le
Fauconnier was saying, "5 3 Udaltsova assimilated the formulae that Le Fauconnier
and Metzinger were teaching: she accepted the Cubist vocabulary of guitars, vio lins,
and nudes, repeated the restrained color schemes, and applied the faceting
and
composition were the essence of studio painting, and she explored the Cubist
precisely as an exercise in analysis and "deconstruction,"
Cyrillic characters to
style
sometimes distributing
Like Popova, Udaltsova was aware of Italian Futurism, and her representation
of rapid
Woman),
articulations,
Traveling
lines,
and
as in
191313 (plate 31) tell us
Woman,
come
close to Popova's
works (such
as
1915 [plate 33]), and they already contain the linear emanations
and accessories of
1916-18. Udaltsova's infrequent sallies into Suprematist painting are also distin-
women
of Genius
we
at
more that of a theoretical custo while she welcomed "the freedom of pure cre-
55
compositions in watercolor and gouache can hardly compete with her major Cubist
tures beneath heavy impasto and pulsating texture. After years of Cubist asceti-
Pursuing a restrained table of color, Udaltsova and her husband, Drevin, came to
share a
very
similar manner.
that
56
a clear
may have
for he maintained that Modern art
it
modular
Meierkhold
soon
as
he saw
but her importance lies primarily in her theoretical and practical contributions to
early Soviet culture.
taught at
Exhibition,
and^a^ = 35.
arts, especially
at
Inkhuk on construc-
32
J0HI1.
BOWLT
e.
and
textile
new Soviet
commitment to book
make Stepanova
"look"
should be accepted as an
tion rather than by
artistic
a result, Stepanova's
and
maker
and
Esfir
visit
fulfill
the
same commissions,
Shub and her husband, Alexei Gan Vladimir Mayakovsky and Osip
;
Lilya Brik;
and Popova and Alexander Vesnin). The formal parallels are espe-
ments from the same postcards and newspapers) and in their propaganda albums
of the 1930s.
Even
so,
process were very different from Rodchenko's, for she did not share his enthusi-
textiles,
its
if
her (and
is
at
the
human figure, even in what she saw as her most radical paintings, such as Dancing
Figures on White,
robotic, they
still
relate to a
if
RtnyKhomle, Stepanova was paying homage to the Cubo- Futurist zaum poetry
practiced by Velimir Khlebnikov and Kruchenykh well before the Revolution and
investigated also by avant-garde painters, including Pavel Filonov, Malevich. and
Rozanova.5 8 In
tions
of or,
fact,
some
rather, as
"Gly-Gly," see
33
women
"words
of cenius
at liberty,"
a dog's
barking
might be. The phonemes that Stepanova assembled in jazzy, kinetic compositions
"sherekht
zist
kigs mast
is
a linguistic
and visual
to look.
ing are
word
in the
design attracted
Alexei Tolstoy and a student of Tatlin, helped with the decoration and illumination
of
first
and
it
was
some
if
Russian avant-garde,
Riangina's painting Higher! Ever Higher! 1984, and Mukhina's enormous statue
,
(fig. 10).
Woman on top
But these statements were the exception rather than the rule,
Stepanova, and Udaltsova. Soviet women artists operated in a very different ambi-
Brodsky as
in
artist
whether
Academy was again the person of privilege and power. But there is a historical
and mythological consistency in this volte-face: after all, the Amazons had been
the female warriors who had warred against the Greeks, the robust outsiders who
34.
C BOWLT
J0HI1.
classical civilization.
not.
of an
anonymous book
on Mariia Bashkirtseva, Eleonora Duze, Sofia Kovalevskaia, and other Russian women
(St.
trans.
John
E.
Bowlt (Newtonville,
p.
MA:
4.
same title
(1912)
is
is
1,
5.
6.
The relationship between the Russian avant-garde and the "establishment" was an intricate and
ambivalent one. While
artists
pp. 51432.
2,
indicated not only by the fact that pillars of the establishment looked after the interests of the
Goncharova against accusations leveled by the Moscow Justice of the Peace in 1909), but also by
the fact that avant-garde artists often had themselves photographed next to the rich and the
titled.
7.
According to Valentin Kurdov, even in 1 9 18 the "naturalistic details" of Stepan Erzia's Liberated
Man caused women to cover their faces and the local authorities to remove the statue.
Pamiatnye dniigody
8.
p. 56.
on grounds
at
at
the Society of
Kurdov,
(St.
p. 97.
(St.
See Richard
Stites,
Kostylev, "Nashi ama.zonki,'" Zhurnal dlia khoziaek {Journal for Housewives) (Moscow), no.
'
19 (October
1,
1914), p. 24.
i3.
Genialnye zhenshchiny, p.
14.
15.
Ibid.
16.
Quoted
17.
18.
in "Disput
2.
35
18, 1914.
18, 1914.
women
I.
of Genius
p. 76.
iz
and Andrei
1,
p. 114.
1930), unpaginated.
ai.
Donna
Stein.
22.
et al..
cat.
Theatre
Design
23.
(Easter with the Futurists) in Sinii zhurnal (Petrograd), no. 12 (Marcli2i, 1915). p. 9.
24. Varsanofii Parkin, "Oslinyi khvost
Mmnster, 1913)
25.
Manuscript Section
Ilia
(call no.:
f.
mishen (Moscow:
would be devoted
to
Museum.
St.
Petersburg,
Rayism.
26. "Manifest k
(September
27. Filippo
mishen." in Parkin
p. 55.
15.
1913). p. 5.
Tommaso
Donna futurista"
cat.
(Milan:
Comune
Museum,
St.
al.,
L'altra
f.
on March 3i,
11. 1.
19,22, 26).
and
St.
(call no.:
3i. Nikolai
al..
f.
177,
Ilia
Repinet
and
p. 39.
For further information on Bashkirtseva's involvement in the movement for women's rights, see
Colette Cosnier, Marie Bashkirtseff:
would
33.
Moscow
ed.khr. 24).
in
like to
Un portrait sans
me with this
information.
Tenisheva wrote a dissertation on the subject of enameling, which was published as Emal 1 inkrustatsiia (Prague:
at
f.
420, op.
i3, ed.
undated
Manuscript Section
letter to Natalia
(call, no.:
36
f.
p. 116.
March
(call, no.:
f.
17,
420,
1.
7).
St.
Petersburg,
JOHn.
BOWLT
e.
koshchunstvo," Severnyi
Petersburg),
listok (St.
March
(call no.:
16, 1914;
f.
430,
0.
1,
ed.
khr. 32).
39. G. V. [GeorgiiVereisky], "Vystavka Goncharovoi," Teatri iskusstvo (St. Petersburg), no. 15 (April
i3,
1914), p. 339.
(St.
Petersburg), no. 6
(1913), p. 71.
41.
November 1913,
Petersburg).
(St.
p. 153.
4a. Natalia Goncharova, letter to Sergei Bobrov, February i3, 1917, Russian State Archive of
Literature
(call no.:
44.
1.
45. "Kostiumy
2554, op.
V.
I.
1.
5).
14-16 (1908),
23 (1908),
p. 3o.
p. 21.
Moscow
1,
f.
(call, no.:
f.
2618, op.
1,
p. 43.
(ca.
and Art,
48. Quoted inVeraTerekhinaetal., OlgaRozanova 1886-1918, exh. cat. (Helsinki: Helsinki City
Museum,
1992), p. 36.
49. Olga Rozanova, "Osnovy novogo tvorchestva i prichiny ego neponimaniia," Soiuz molodezhi
Petersburg),
March
Criticism, n)oz-n)3^,
50.
51.
John
E. Bowlt,
(St.
p. 109.
52. Konstantin
53.
54.
GAKhN,
V.
1.
III.
1926), p. 46.
Mukhina.
p. 27.
55- Ibid.
58. For
let iskusstva,"
Krasnaianov (Moscow)
Urban, eds.
I:
11
it,
(November
1927), p. 236.
1998).
59.
The
critic
Formalizm
Osip Beskin used these terms in his description of Udaltsova's painting; see Beskin,
v zhivopisi
3?
1933), p. 9.
figure3.naTaua GoncHarova
Self-Portrait with Yellow Lilies,
Oil
1907
on canvas, 77 x 58.2 cm
Moscow
six (anD a
Few more)
CHanoTTe
DoiiGLas
Lilies,
1907
(fig. 3.
lilies.
She confronts the viewer without pretense, withholding nothing, directly and
openly pleased with the paintings behind her.
close to her head by a scarf.
The feminine
ruffle
on her sleeve
it.
is
countered by the
only temporarily to have exchanged the painter's brush for orange flowers.
a splendid
these
competitive, and
uncompromis-
group
other,
seem the
women artists who lived in the same time and place, who knew each
and whose
art is substantial
privileged history.
Yet in looking at this exhibition the viewer should be cautious, for the
raises certain interpretive questions.
as a
"group"? There
is
show
a separate
category "female artists" and in fact they would certainly have considered
such
a distinction a
as far as
terms of their
art.
39
six (anD a
centrality of
work in their time, which seem so unusual in the experience of the rest of the
Western art world. Why, we want to ask for our own sake these women at this
time in this place? It is an interesting historical question. Even so, we should not
their
would have
felt it artificial to
single
them out, and quite beside the point. They accepted and worked almost completely
within the male exhibition-and-sales paradigm, and they considered themselves
artists first, zealous participants in a great aesthetic revolution. In this, a
identity
gendered
at all.
modern artists or their summary artistic merit on the basis of paintings alone.
As we view the exhibition we should remember that in no case did their artistic
record consist only of painting; like many of their vanguard peers, they responded
to the demands and interests of their times with a variety of artistic forms. True
Modernists, who felt they could and should change the look of the world at large,
they were stage designers, sculptors, photographers, and designers of books, textiles,
and
art.
An important question is how the women interacted. Did they know and identify
with one another? Did they work together? Share artistic or other interests?
a social class.
Of the
class; their
self-
more
likely to
of the
be less well
off
oldest.
of potential patrons.
Delaunay, five years older than Udaltsova and Rozanova, she served as a role model
and
out at us from old photographs of her was a delightfully irreverent, sexy woman,
extremely low decollete, sported trousers on occasion, and without any thought
of marriage lived openly with the painter Mikhail Larionov.
directness scandalized society, and she often outraged critics and official
den meanings. Such attention more than once hindered the progress
of hid-
of her career.
40
CHanoTTe DOucLas
1906,
when she was associated with the Symbolist journal Zolotoe runo (The Golden
and also met the future impresario Sergei Diaghilev, who facilitated her
Fleece)
entry into the Russian section of the Paris Salon d'Automne. The next year she
for "wreath").
at
November 1908,
still lifes
and
Ayear
Stephanos joined with Exter, a graduate of the Kiev Art Institute, to produce an
exhibition in Kiev that brought together young artists from Russia and Ukraine.
Appropriately called Zveno (The Link), this exhibition was one of the
first
first to
unite
time, works by
Exter.
The Link had significance beyond the presence of these two major women
artists;
it
arts-and-crafts
St.
movement
Nouveau inspired
Petersburg) and the fledgling Russian and Ukrainian avant-garde. Over the
next ten years, this early connection was to condition the association of applied- art
and avant-garde
styles.
a total of twenty-six
by Liudmila Burliuk,
is
artists,
eleven were
remarkable: of
Petersburg, led
already recog-
nized for their Art Nouveau embroidery, and Natalia Gippius, a sculptor and one
of the three talented sisters of the flamboyant
Chembers
like Exter a
graduate of the Kiev Art Institute. Pribylskaia soon began to direct workshops in
the Ukrainian village of Skoptsy that produced
tional patterns
lifes, pointillist
still
dery and designs for embroidery alongside her painting. In succeedingyears, she
organized a group of women to produce abstract embroidery for avant-garde
artists,
Both Exter and Goncharova pursued an active exhibition schedule with avantgarde groups in the major
cities.
Unlike Goncharova,
who
artists,
had
Exter
from the first was drawn primarily to the developing avant-garde. After her graduation from the Kiev Art Institute and subsequent marriage to Nikolai Exter, a
41
a life of art
both at
home and
six (aiiD a
mom
Few
nissian
Koonen describes
women
in her
nature and appearance the two women were, Goncharova seeming very Russian,
Exter
Exter was part of The Salon, an exhibition of Russian and Western artists that
opened
on to
in
St.
to Kiev in
initially
among the
The
direct emotion,
color of painters
such as Erich Heckel, Ernst Kirchner, Max Pechstein, and Kees van Dongen
(a
Dutch-born artist who exhibited with Die Brucke) particularly appealed to them.
Up until
1913,
Cubism and Futurism, the German painters were an important source of inspiration for this wing of the avant-garde. Both Exter and Goncharova were also represented in the December 1910 exhibition of the Moscow Jack of Diamonds, an
ad -hoc exhibition group organized
travel
and beginning in 1908 she lived abroad for months at a time. Her frequent travels between Russia and the West Switzerland, France, Italy provided
traveler,
subjects for the Post-Impressionist studies of the Swiss countryside and the Paris
streets that she brought to exhibitions in Kiev
and
St.
Petersburg.
It
was often responsible for the Russian avant-garde's almost instantaneous infor-
mation about the contents of the most recent Paris shows, or about the
cussions on Cubism. In Paris she worked
Academie de
la
at
latest dis-
as well.
She
a child
in the
same
St.
Petersburg.
After her marriage to Robert Delaunay, she maintained a household in Paris that
was particularly welcoming to Russian and Ukrainian artists, who visited the
Delaunays and sometimes stayed with them for lengthy periods.
After the
of
its
first Jack
Diamonds"
as
an
42
CHarLOire DOUGLas
drew, however, sensing their lack of control of the group, and instead began plans
for a
in
clearly
the organizers of the Jack. Neither Goncharova, Exter, nor for that matter any other
opened late
in January 1912.
Moscow exhibition,
arranged evenings of lectures and debates, and toward the end of the
as audience
artist
In
fact,
the name.
ignorant."
its
first of these,
Burliuk
is
no reason to laugh
relation to primitivism,
and weakness
a long disquisition
and claimed
Diamonds
of subject matter.
to
on the origins
first
of
Cubism and
first
time,
half a dozen
The Donkey's Tail section of the show, but this was compensated for by the
her contribution she exhibited
The alliance
fifty- four
size of
works.
and Rozanova into many of the same exhibitions. Rozanova had sent eight works
to the
Tail
of Youth's
December show in St. Petersburg. Both artists contributed strong paintings, yet
radically different ones:
art,
March
style of painting, at
as
though written by
preparing a solo exhibition, a survey of her works from the preceding ten years.
43
figure 4.
mananne wereFKin
[MariannaVerevkina]
Self- Portrait 1
1910
Tempera on cardboard.
Stadtische Galerie
44
51
x34 cm
im Lenbachhaus, Munich
CHarLOTTe DoucLas
Opening in fall
media and
1913. the
styles
St.
Petersburg for
another solo show. The exhibitions were a highlight of the season, and impressive
enough to reverse
particular.
critical
all St.
Petersburg and
all
Moscow at
her feet." 12
also successful in
Goncharova, and for Exter as well. Both had good contacts in Western Europe. Exter
Italians,
living in Paris.
contributing to
at least
Rome. In March
life
artist
1912. she
and in October half a dozen of her works could be seen in the same
d 'Or exhibition
at
Goncharova
the Galerie de
la Boetie.
city at
Paris,
the Section
Salon des Independants. Goncharova was exhibiting at the Hans Goltz gallery in
Munich, the second Blaue Reiter exhibition: that same year, she also showed in
Berlin (at Der Sturm) and in London, in the Second Post-Impressionist Exhibition.
works by
Goncharova and Marianne Werefkin (Marianna Verevkina) were shown at the PostImpressionism exhibition in Budapest, and both artists, as well as Delaunay and
Miinter. took part in the first Herbstsalon,
show: a
work to Rome
for
Futurista.
Such frequent exposure gave Goncharova and Exter currency as members of the
Most
abroad
influenced their later decisions to emigrate. The younger women artists were less
well-known in the West; in fact, with the exception of Rozanova's single entry in the
Rome exhibition. World War I and subsequent political upheavals prevented them
from showing their work in Western Europe for the next
eight years.
Goncharova and Exter began their careers unknown to one another: Popova and
Udaltsova were close friends from their student days. Together with several other
and
Pestel.
Liudmila Prudkovskaia
which had
its
Private studios were crucial to the history' of Russian art. For a major part of the
future avant-garde, they were places of incubation, places where aspiring artists in
45
got to
and
early twenties
mum
nissian wrimcii
middle
class
inspired one
another, and developed into mature artists. Between 1905 and 1908, Udaltsova
name was then still Prudkovskaia) her sister Liudmila, Popova, Pestel,
and Mukhina attended the Moscow school run by the talented artist Konstantin
Yuon and his colleague Ivan Dudin.'* (Udaltsova and Pestel arrived first, in 1905
(her last
and 1906
respectively,
'5
Hungarian artist Karoly Kiss arrived in Moscow (from Munich, in 1909) and
opened a studio school, Udaltsova, Pestel, and Karetnikova immediately transferred to his tutelage.' 6
The women were an intense and energetic group. Yuon was a great admirer
of the Post-Impressionists,
it
it
latest journals,
in Russian exhibitions
and private
is
collection;'?
women developed together during this period, provoking and influencing one
another. Mukhina, for example, credits Popova with deepening her basic aesthetic
understanding:
It
then
first
began to reveal
She made
saw. But
if
to
me understand that.
She taught
feels
and knows.
me to look at color,
at
Even
work of art.
still
artists
began to
were
far
the rela-
new
see.
'
from untraveled
and major museums of Western Europe. In 1904, when she was just fifteen,
Mukhina had traveled throughout Germany; Pestel traveled to Italy and Germany
in 1907; Udaltsova in 1908 went to Berlin and Dresden; Popova had gone with
her family to
Italy in 1910.
So
it is
left
run by one
ill.)
in 191?. (Liudmila
1
'
pension
dom, which may seem to us somewhat surprising, was due in part to the
46
fact that
married.
20
Paris. 191213.
of means,
supervision, but
Mukhina.
it
a cer-
it
was
trip
at
Le Fauconnier, Jean Metzinger. and Andre Dunoyer de Segonzac gave lectures and
artists
would mark their mature work. Strangely enough, however, they had not made
work with Matisse, but his school was already closed, so we went over to Maurice
Denis's studio. But there we ran into an Indian with feathers sitting against a red
background and we
Le Fauconnier.
wanted."
2I
applied art
fled.
Mukhina
the
also
Antoine Bourdelle
came to
at
lot
and
at
Under Popova's
excited. Behind it you could feel something great. I was bothered by the question,
whence and why? Why do people think in a certain way?" -3 In the spring of 1913.
to
Moscow: but
first
Bourdelle's. 2 +
Udaltsova would not return to Paris. Her mother died in September 1913. and
she was
left
4:
who was by
figure 6.
naTaLia GoncHarova
year, to join
ill.
cm
Mukhina and
Italy. 2 5
The three women traveled to Nice. Menton, Genoa, Naples, Paestum, Florence,
and Venice, and spent two weeks in Rome, everywhere sketching, painting, and
exploring Gothic and Renaissance architecture.
While they were away, Goncharova arrived in Paris to attend the gala opening
of LeCoqcTOr at the Opera.
It
ballet -opera
city,
were
a dazzling success.
fifty of
They
an
at
his catalogue essay, called her art "a revelation of the marvelous decorative free-
dom that has never ceased to guide Oriental painters amid their sumptuous treasure of forms and colors.
the
"
2"
at
to
go to London with
At the outbreak of the war, she and Larionov were taking a holiday, and her boldly
move into the Western art world was cut short by their hasty departure for home.
The wartime isolation of Russian artists had an enormous effect on avantgarde art there; now denied any possibility of travel and any firsthand knowledge of
Western art activities, their aesthetic lives seemed to concentrate and intensify.
During the disastrous military campaigns of 1915 and 1916, women made signifiorchestrated
cant innovations in artistic style and character. With the exception of Goncharova,
who suddenly left for Switzerland in response to a summons from Diaghilev, and
Stepanova, who had not yet penetrated avant-garde artistic life in Moscow, the
women showed together for the first time in the Tramway F exhibition, which
opened in Petrograd early March 1915. Exter, Popova, Rozanova, and Udaltsova
exhibited their very personal varieties of Cubo- Futurist work. The following
48
CHarLOTTe DOUGLas
figure
i-
Suprematist paintings
at
the
o.w
December,
the historic
six
women in
and Udaltsova were shown in the storefront space of The Store in Moscow. Surely a
habitual gallery-goer, by this time, might mistakenly have consolidated
a female "group."
them into
a9
art.
extremely hard by the war, and women attempted to lessen the burden through the
production and sale of handwork. At the same time, the design of fabric by professional artists also increased. In
at
it
showed
pillows and scarves by Boguslavskaia's husband, Ivan Puni; four handbags and
eleven designs for embroidery and other items by Georgii Yakulov (who
may have
been inspired to take up this work by his prolonged visit with the Delaunays
Paris two years previously, just
ing);
in
Malevich contributed designs for two scarves and a pillow. Most of the needlework
Moscow in late 1915 early 1916, avantgarde designs appeared together with the Symbolist and Style Moderne work of
At the Exhibition of Industrial Art in
the Abramtsevo and Talashkino art colonies. These included Art Nouveau fabric
designs by
vases,
Lindeman and
pillows,
lamp-
artists'
Handwork was
still
possible, however,
and throughout
1916 and 1917 the avant-garde continued to create designs for needlecraft.
49
figure 8. Act
of Romeo
and Juliet,
Hundreds
of
member of the
the 0.10
Pestel, Popova,
through
a journal
war and
finally to the
it,
a section
on
December
It
the
being translated from painting or collage. This exhibition was followed by the
Contemporary Art show, which opened before the end of the year with an entire
section of embroidery, and by the Decorative -Industrial Exhibition, which included
Moscow in 1919
at a joint
and handbags.
German offensive
intensified,
ing and deadly. In the progressive theater, two great directors, Alexander Tairov
brilliant
figure 9.
Romeo
LIUBOV POPOVa
in a Mask,
1920
in
Moscow. Though
and
sets,
it
lighting;
and
an opportunity to create
at a
site of artistic
on topics
of
way to communicate
immediate
cm
Moscow
directly with a
new
same time,
artistic option,
"democratic" audience
it
scope for invention. Between 1917 and 1934, Exter, Goncharova, Popova, Mukhina,
sets.
Not
while Stepanova designed The Death ofTarelkin for Meierkhold's studio, Exter
and in the
result-
ing productions the visual element assumed a prominent, often primary role.
Moscow from ayear-and-a-half-long interlude in Kiev during fall 1920, and to the shock of many she married again. Georgii Nekrasov was a
minor actor four years her senior; old friends considered him beneath her station
Exter returned to
in
life,
her
art,
a difficult time.
and helpful in
Chamber
Theater, Exter took up a project she had dropped three years earlier: decor for
six (and a
women
for
3o
The two
sets of designs,
feeling she
remembered from her visits to Venice and Florence. Popova's waterand Juliet show similar scrolling, but the space is more clearly
where Exter's designs are colorful and exuberant, Popova's are precise
with Bronislava Nijinska and Tairov, Popova's are reminiscent of her CuboFuturist painting of 1915
fig. 9).
Exter's set
of the six
women, she
was also unlike most of them in that she came from a working-class background-,
while she was growing up, her mother had worked as a maid. After marrying
the very
at
bookkeeper in a hardware
store.
the Yuon/Dudin school and at the school of Mikhail Leblan. In 1916, having
live
Even
style
at
left
her
similarly impoverished
in an Art
Nouveau
garde art only in 1916, but she progressed quickly; her works on paper from 1917
of the
artist's
books. Her
move
into
at
the
same time
radical
distinctive in its
of Sonia
abstract,
Delaunay
own right.
The October Revolution did away with the private shops and
5?
and
offices in
which
CHarLorre DouGLas
by the
Soviet government provided her with a new means of livelihood. Soon after the
on administrative
and Art Subsection of IZO Narkompros. At the same time, she served on the
Presidium for the Visual Arts of the
artists'
gave her an opportunity to work out her artistic ideas with students.
When Inkhuk
was formed, in 1920, she was one of its founding members, and served
as
academic
Popova, Stepanova, and Udaltsova took leading roles in the Inkhuk discussions
25 exhibi-
The exhibi-
tion's title
was
indicative:
show, but the mathematical equation also gave notice of practical aims. These
shows were
to
be the
artists'
ideas.
Udaltsova did not take part; she had given birth to a son just weeks earlier. 3
'
There was also another reason, however: she strongly disagreed with the
Constructivists' resolution to
forms. In
fact,
Udaltsova and
artist
Andrei Drevin
practical art
left
end
that
stage. This
cul-
from the
thetic critics
and
film.
defended the new theater as a move away from the elitism of the pre-
The
close relationship
made
its
debut
its
at
slides
proxim-
at
the State Higher Theatrical Workshops on April 25, 1922. The collapsing furniture
December 3,
bill.
November 28
creations.
53
vera icnaTievna
muKHina
Woman, 1987
figure io.
Goncharova had
Russia during the war, well before the Revolution, and did
left
not return when she might have. Exter remained in Russia while her mother was
still alive,
she prudently
a living;
in 1924,
of the Revolution
with varying results. Rozanova and Popova died in 1918 and 1934
of the
country's infrastructure. Udaltsova survived, but her father did not; he was shot by
weeks
later,
the result of her long illness; and Udaltsova's husband, Drevin was
As the 1930s proceeded, the post- Revolutionary avant-garde gradually lost its
ascendancy,
first falling
political pressures
art.
By the
all
inno-
54
late
state.
still lifes.
During the
Stalinist terror
CHarLOTTe DOUGLas
and
Collective
Mukhina was recognized by the regime for her sculpture The Worker
Farm Woman, which stood atop the U.S.S.R. Pavilion at the Paris
World's Fair in 1987, but she and her son were briefly arrested, and her husband.
Alexei Zamkov. a physician, was imprisoned and exiled. Karetnikova was arrested
and sent
in the 1930s
in captivity.
to Siberia;
Karetnikova committed
suicide.
Is
Russian art history, as seen from the point of view suggested by the lives and
practices of these
very.
same kinds
of success. Perhaps greater weight should be given to their work in stage design:
Exter. Goncharova. Popova.
And textile
all
than in the male paradigm. Collectively, they had more experience in Western
came
at
although
it is
home, during World War I and the Russian Civil War. While
friendly with one another to varying degrees, they could also be bitterly competitive
a circumstance in which they are also no different from their male counter-
artists.
1.
The
letters
their families.
artists
have
ellipses,
artists'
usually bv
generally not forthright about the basis of such exclusions. After 1991. there was
omit the
as they
still
little
reason to
apt to be reticent
about publishing anything of a personal or sexual nature, or political views that might be embarrassing to families or living persons.
2.
After the Russian Revolution. Evgenia Pribvlskaia would organize the crafts section of the 1 925
Exposition Internationale desArts Decoratifs
3.
et Industriels
Modernes. in Paris.
4.
5.
55
six (anD a
6.
Elena Genrikhovna Guro (18771913) was a writer, poet, and painter; she died
leukemia.
Anna Zelmanova
at
an early age, of
p. 92.
8.
9.
Mikhail Larionov himself did not inspire confidence about his work. Composer Igor Stravinsky,
said of Larionov,
"He made
Oblomov, and
Craft,
Conversations with Igor Stravinsky (Berkeley and Los Angeles: University of California Press,
1980), p. 99.
11.
12.
11
14.
A Street
in.
Moscow, and
to the
Tlie
Grape Harvest.
Vera Mukhina also worked in the studio run by the sculptor Nina Sinitsyna. KonstantinYuonwas
a
He and
at
Karoly Kiss was born in Arad (now Romania) on October 24, i883; he died in Nagybnya (now Baia
among students
at
at
among
Moscow for four years
the Nagybnya free school for 1902 and 1903. In 1904 he was
I,
an enemy alien. After returning home, he withdrew to Vilgos, near Arad, and in 1931 he
as
settled at
the artist's colony in Nagybnya. See Jeno Muradin. Nagybnya.- Afestotelep miiveszei (Miskolc,
Hungary, 1994). The author thanks Katalin Keseru and Oliver Botar for pointing out this information.
17.
Sergei Shchukin, a
Moscow
industrialist,
among others,
before World
War
in
Moscow. He opened
his
St.
I.
His collection
mansion to local
artists
and students
for study
on Sundays.
18.
19.
I.
(1989), p. 20.
20. Udaltsova
21.
11
to
Alexander Udaltsov.
Nadezhda
1994), p. 10.
22.
56
Iza
Burmeister,
Bourdelle's see
CHarLOTTe DoucLas
I.
Mukhinoi,"
p. 19.
24.
NinaYavorkaia, eds.,
B. N.TernovetS:
after the
khudozhmk,
and
1977),
p. 58.
25. Iza Burmeister, also
remained in Paris
after Udaltsova
on May
a sculptor
24, 1914.
to
at Bourdelle's.
They
Moscow.
17
80.
15 June, 1914.
show were
(Vasileva).
Pavel Markov, ed.,A. Tairov, Zapiskirezhissera: Stati. Besedr. Bechi. Pisma (Moscow:
pp. 287-88.
3i. Udaltsova's
and Alexander Drevin's son Andrei was born on August 26, 1921.
57
VTO.
from
1970),
figure
Oil
11.
Anonymous
on canvas, 85.8 x 68 cm
Portraitgalerie. Schloss
II
of Russia-
moDern women
Laura eriGeLSTein
The
Russia.
When,
unrest, they
came
under the
strain of war
artistic careers.
and
social
How surprising, it
would seem, for an old regime that clung to the values and public institutions of a
preindustrial time, inhibiting both the free expression of ideas and the free activity of its subjects, to
that
women,
women in some ways benefited from the mixture of traditionalism and innovation
that characterized the old order in
(r.
its
first
elements of European culture and statecraft to enhance the power and welfare of
the realm. Yet Russians
cultural
to
came to
women as well.
side their
men. Rejecting tradition, even in the matter of succession. Peter had his
1
own right
59
rule in her
(r.
17631796),
russia'S muiiern
in the
women
she appointed a
(r.
St.
1763).
its official
incorporation in 1764.
Paul
(r.
to exclude
asserting their masculinity on the parade ground and advertising their devotion to
family
life.-
High-born
sister of Alexander
and Great Reforms of the 1860s discussed their plans in the drawing room of
woman of culture,
at
and
and
intellect,
scholars,
elite,
which comprised
were restricted in their public roles by convention, limited education, and exclusion from
civil service.
to
still
life.
peasant wives
and daughters, husbands and sons had greater mobility and wider access to urban
life,
schools,
29 percent of men could read, against a mere 10 percent of women. Ry 1913, only
31 percent of the somewhat better- off female factory workers were literate. 4 It is
not surprising, then, that critics of the regime cited the peasant woman's
lot as the
emblem of all that was unjust and outmoded about the traditional social order.
The theme
of women's oppression
had
a pedigree dating
elo-
quently of the damage inflicted on the privileged as well as the dispossessed by the
moralism
alike,
sion as intrinsic to the project of social transformation. In the 1860s, the generation that
the
came
name
clothing,
of science
and
social change.
followed the lead of Vera Pavlovna, the heroine of Chernyshevsky's novel What
60
Is to
aur.i i-ni.cl
icm
became
These attitudes evolved into the fervent Populism of the 1870s, as educated
of resistance to oppression.
Alexander
II (r.
official for
having mistreated
opment, the growth of cities, and cultural change. Market forces created new
opportunities for peasant
own bodies,
By the 1890s an exploited working class had joined the impoverished peas-
antry at the bottom of the social pyramid. In this context, nostalgic agrarianism
of sexual equality.
civil rights
came from a range of figures in state service, high society, and the cultural elite.
In the wake of the Crimean War (18541856), the educator and physician Nikolai
Pirogov (18101881) endorsed the training of women as nurses. In the 1870s, the
Ministry of War, under Dmitrii Miliutin (1816-1913). admitted
ical
academy. Post- Reform doctors and lawyers went to the countryside not to
revolt but to serve in the newly instituted local courts or work for the
stir
newly created
organs of rural self- administration (the zemstvos) They bemoaned the abuse of
.
peasant wives
even
at their
husbands' hands and decried the laws that made divorce and
all
1894-1917) turned
61
to the
III (r.
Mukhina. and
domestic
life as
idyll of
its final
its
monarchs clung to
example, to
sponsor the canonization of saints than grant religious toleration, the cultural
atmosphere was
alive
arts,
The
They represent
a single
The
Moscow,
St.
into impoverished
married fellow
artists,
all
of them,
the crucial years were those that spanned the revolutions of 1905 and 1917.
6a
The
[.aura
enceLSTem
group's fate neatly illustrates the possible consequences of the Bolshevik victory.
Exter and Goncharova emigrated; the others remained
quickly succumbing to illness, and Stepanova and Udaltsova surviving into the
Khrushchev years.
For purposes of framing this generation, then, we must investigate their formative experiences both culturally and in terms of their career opportunities as
women. What were women doing on behalf of their sex? What were they, simply,
doing? What models of self -fashioning did they encounter? If the "new people"
of the 1860s created a style for the radical bluestocking of
Russian
city streets as
from political
life.
on
local; the
few qualified women voted by male proxy. After 1905, the czar created a
intellectual,
public
and despite
life,
its
Founders of high station used their wealth and contacts in pursuing spiritual goals,
but
some
Typically, the
communities performed
and handicraft workshops. Their leaders were venerated for their devotion to
itual ideals,
spir-
patronage. 10
Private charity
activity,
because the
state did not assume the burden of poor relief or social welfare. The imperial
womenfolk set the example. To aid the victims of the war against Napoleon,
Alexander
I's
Women's
I (r.
Patriotic Society,
1825-1855),
which his own mother, Maria Fedorovna, lent her support. "Founding
of the job description for the wives of high-ranking state officials." "
63
russias moDern
Great Reforms,
elite
women
Grand Duchess
and founded
a charitable
industrial poverty
demanded
religious life
more systematic
response, such as the guardianships of the poorthat flourished in the 1890s. But
and
time and
women continued to
institutions. 12
however,
training went to Europe instead. Sofia Kovalevskaia (1850 1891), the first
to receive a doctorate in
ical institutes
woman
to 1897,
courses
on an equal basis with men, they were able to study in special advanced
first
offered to
women in the
1870s,
St.
Petersburg.
cities,
and in 1911 female graduates in St. Petersburg, Moscow, Kiev, and Kazan were
allowed to
sit
By 1914,
women. By
its first
number of people
city
census were
pharmacists. By 1906.
St.
one sponsored by the Society for the Preservation of Women's Health. The intersection of social concern,
women's
rights,
evi-
of regulated prostitution
of a
feminist journal, Zhenskii vestnik (Women's Herald) and apolitical association, the
,
64
Laura enGeLSTein
Women's
teachers. Directly connected to affairs of state, the legal profession was the least
hospitable to
study law in Russia, but they were not authorized to plead in court.' 5
civic
engagement. Although peasants and laborers had joined the social movement,
the protest had gotten
its start
among landowners,
life,
transition to modernity.
of these goals.
Women did not win the vote and were disappointed in their bid for
equal rights, but they continued to mobilize in support of social causes (poverty,
prostitution, public health, temperance).
women's
significant
and
contempo-
As mid-century moder-
(or
impending doom)
in
life
Purishkevich's anxiety only reflected the temper of the times. Indeed, the
sober business of women's rights was a good deal less fascinating than the erotic
glitter of the so-called sexual
and survived the upheaval of 1905. Throughout the period, newspapers, magazines, professional congresses,
syphilis,
mastur-
and female
thieves. Tarnovskaia
belonged
65
russia's
zation demonstrated
mooern women
It
its
self- improvement.
It
was able
to
common good,
combine the
not
religious impulse
behind philanthropy with a secular concern for cultural uplift (education, public
health, vocational training)
expression in the writings of Lev Tolstoy (18381910). Public debate on the sexual
question can reasonably be said to have opened with the appearance of Tolstoy's
novella The Kreutzer Sonata (1889 91), which castigated male lust, female sensuality,
and the
fied
murdered by a husband driven mad, readers were led to believe, by her treach-
erous sexual charms. (Both the novella and the novel^lnna Karenina [1877] were
broad urban
allowed
spiritual gifts.
distortion of true
domesticity,
all
womanhood, yet he
extolled the
charms
of old-style patriarchal
modern opportunity to
discourse about
self- revelation.
who portrayed them, by contrast, embodied the New Woman's bold ideal of the creative personality. Vera Komissarszhevskaia (1864 1910), who played Hedda, was
the most charismatic of a string of prominent actresses who made their mark in
these years. A few of them also went backstage to run the show. In close-ups on the
silent screen,
For
all its
on the
women.
If
Laura
enceLSTem
to
Happiness
by Anastasia Verbitskaia (1861 192(8), who also wrote the scenario for the film
version that appeared in 1913. Verbitskaia
made a
boulevard prose but as a literary entrepreneur. Her stories dramatized the dilem-
mas
of
writing in 1913, hailed these boulevard heroines as portraits of the actual "new
women" who populated the workplaces, lecture halls, and shops of the prewar
cities:
their
own dramas,
indepen-
dence, but the times encouraged creative ambition. Verbitskaia's readers might
have honed their girlhood fantasies by devouring the eighty or so serialized tales
published by Lidiia Charskaia (1875-1987) between 1902; and 1918. These stories
depicted girls of boarding-school age in familiar settings (dormitories and class-
endless letters, expressing their sense of identification with both characters and
author.- 3
recorded the brief life of a young Russian woman who, living in Paris, dreamt as
and
earned
self- involvement
it
its
inwardness
Women were not excluded from the best training in the fine arts, but their
opportunities for recognition expanded only after a
challenged the authority of the imperial academies and private patronage offered
an alternative
exhibited here, were able to develop their talents and pursue distinctive careers.
Others took their first steps not as solo practitioners but as sponsors and shapers
of socially oriented production. Like the charity
they used acceptable forms of female activity to propel themselves into the public
life.
of the
merchant
elite,
in
affairs.
which Popova,
for
Their proverbial
patriarchalism seems not to have prevented their daughters from being educated
home and exercising their talents. For example, textile magnate Pavel Tretiakov
(183211898), who used his considerable art collection as the core of the national
picture gallery that still bears his name, was married to a woman from the
Mamontov clan, which also devoted itself to patronage of the arts. Two of the
at
Tretiakov daughters married sons of the Botkin family, whose fortunes derived
67
figure i3.
from the
tea trade.
-V
urban
cultural,
and professional
who
sat
on the
gallery's
artists
and
The
as
entrepreneurs and
movement
artists.
As
is
where
Salmond's
an outcome, as Salmond notes, "of this long tradition of women's work in the
kustar [handicraft] arts."
It is
2?
68
we encounter some
Laura eriGeLSTein
exhibition.
of serfdom,
its
ated by the terms of emancipation and beginning to suffer the impact of social
change. Populists, labor economists, agronomists, and philanthropists worried about the
human and
cultural
of the strate-
gies devised for cushioning the villages against the effects of industrial growth
28
to reinforce the declining tradition of peasant crafts.
context,
women were instrumental in reshaping the image of the folk tradition, pre serving its primitivist cachet, while adapting
first folk-revival
it
to a
who made
a fortune in railroads
Mamontov
life to
(1841-1918),
supporting the
arts.
opened
lost art of
peasant crafts and to improve the quality of their products, she enlisted the
services of Elena Polenova (18501898),
who
left
Moscow shops
(often
mn by
a distinguished archaeologist,
her
plished painter. After volunteering as a nurse during the war with Turkey
(187778), Polenova attended medical courses, then taught drawing in a
charitable school for girls, before taking classes in watercolor and ceramics.
As director of the Abramtsevo workshop from 188510 1890, she forged a decorative style from folk motifs that, in Salmond's words, attempted "to mend the
thread connecting Russia's past and present." She was praised by Vladimir
Stasov (1824 1906) aspart of "that generation of
husbands and
fathers,
enterprises that were reshaping the face of Russia in the production and
the
a textile
born
69
who
russia's
joined with
moDern women
Mir iskusstva (The World ofArt), which first appeared in 1898. She also created
craft workshop at her Talashkino estate. 30
nal,
her own
The
artists
who designed
and fashioned
a design
Mikhail Larionov (18811964) and Goncharova during this period and in the
istic
all its
styl-
contribu-
tion to developing a
Exter,
goods. The three were by then associated with the Supremus group of Kazimir
Malevich (18781935); Exter dubbed them the "folk futurists." 3 They continued
'
ide-
1.
own, but not before the Modern had ushered in the new age and
its
New Women.
See Lindsey Hughes, "Peter the Great's Two Weddings: Changing Images of Women in a
Transitional Age," in
Ukraine, ed.
Cambridge University Press, 1996), pp. 31-44. Quote from Pushkin's poem "The Bronze
Horseman."
2.
See Richard
S.
1,
S.
Shatz (DeKalb.
IL:
Northern
58-753.
See Alexander M. Martin. Romantics, Reformers. Reactionaries: Russian Conservative Thought and
Politics in the
Reign ofAlexander I (DeKalb. IL: Northern Illinois University Press, 1997). pp.
91-109: W. Bruce Lincoln, In the Vanguard of Reform: Russia's Enlightened Bureaucrats iSaj 1S61
(DeKalb.
IL:
Northern
the Verge of a
New Language:
mthe
"Women on
Nineteenth
Century." in .Russia. Women, Culture, ed. Helena Goscilo and Beth Holmgren (Bloomington:
See Jane
P.
Korelin
(St.
Instirut Rossiiskoi istorii, 1995). pp. 17. 23. 219, 221, 223, 827.
5.
The
classic account is
Richard
Stites,
and Bolshevism, i86o-iq3o (Princeton: Princeton University Press, 1978); see also
Barbara Alpern Engel, Mothers and Daughters-. Women of the Intelligentsia in Nineteenth-Century
Nihilism,
70
Laura eriGeLSTem
6.
and
Tsar, ed.
tr.
J ay
Terrorists:
1977): Stites,
Women's
Press, 1983): Vera Figner. Memoirs of a Revolutionist, intro. Richard Stites (DeKalb. IL: Northern
Illinois University Press, 1991),
7.
City-.
L.
in Imperial Russia
Stites,
Women's
Liberation-, also
to Happiness-.
William G. Wagner, Marriage, Property and Law in Late Imperial Russia (Oxford: Oxford University
Edmondson
pp. 65-84.
9.
1,
"Moscow and
The Problem of
Petersburg:
Ritual,
and Politics
Since the Middle Ages, ed. SeanWilentz (Philadelphia: University of Pennsylvania Press, 1985),
II
in 1913," inSelfand
Press, 2000).
10.
and
Women of Russia:
Women Offer Spiritual Guidance for Today (San Francisco: Harper, 1993).
L.
Freeze, "Bringing
Divorce in Imperial Russia, 1760-1860," Journal of Modern History 62 (1990), pp. 70946.
11.
Lindenmeyr.
12.
See
Poverty, p. 116.
12526,
151;
See
Stites,
Women's
Liberation, pp.
in Russia
tr.
and
ed.
Springer, 1978);
tr.
and
E.
History:-.
Sharpe, 1997),
(New York:
Scientist. Writer.
See Christine Johanson. Women's Struggle for Higher Education in Russia. 1855-igoo (Kingstonand
Montreal: McGill- Queen's University Press, 1987).
15.
and
Professionalization in England.
Jarausch (Chicago: University of Chicago Press. 1983). pp. 184. 187; Joseph Bradley. "Moscow:
From
Big Village to Metropolis," in The City in Late Imperial Russia, ed. Michael
p. 2i;
F.
Hamm
moDern women
russia's
McDermid and
Hillyar,
Teachers,
16.
to
See Edmondson, Feminism, pp. 189 50; idem, "Women's Rights, Civil Rights, and the Debate
in
18.
19.
See
i
ibid.
to
Happiness, p. 3i3.
-
institut iskusstvoznaniia.i997),pp.
Tolstoj
an d
the Debate
vol. 3: Erosvkulture
(Moscow: Gosudarstvennyi
to
E.
J.
Brill,
1988).
See Osip Mandelstam, "The Noise of Time." in The Prose of Osip Mandelstam
Clarence Brown (Princeton: Princeton University Press, 1965),
p.
tr.
andintro.
mood of the period); Catherine A. Schuler, Women m Russian Tlieater: Tlie Actress in the Silver Age
(London and New York: Routledge. 1996); Louise McReynolds, "The Silent Movie Melodrama:
Evgenii Bauer Fashions the Hero(in)ic Self." in Self and Story.
22. See Engelstein, Keys to Happiness, pp.
to
Read:
Literacy and Popular Literature, 18611911 (Princeton: Princeton University Press, 1985), pp.
153-60; Beth Holmgren, "Gendering the Icon: Marketing Women Writers in Fin-de-Siecle
Russia," inRussia. Women. Culture, pp. 32146. See also Constructing Russian Culture, pp.
23.
See Susan Larsen, "Girl Talk: Lidiia Charskaia and Her Readers," inSelfand
Story-,
n3 25.
Beth
Holmgren, "Why Russian Girls Loved Charskaia," Russian Review 54:1 (1995), pp. 91-106.
"The Silver Age: Highpoint for Women?," in Women and Society pp.
Eyes-.
Clyman and Judith Vowles (New Haven: Yale University Press, 1996),
History of Russian
155-56 (dates
is a lot
of
Women's
slightly off).
Eve Le Gallienne wrote about the character Hedda Gabler, that "there
Marie Bashkirtseff in her": Henrik Ibsen, Hedda Gabler, preface by Eve Le Gallienne
p. 41
1955), p. 8.
See Alison Hilton. "Domestic Crafts and Creative Freedom: Russian Women's Art," inRussia,
Women,
Culture, pp.
Merchant
347-76.
Elite," in
L.
West
andluriiA. Petrov (Princeton: Princeton University Press, 1998), pp. 95-108. Also, more generally,
JohnO. Norman, "Pavel Tretiakov and Merchant Art Patronage, 1850-1900" and John
Bowlt, "The
72
E.
in Between Tsar and People: Educated Society and the Quest for
Elite:
Ann Ruckman,
27.
Wendy
R.
SalmondMrts and
to
West
L.
The Moscow
P.
Botkinoi, ed. E. S.
KhokhJova
Imperial Russia in Kustar Industry," in Transforming Peasants: Society, State, and the Peasantry.
i86i-ic/3o, ed. Judith Pallot (Rasingstoke:
and
i;
John
MA:
and
73
48 (quotes): Bowlt,
represenTaTions of
women in russia
OLGa maTicH
if
woman"
artists
its
threat to
to veil
Those
tasmic power. This liberating burst of energy exposed female desire and gender
ambiguity, reflecting what Elaine Showalter calls fin-de-siecle "sexual anarchy."
In Russia,
more
radical creative
women of the time. The destabilization of gender typified not only their art, but
also the
it
"sexual anarchy"
75
presumed impermeability of
artists.
Such
a relationship
The
six
more
artistic
ambience out
emerged.
human
figure in terms that blurred gender boundaries. But unlike their older sisters,
lives.
The connotations
of gender ambiguity
were quite different for the women of the avant-garde. Their goal was the representation of the
new "man"
(chelovek in Russian, a
had
human face
in the
European avant-
garde. This unisex figure was stylized, not pathologized or sexualized, a condition
that
may well be
A common term for gender destabilization in the European fin de siecle was
androgyny, which had a variety of connotations:
but
it
it
The figure
and homosexuality.
it
[1892]
2
)
of the race.
to 1910s, as
to Platonic
of castration anxiety,
transcended
antiprocreationism, resulting
It
on the androgyne
as a figure
apocalyptic, or Utopian,
immortalized body. The Utopian goal was the transcendence of the death-dealing
natural cycle, in which birth inevitably leads to death.
androgyne prefigured the end of time exalted by the early Russian Modernists of
It
76
m alien
oLGa
naturally has
many
fig.
89
of Babylon, a phallic
breasts,
of Utopian androgyny.
whose
was
A major
lyrical "I"
itself
grammar
has three genders: masculine, feminine, and neuter.) In the desire to scramble
woman;
as a critic, she
Just as provocative
life
"life-
redefinition of gender,
even of physiology. Despite her Utopian agenda, however, her public persona was
that of a phallic
of Gippius by contemporaries
body, green
mermaid
the
name of the
seductively
Z.
ambiguous smile
a stylized,
is
asso-
woman's blood-
Gippius
is just like
a human-sized wasp,
from a
lorgnette
if she is
powder and
luster
a beaming eye.
dangled a stone; on a black cord, a black cross rattled from her breastless bosom
legs crossed:
communicant
photographers dressed in white and declaimed her poetry in public wearing white
at
the shoulders.
young Gippius presents her in a demure long white dress with a train
on a long chain
hangs her ever-present lorgnette (the female dandy's monocle), which she would
bring to her haughty, nearsighted eyes in conversation
77
(fig. 15).
Gippius appar-
78
ca.
1900.
OLGa maTicH
During the
life,
first
informed as
it
In considering Gippius as a
spiritual androgyny.
sexuality of the
Amazons!)
modern femme
fatale.
St.
Petersburg's
Egyptian queen, she would sometimes receive guests, especially young male
acolytes, reclining
on a
Pink (Portrait ofAnna Rozanova, the Artist's Sister) 191113 (plate 42)
,
here, for
it
Lady in
comes to mind
which modernized the figure of the ancient queen. The visual representa-
tion of women
smokingwas
mannishness, but
Ellis
it
was
it
emblematic of
Havelock
wrote in 1895 that the "pronounced tendency to adopt male attire" and the
Akhmatova, who was soon to become the reigning queen of the Russian
Silver
Age, was a smoker, but this fact did not enter her public portrait. The habit was
also
heavy smoker.
Some years
case, however,
fig. 14).
In this
working class. 10
In a 1907 caricature, Gippius
fitting white dress
Her face
is
is
16)
like a
dwarfed by her large coiffure, and she casts a small black shadow
is
it is
movement." While Florensky does not address the question of gender, his
inter-
pretation explains why the profile might have held appeal for women like Gippius.
of Gippius displays a
tall
figure
79
(ylo<i3roino|\i'04Ej|<jw&a/ifrt>
figure 16.
miTTICH
marked
as male.
artfully
Her face,
languid eyes are disdainfully averted from the viewer's curious gaze; a sensuous
smile. 12 Accordingto
frailty."
l3
like) reveals at
Wildean
system of gender. According to Charles Baudelaire, the dandy was the most privileged of the male gender because he was artfully self- constructed: thus the appropriation of the dandy look by women reveals a desire to outdo
self-presentation.
She was not a passive female model, but the cocreator of the rep-
model and
artist.
by definition chooses his or her visual embodiment, the power relation between
model and
had
to
be
fluid.
Gippius's sex
ity of
life
her gender boundaries, a fluidity that was not only a matter of dress but also
80
OLGa maTicH
of psychology. Like so
inhabiting her body, and this difficulty was perhaps due to her gender indeterminacy. In a passage
affairs,
genders was not only a strategy to destabilize social convention and transform life,
but
it
was
also a source of
women, my
my thoughts, my desires,
men my masculinity.
In
'
in
He
was sexually attracted to women, but not to his wife. Meanwhile, Gippius had multiple triangulated "love affairs"
with both
at least in the case of the men were sexually unconsummated. She clearly privileged the male gender, however,
at
In 1898,
the well-known homosexual artist and photographer. She wrote in her diary about
he seems
that Gippius
to
to
"I like
It
was
at
met a musician, Elizabeth von Overbeck, with whom she was reputed
herself.
it
Gippius flaunted her attraction to homosexual men, but not to women. The great
love of her life was Dmitrii Filosofov, Diaghilev's cousin
of the first Modernist art journal in Russia, Miriskusstva (World ofArt). After part-
ing from Diaghilev. Filosofov lived with Gippius and Merezhkovsky in a chaste
menage a trois for fifteen difficult years.' 8 The supposed function of this arrangement was a Utopian transfiguration of life based on a nonprocreative triple union.
Gippius masterminded her erotic
life
levels.
of the
real-life
Decadent
and
its
persona revealed
that
fundamental
split
this split,
was rooted in her sexuality and her body (there were persistent rumors
Gippius was a hermaphrodite), was the source of a deep anguish,
it
which
that
reigning cpieen of European Decadence was Salome. In the words of Carl Schorske,
it
of the veils
ence.
self- identity
the conventional phallic male. Exposing female desire which included decapitation, or castration, of the male Salome's unveiling reflected male fear of
women's
sexuality
symbol of both the epoch's "sexual anarchy" and the castrating female. In Russia,
the Salome craze was initiated by the publication in Russian of Oscar Wilde's
it
was
reprinted five times in the following four years. In 1907, Konstantin Stanislavsky's
stage
Salome, without success. Several theaters, including provincial ones, did manage
to
perform abbreviated versions of the play in that and the following year, but none
of these productions
a notorious
Salome on
Russian theatrical talent of the time: Vsevolod Meierkhold as director, Bakst as set
as
was banned shortly before opening night. But Salome's costume and dance of the
migrated into Diaghilev's 1909 production of Cleopatre, which was one of the
biggest hits of the Ballets Russes's first Paris season (see fig. 17). 2 Salome became
veils
if
unwound to
nature-,
The first
veil
green with
was
the outline of a
it,
the second
the third
was orange
fashion of its own: one [resembled] the peeling of a walnut, [another] the
was
rose,
and
tree.
the eleventh
The twelfth
veil
airy-
Madame Rubinstein,
83
figure
17.
Leon Bakst,
of Salome in Russia
then still an aspiring actress and dancer had tried hard to get the
The
an
Goncharova, and Rozanova) received permission to stage the play, but he also
,
major Russian
stage. In a
preemptive attempt
to avoid
He
names
most
provocative scene, which fetishizes the phallus, in which Salome addresses the
head of the Raptist in an erotic monologue; instead, she spoke her words into the
opening of a
The
cistern, at the
bottom of which
elite
St.
Petersburg's
Vladimir Purishkevich). and writers such as Fedor Sologub. Leonid Andreev. and
Alexander Rlok, the premier poet of Russian Symbolism, whose poetry was
inspired by the figure of the veiled
Natalia
Volokhova, Rlok's dark muse.) The day after the dress rehearsal, several hours
before opening night, Evreinov's production was banned, creating a furor in the
Russian press.
83
Audience members
at
Kalmakov's stylized set and costume designs, which, like Evreinov's production
as a whole,
Kalmakov's trademark
who appears to be
naked, but turns out to be wearing a body stocking with red nipples on her small
androgynous breasts
to
itself,
Salome
was draped in white veils of innocence, slipping out of them during the dance.
The dance
with nakedness rendered symbolically, and the removal of Salome's final layer
moon on the set contained the imprint of a woman's naked body. "Look
closely at [the
moon]," wrote
some
sources, the
If this is true,
it
first act
woman." 2 5 According to
some members
of the audience, the image of the vagina dentata, a fantasy image that
fear as well as desire in the fin-de-siecle
of Wilde's
had inspired
genitalia. 36
interested
Rubinstein and Evreinov. Times had changed; politics and social revolution were
the dominant concerns.
and performed
at
was reminiscent
the
Still,
its
of
was her angular yet billowing costume for Salome; her Amazonian Salome was
still
phallic
woman.
9 1 os in
general had an affinity with Evreinov's Symbolist Salome production and also with
Bakst's Salome
and
Cleopatre.
Rubinstein, the best-known Russian Salome abroad, turned not only to Salome
had
1911,
and was
very thin,
traits) that
that
84
left:
figure
i8.vaLenTin serov
1910
figure 19.
aLexei raDaKOv
Rubinstein cultivated a look that was both Oriental and corpselike. She was an
independent, liberated woman whose tastes were bisexual. Her affairs with Italian
poet Gabriele D'Annunzio and Romaine Rrooks, a lesbian American artist
lived in Paris,
artists,
were
common knowledge.
who
The removal
would sometimes
strip
artistic
naked in public
there exist several paintings and photographs of Rubinstein in the nude. Valentin
Serov, Russia's leading portrait artist of the turn of the century and a professor at
the
Moscow
(fig. 18).
Serov's concealment of the genital area by the angle. Rubinstein's anorexic sepulchral figure, the blue draping, the green veil that covers her left leg, and the rings
(fig- 19)-
and veils in Radakov's version remain the same, but the body
is
The pose
highly stylized;
Radakov reduced the already limited lines in Serov's portrait even further, so that
Rubinstein appears as no more than a stick figure. The representation suggests the
is a
matchbox
slightly
open at the
top,
her limbs are burnt matches breaking at the joints, and her Medusa-like head
impaled on
lit
is
Viewed in reference
85
to
figure 20.
romame
BrooKS
National
Art,
Smithsonian Institution,
human forms in which lines have been reduced to a minimum, such as Stepanova's
unisex, degendered stick figures. True, Stepanova's reductionism derived
is still
from the
tion of Rubinstein.
There are also two nude portraits of Rubinstein by Rrooks. The better-known
one, entitled Le Trajet (The Voyage),
female corpse lying prone on what appears to be a bed, against a black backdrop.
is
It
woman,
a figure
fin de siecle.
Even though
androgynous
roles. 3 ?
displayed and
advertised leading couturiers' dresses. In 1913, for example, she appeared on the
cover of the French theater and fashion magazine Comoedia Rlustre wearing a beautiful
Worth gown
(fig. 21).
deTirtoff]. Rubinstein launched the 1913 vogue for "walking slinkily a la leopard"
after
on
long chain."
3o
leopard
was accomplished primarily by male stage and fashion designers, the impetus for
these representations
artists
with
whom she
worked, and financed productions with the ultimate goal of staging her provocative
artiste fashioning her own success. Her image of
femme fatale was an emblematic female construction
exotic, elegantly
dressed
86
artist.
OLca
mancH
figure 21
De
la
Gandara's portrait of
on the
of the time,
artists
and her liberating figure could not have gone unnoticed by women
Graphic
artist Elizaveta
Sergeevna Kruglikova
is
considerably less
women's seductive,
'
life
known than
was androgynous
Kruglikova represented a different aspect of female sexual anarchy. Cross-dressing in her case lacked a spiritual or titillating subtext: rather,
it
bianism and followed the conventions of a "butch" code, which included smoking.
as a painter
and graphic
artist,
32
resented
was
at
at a
less slippery
was
did not hide her lesbian orientation, and, unlike Rubinstein, she was not an exhibitionist. Kruglikova's
masculine
as long-distance cycling
wearing special
style
Sellier,
provincial France. 33
87
were
still
to Brittany
artist
and
around 1905,
sSHT.J^^^J Jm
ff^
H
frBk ^^ W^
cJMHHDl
7
LuTXI
wir
eLizaveTa KruGLiicova
Printing an Etching. Self- Portrait, 1915
Linocut,
^*
figure 22.
9.6x16 cm
State Russian
St.
Museum,
Petersburg
(includ-
first
solo exhibition there only seven years later. She shared a studio with another
Russian
artist,
artists.
mass culture
at
work-
would serve
mode in the
fig.
75). Stepanova
costumes that transformed the body by means of the dynamic use of geometric
design, while her self- caricature The Constructor Stepanova. 192?, represents a
strong,
men)
at
Kruglikova
made
made
a silhouette of
portraits of other
St.
1915, she
Petersburg
woman exhibition of 1914 and o. jo the following year. Thus many works by Exter,
Goncharova, Popova, Rozanova, and Udaltsova passed through her hands.
88
oixa
mancH
a cigarette
life,
which
It is
a masculinized
is typically
image
rendered by means
Kruglikova's strongest artworks are her black silhouettes against white back-
of the
and bow tie; her hair is bobbed, and the profile masks her gender. Unlike
the engravings that picture her at work, the self- representations as a dandy aes-
theticize her
to the figure of the dandy. Kruglikova depicted herself cutting out a silhouette
artists. 36
Udaltsova's Cubist Self- Portrait with Palette, 1915 (plate 80), for example, also
at
it
features
on the
profile
and the
Miriskusstva,
Egyptomania and
file
its
a fascination
on the conception
of individual
character that predominates at that time. The art of stylization typically has
interest in the
Pisanello's
more intimate
and
also
little
with their unusually long necks and tautly pulled-back hair, express a distant stylized beauty, reflecting the profile's inherent remoteness
figurative design.
and
affinity to abstract
Renaissance, artists began to paint their models in three-quarter view and later
in full face. 3 ? In full-length female
power of the
women were characteristic also of the second half of the nineteenth century, and
the powerful female gaze
left
traces in
ing Goncharova's Self-Portrait with Yellow Lilies, 1907 (plate i3) Although the
androgynous face in Stepanova's Neo-PrimitivistSeif- Portrait. 1930 (plate 71),
.
looks angrily
at
the viewer,
its
source
is
reemerged
at
in both painting
89
that liberated
women
cenDer TrouBLe
in
women more possibilities of crossing the strictures of gender boundaries. This was
especially true
if
all
is
Avant-garde
did.
and Rubinstein,
file
radical,
marking a point of
rupture, the production of the six women artists in this exhibition does not necessarily reflect a total
six artists,
and sports
clothes,
all
Ballets Russes.
Although
these examples represent only fragments of their work, they reflect the fact that
these radical Amazons also expressed themselves in the fashionable artistic
mode
of the turn of the century. Yet while the figurative paintings of these six artists can
reveal the
three
same kind
and works
of the
Popova, Rozanova. Stepanova, and Udaltsova does not display the characteristic
fin-de-siecle ambivalence toward the problematized female body.
1.
Elaine Showalter, Sexual Anarchy: Gender and Culture at the Fin de Steele
3.
3.
it
was
first
For the Russian notion of the androgynous ideal, see Olga Matich. "Androgyny and the Russian
Religious Renaissance,"
inAnthony Mlikotin.
Fertig, 1968).
Draitrii
Southern California,
n.d.). pp.
Systems in Russian
165-76.
were very popular throughout Europe. Merezhkovsky's Leonardo was the main source
of
artist.
5.
Andrei Bely wrote Petersburg (1915), considered the most important novel of early Russian
6.
Alexander Lavrov,
Modernism.
1990),
7.
I.
p.
8.
p.
ed.,.4ndrei. Bely:
194.
Briusova and N. Ashukin. eds., Valera Briusov. "Dnevniki 1S91 1910" (Moscow: Sytnikov, 1927).
109.
For a discussion of the Cleopatra myth in Russian culture, especially as embodied by Gippius, see
Olga Matich, "Zinaida Gippius' Personal Myth," in Boris Gasparov. Robert
P.
Paperno, eds., Cultural Mythologies of Russian Modernism: From the Golden Age to the Silver Age
90
OLGa
mancH
52 72. There
is a
photograph of the poet Anna Akhmatova in which, adopting a "Cleopatra" pose, she
like
on
Havelock
Ellis,
Anxiety
15.
10. In a
serpent -
lies
Interests-.
(St.
1992), p. 155.
profile,]
elbow
out,
head, tankard in one hand and cigarette in the other, she leans forward with the calf of one leg
resting
on the thigh of the other" (Frances Borzello, Seeing Ourselves: Women's Self- Portraits
p. 115).
IgumenAndronikand M. Trubachev,
p. 121.)
London and
at a
John
14.
E. Bowlt,
avant-
Petersburg in 1910.
The Silver Age: Russian Art of the EarlyTwentieth Century andthe "World ofArt" Group
de Belbeuf, Romaine Brooks, Radclyffe Hall, and UnaTroubridge dressed in high transvestite
(or dandy) style; the latter two
ioned herself as
15.
even sported
dandy.
Bakst was infatuated with Gippius and her heady theology
in touch with
garde, and his sensual designs for Sergei Diaghilev's production of Cleopatre, performed by the
Ballets Russes in Paris in 1909, surely
informed Exter's
sets
and costumes
ed.,
Petersburg-.
Selected Diaries of Zinaida Hippius (Urbana: University of Illinois Press, 1975), p. 77.
17.
18.
Ibid., p. 74.
Like Gippius,
into a "white"
marriage with John Ellingham Brooks, a homosexual dilettante pianist. During the 1910s, she
lives of the
Bloomsbury group.
19. Carl
it
was
titled
Politics
St.
Petersburg in 1908.
It
1981), p. 224.
original
title.
Some
scholars
Une Nuit d 'Egypte and was based on an 1 845 story of the same name by
it
Pushkin's unfinished eponymous society tale of the i83os. Emblematic of the Cleopatra myth in
9'
Russian culture, in both stories the Egyptian queen offers to exchange anight of love for a young
man's
life.
artists
by rendering the
and
its
tale inverse.
history, see
at
of Salome," in Time
JeanCocteau, "Cleopatre," in Arsene Alexandre, ed., The Decorative Art of Leon Bakst (New York:
Dover, 197a), pp. 2980. This
the Fine Art Society of
is
London
a reprint of
in 1913,
and commentary
ballet designs
by Cocteau.
22.
"Na generalnoi
rampy"
23.
[title
of
("Okolo
p. 3
newspaper column]).
Teatr
monograph on Beardsley in
"Na gneralnoi
44 (1908),
p.
764.
1912.
,
p. 3
("Okolo rampy").
26. Nikita
Lobanov- Rostovsky, "A Bargain on Marche aux Puces: The Pictures of Nicolai Kalmakov,"
in A. Flegon, Eroticism in Russian Art (London: Flegon Press, 1976), p. 3o6. (Lobanov- Rostovsky
is
27.
Prince Peter Lieven, The Birth of Ballets -Russes (London: Allen and Urwin: 1936, p. 97).
art-,
is
similarly evocative of
mythology dates
to
evil
is
power in Russian
vol. 2,
p. 471.
29. Rubinstein's
role
was
D'Annunzio's The
(1911).
(1885-10.60):
A Theatrical Life
(Liverpool: Liverpool
There were also more conventional models of femininity at the turn of the century. For example,
Olga Glebova-Sudeikina,
actress, artist,
St.
is
reputed to have danced provocatively on tables. She also made beautiful embroideries. Art
Sudeikin,
artist Sergei
who
designed the sets and costumes for Diaghilev's production of The Tragedy of Salome in Paris in
1913. Sudeikin
affair
Kuzmin, who styled himself as a dandy and wore makeup. Later Glebova participated in another
homoerotic triangle, with Kuzmin and Vsevolod Kniazev.
It
that she
had an
characteristic of erotic life in the Petersburg hothouse at the turn of the century.
On Glebova-
Sudeikina, Sudeikin, and their friends, see John E. Bowlt, ed., The Salon Album of Vera Sudeikin
Stravinsky (Princeton: Princeton University Press, 1990).
32. In her time,
association. She was close to the group's journal, Mir iskusstva. She
of the
World of Art
on
OLca maTicH
P.
Ostroumovoi-Lebedevoi (Moscow:
nik, 1983).
33. See Alexandrova, ed., Alexandr Benua, vol. 2, p. 433.
E. S.
Kruglkovoi
Sologub, and Kruglikova's close friends Konstantin Balmont and Maximilian Voloshin.
It
was
On Kruglikova.
see Petr Kornilov, comp., Elizaveta Sergeevna Kruglikova. Zhizn i tvorchestvo. Sbornik (Leningrad:
E.
Grishina,
E. S.
Kruglikova (Leningrad:
Khudozhnik RSFSR.
1989).
35.
under Lenin and Stalin (Berkeley: University of California Press, 1997). pp. 65185.
(Paris:
37.
at
(Paris:
Mazarine, 1980).
is
also possible,
which suggests that painting naturalistic representations of the frontal view, especially of the
93
MIT Press.
E. Bowlt, Varvara
by Nadezhda Lamanova,
ca.
1934.
DressinGUPanD
DressmGDOwri:
THe BODYOFTHe
avanT-GarDe
nicoLCTTa miSLer
The paintings
images of objects and tools. While these images may be strategically masked in
Cubist disassembling and dislocation or in the alogical fragmentation and dissociation of zaum (transrational language), they
did not completely renounce their female occupations or the particularly female
creativity that
such occupations
entail.
is
throw away grace Olga Rozanova's near- Sup rematist Work Box, 1915 (fig. 66). The
loom figures prominently in Natalia Goncharova's The Weaver (Loom + Woman),
1915-13 (plate
2,1).
it
indicates an escape
classic
female
filled
man-
nequins plays coyly with a string of pearls (the quintessence of the bourgeois ladv)
in
fig.
24).
These Amazons so revolutionary in their art and politics did not wish to
give
95
by
handbags
been kept
191415
(fig.
fig.
and emigration.
as did Udaltsova
and Ksenia
Toilette,
bottle, rather
as
Rozanova did in the interior of Work Box. Although Liubov Popova does not seem
to
have fallen into the temptation of creating a Suprematist evening bag for herself,
is
(fig. 27).
Popova
also carved
making.
learned that art from her and also did embroidery and crochet."*
also accessories,
tumes and clothing. For example, in her 1913 Moscow retrospective, Goncharova
of
which couturier Nadezhda Lamanova acquired for her fashion salon. Exter theorized about the significance of
tried to explain the
activities
such as sports or the theater). But, again, costume theory and design
were not restricted to women, for even the philosopher Pavel Florensky hastened
to
dominant
96
It is
spirit
at a
woman's
far left:
handbag
(?).
and pillow
at
the
figure 26.
Toilette.
Oil
Ksenia BOGUSLavsKaia
191415 (destroyed)
cm
to
From a practical point of view, male avant-garde artists also had something
say about the new clothing from Vladimir Tatlin's mass-produced garments 8
to
Rodchenko's
movement and
is
clothing, declared
of horizontal
and vertical
cation of the puritanism and asceticism that pervaded post- Revolutionary avant-
garde ideology, was the extreme result of the obvious repression of the body and
its
more evident
avant-garde. Certainly, they did not reject their everyday female identity, as
cult of the
we
essence of female identity the recognition and depiction of the female body
the petite
Amazons, we see
is
if
and eroticism.
In Popova's Composition with Figures, 1913 (plate 28), the solid, tubular figures
to
female that
it
seems to be
Painting of the
same year
97
a direct
(
1915, presents
an image so scarcely
plate 34)
figure 27.
UUBOV POPOVa
Oil on canvas, 71 x 89 cm
The Museum of Modern Art, New York,
The
98
Riklis Collection of
McCrory Corporation
nicoLeTTa misLer
mind the
dance
that,
plastic
through
its
elicited a positive
among the female population. What was the relationship between this
response
work brings
whose oeuvres,
is
incidentally, contain
many references
dance and who often worked as set and costume designers for the performing
Good Amazons
arts?
all,
on White, 1920 (plate 65) and Five Figures on a White Background, 1920 (plate 66)
are the antithesis of soft or acrobatic,
nude
plastic dancing,
which achieved
its
widest popularity just after the Revolution, and they were painted just before the
cult of nudity
year in which the demonstrations Evenings of the Denuded Body, directed by Yurii
Ars," and Evenings of the Liberated Body, directed by Lev Lukin, were performed.
It
was also the year of Kasian Goleizovsky's manifesto of the naked body onstage 12 and
his production of The Faun, in
skirts
if
not restrained. Popova, for example, avoided the hot issue of The Faun's nudity
altogether: "After
warship.
all,
Goleizovsky's set)?"
'4
more
"Eroticism or
explicit:
(as in
titles of
such
Indeed, the body that seemed to epitomize sensuality in early Soviet dance
Rumnev's elongated
poses, also
but,
above
all,
in
all its
statuary poses
1908
(plate 15),
of the darkest,
ity:
99
nicoLeiTa misLer
Curiously enough, the feminine -homosexual body that the Free Dance of the
1930s manifested onstage was in sharp contrast to the image of the new, maternal
Soviet
sculpture,
and
costume design. This contrast was reflected in the avant-garde's puritanical negation of the body as an erotic instrument, so different
era,
summarized
(fig. 18).
in Valentin Serov's
l8
in
explicit exhibition-
nude
from the
latter flaunted a
Charmer as
a Symbolist
femme
Two intertwined snakes form her belt, the head of one in front of her
around her right ear. The head of a third snake rises above the
Rut fear not, these are imaginary terrors, no more terrifying than ladies'
muffs, and winter hats trimmed with the snarling jaws of polecats and other
collar.
body and
tiara.
boas,
its tail
wild beasts.
same
...
image, the pagan Russian stone maiden (kamennaia baba), which Goncharova had
accepted as an artistic and ideological model of femininity for her primitive
fertility,
deprived of any appeal (sex appeal, in particular) toward the external world.- The
1
it is
the physicality
and seduction.
Rubinstein was not the only woman in fin-de-siecle Russia, of both the bourgeoisie
and the
intelligentsia,
who wished to
free herself
Moscow and
freed the feet of dancers from the constrictions of ballet shoes (resulting in the
Russian
bosonozhki
she also loosened their corsets and their female forms. The dancer Olga
also introduced the concept of total nudity in her Evenings of Beauty in
albeit without the artistic legitimacy of
Duncan's references
In 1911, playwright and theater director Nikolai Evreinov defended the importance
of artistic nudity in an illustrated book, Nagota
(Atelier),
Parisienne
Duncan surrounded
cided with analogous research being conducted immediately after the Revolution,
not in the field of dance, but in the area of infantile sexuality. '-+ These studies took
with the
is
founded
closely linked
and "pure
thetic,
visibility." Vasily
new epoch,
is just
the dawning of a
open the
26
On the basis of these different but converging fields of interest, the body in its
psychophysical entirety became the subject of a complex interdisciplinary line of
research undertaken by Kandinsky before he emigrated from Russia in 1921.
He
all its
A primary advo-
approach was Sidorov, who studied both dance and the graphic work
in architecture
art.
Precisely the
must be rooted,
at least starting
The complex
in dance
Recause
it is
in the
28
dialectic of
dressed/undressed
left a
ideas about Russian costume, both for the stage and for everyday, and the subject
was
persuasion. Sidorov,
dance," 29 concluded that "we are for nudity onstage," because nudity allowed the
public to decodify a living
cle,
which
Still,
is
why he
mechanism
felt that
movement
mus-
this exhibition,
in the
is
if
i3,
and face painted, and Exter decorated the bodies of the dancers in
1935 ballet in
figure 3o.
aLexanDra exTer
cm
"epidermic costumes." "Strip away the colored rags that are called costumes from
the dancer, rags that until
critic.
"Rejecting aestheticism,
we
also reject
move
freely."
3l
We must dress
Alternative stan-
dards of dress were also represented by Stepanova's functional and unsexy sports
tunics (sportodezhda) Popova's very proper
,
(fig.
3o).
its
was
always mindful of rhythm and movement: "Materials that give, for example, any
type of silk
and
to devise
io3
sets
THe body of
in
e a\
aiiT-GarDe
figure
3i.LIUBOVPOPOVa
Woman in a Yashmak,
1922
on paper,
35.1 x 22
Private collection,
the
77ie Priest
ofTarquinia, 1922
cm
Moscow
and
Baroque" volutes of her costumes. 33 This was also true of Popova's sets and cos-
tumes for her own Romeo and Juliet project in 1930, and even more so for the
unstaged Priest ofTarquinia the following year, where the female figures were swallowed up by the dynamic folds of theirveils
Exter, Popova,
is
maker
all
(fig. 3i).
criteria.
a tool to
primary model chosen to interpret his Constructivist movements was the actress
Alexandra Khokhlova, whose long, thin body gave her top model status (Lamanova
hired her to model clothes) (see
fig.
?3)
her image in the 1926 film Hie Journalist. 3 ^ Gan's biomechanical interpretation
of the
body was supported by Petr Galadzhev an artist who had studied with
Rozanova
at
rationalize
the
fig. 3?).
illustrated
how to
all its
possible variations
104
in her Figures,
as a sequence.
nicoLeiTa misLer
xuaaa seiner
CynbCa>
icccu.i
TpexnonbHaR nHpwweCHan
napTMTypa.
figure 3a.
PeiT GaLaDZHeV
illustrating Alexei
Zrelishcha (Moscow), no. to (1922), pp. 1011. Left to right: Destiny. An Experimental
was
Komarov
Posing.
it
a single issue, in
contained discussions of
haute couture and elegant color plates, implying that high fashion was
now for
everyone. (The Atelier even indulged in private commissions, a far cry from the
egalitarian spirit of the Revolution.)
of the stan-
dardized female body was taken up by Soviet fashion, which went on to develop the
precocious ideas of Popova and Stepanova. Popova often designed her textiles in
relation to the shape of the clothes, utilizing the principles of optical illusion in
order to
facilitate the
extreme desire
tion of the
human figure. 36
body as an expression
But
it
of concrete, psychological,
Helsinki City
a
Museum,
in
nega-
Vera Terekhina
et al.,
p. 3?.
and
Others by
Some
15,
1916). p. 23.
See Dmitrii Sarabianovand Natalia Adaskina, Liubov Popova (New York: Abrams. 1990). pp. 272,
io s
in this publication.
3.
See Douglas, "Six (and a Few More) Russian Women of the Avant-Garde."
4.
Kazimir Malevich, "Glavy iz avtobiografii khudozhnika," Vasilii Rakitin and Andrei Sarabianov,
5.
eds.. N.
I.
(New York:
is
1,
p. 114.
et al.. Revolutionary-
Costume:
"Sovremennaia odezhda,"
p. 3i.
al.,
7.
Pavel Florensky. "The Stratification of Aegean Culture." Nicoletta Misler, ed.. Pavel Florensky:
Writings on An (Philadelphia: Pennsylvania State University, forthcoming); originally published
in Bogosloovsku vestnik
8.
Du Mont,
9.
(Moscow)
2,
1993), p. i3i,
figs.
no. 6 (1913).
io3 06.
stile
(1922). p. 10.
10.
sexuality,
Sexuality and
et al.,
11.
12.
Kasian Goleizovsky, "Obnozhennoe telo na stsene," Teatristudia (Moscow), nos. 1-2 (1922),
p. 16.
pp. 36-38.
i3.
See Elizaveta Souritz, Soviet Choreographers (Durham, N.C.: Duke University Press, 1990),
PP-
73-75-
14.
Liubov Popova, "On a Precise Criterion." Sarabianov and Adaskina, Liubov Popova pp. 38o-8i.
15.
16.
17.
See Nicoletta Misler, "Apocalypse and the Russian Peasantry: The Great War in Natalia
18.
See Olga Matich's "Gender Trouble in the Amazonian Kingdom: Turn -of -the- Century
nos.
Goncharova's Primitivist Paintings," Experiment (Los Angeles), no. 4 (1997). pp. 6276.
Representations of Women in Russia" in this publication.
19. Pavel
Pineapple)
(all
cat.
(Moscow:
Nagota na stsene
(St.
1911).
(Moscow), no.
24. See Alexander Etkind, Eros nevozmozhnogo. Istonia psikhoanaliza v Rossii (St. Petersburg:
Meduza.
106
MIT Press,
1988). p. 169.
E.
nicoLeTTa misLer
27.
p. 16.
29. Inna Chernetskaia, "Plastika i analiz zhesta (Diskussiia. Protokol No. 6 Zasedaniia.
Khoreograficheskaia sektsiia
RAKhN
10/12/1923)," in
RGALI
1. 14,).
7
4,3
(1923),
pp. 4-5.
3i.
"On the
p. 7.
al.,
La Femme
enjeu:
pp. 128.
36. See Elena Murina, "Tkani Liubovi Popovoi," Dekorativnoe Iskusstvo SSSR (Moscow), no. 8 (1967),
pp. 24-27.
107
Moscow, 1924-
creaTive women,
creaTive men, anD
paramGms of creaTiviTY:
Why have there been great women artists? Thus we might rephrase the classic
question posed by Linda Nochlin in 1971
none
movements
in
its
from group
portraits,
situation
and cre-
artists
were held in high regard. (Even before the October Revolution, Alexandra
Exter and Natalia Goncharova achieved notoriety in Russia, while Liubov Popova
its
[fig.
34], an
accomplishment
ranks, and
final
taboo of
logocentrism.
For the past twenty years, feminist criticism has been expanding the history of
twentieth- century
art.
and sexual biographies of their male partners, while the traditionally female roles
of "muse," "silent partner,"
2
and
109
status
women artists
figure 34.
LIUBOV POPOVa
Oil
Private collection.
cm
Moscow
erased the gendered aspects of creativity, partly because they saw themselves as
artists "in general."
(Although the
felt a
is explicitly
another; Goncharova served not only as a stylistic source for Olga Rozanova, but also
as a role model, while Rozanova, in turn, served as a
The
first
women to take their place in the history of Russian art were con-
nected to male
artists
Maria Yakunchikova was the sister of his wife, while Zinaida Serebriakova was the
daughter of sculptor Evgenii A. Lanceray, the sister of painter Evgenii
were almost
Yet there
is
all
E.
Lanceray,
artists.
Mikhail Larionov, Elena Guro and Mikhail Matiushin, Stepanova and Alexander
Rodchenko, or Udaltsova and Alexander Drevin, and one usually finds only passing
remarks that Rozanova was the wife of poet and theorist Alexei Kruchenykh
eKarenna dyooot
is
mon studio at Vkhutemas connected Popova and Alexander Vesnin. These partnerships were often formed after or during a woman's
husband was
less
became common
first
marriage
when her
and
this peculiarity
How did these unions between great artists function? What kinds of cultural
and aesthetic constructions of masculine/feminine
in
now unfolds.
Even if twentieth- century Russian women artists were more visible than their
Western counterparts, we should not ignore issues of exclusion and exploitation.
But gender- oriented criticism
is
harassment in
it
art history,
and
not an expose
of,
artist's life
or aes-
Modernism, are we not concurring that the repressed Other is feminine? Would
it
is
is
repressed as
to
critics
dominant paradigm?
women become banners for anti-Modernist revenge, as they did in Soviet criticism, which extolled women for their "emotionality" (that is, their failure to grasp
art as
to
me
OTHer
easy task.
object's passivity
(to
and understood
both of which were associated with the phallus and logos) it simply could not
favor the feminine. In the 1913 manifesto Slovo kak takovoe (The Word as Such)
"first
figure 35.
naTaLia GoncHarova
on canvas, 105x78 cm
Museum Ludwig, Cologne
Oil
exaTerma dyogot
if it
intervention in nature, appears in both Kazimir Malevich's Cubo-Futurist paintings and Vasily Kandinsky's theoretical writings. Describing the painting process,
first, it
with clear gaze and heavenly joy this pure canvas that
picture.
its
is itself
it
European
as beautiful as a
spade, hammer, and saw penetrated the virgin jungle where no human foot had
8
trod, bending it to conform to its will."
But while any fin-de-siecle Russian artist would have perceived the Freudian
aspect of Kandinsky's tirade with the joy of an accomplice, the second,
whose
intellectuals often
its
tragic (or
perhaps fortu-
to
identify with Kandinsky's "virgin jungle." Russian Futurism was, indeed, fervently
nationalistic. Consequently, if the
might have made Russian women artists uneasy, then the association of women
with the Other (the mysterious, the unconscious, the archaic) was likely to have
early
status (she
belonged
to
the old nobility) Goncharova was able to develop her relationship with Larionov
,
still
studying sculp-
her strength lay in subtle coloring and not in powerful form. But while Larionov
ceded
first
someone
"Madame
Larionova."
'
her ready social adaptability and personal independence during their years as emigres in France (their familial relationship ended
a creative
an Amazon.
The
roles in Goncharova's
and Larionov's
artistic
creaTive
figure 36.
naTaLia ooncHarova
Larionov's
assumed other
key roles, which Goncharova never took upon herself: institutional organizer,
theoretician (with the support of
Ilia
(including Rayism, Rayist theater, and face painting). The imperative of theory
compelled Larionov to
students such as Mikhail Le-Dantiu, but also as the discoverer of objectively existing tendencies
work of naive
artists
such as
artists, as
an unconscious
ally of
Larionov rather
at TJie Target
Everythingism. as he defined
it,
exhibition a few
months
before.
"Russian genius who appropriates everything" and with the ethics of nature, since
as nature does."
debated Filippo
Tommaso
114
l3
A parallel to Everythingism
St.
circle,
who
Petersburg at
eKaTerma dvogot
the beginning of 1914. Livshits believed that Russia's anti -Western essence lay in
"our inner proximity to material, our exceptional sensation of it, our inborn ability
to transubstantiate,
creator. "
'4
If
which removes
all
on the notion of
"unconditional unification" as opposed to European individualism, this opposition paralleled the social construction of the "feminine" and the "masculine."
'5
Indeed, the gender aspects of this dichotomy did not escape the attention of the
as
a strategy
"grand narrative" out of which European Modernism had grown. The East, in this
view, already contained the West.
versality
and
self-sufficiency.
The "feminine"
manner of Cubism."
Goncharova referred
1
-
also
had
to
wooden
demonstrate
its
uni-
dolls
are
made
in
effigies created
distinctly matriarchal, as
her painting Boys Bathing (Direct Perception) 1911, (Leonard Hutton Galleries,
,
after
and Venuses,
be seen as an attempt
Guro
at
ariD maTiusHiri:
Elena Guro had not only an earthly destiny awaiting her, but also a fantastic
came to
identify
attitude toward
she
is
perhaps
her memory.
18
Guro included
a sign,"
as
a very
emerge
efforts of Mikhail
literature,
plays.
He began to
after
her death. (The day after she died, on April ^3, 1913, he resigned from the orchestra in
At the
beginning of the 1920s, he established the Elena Guro Commune, whose participants, mainly the
also
"5
creative
women,
men
crea-rive
He
recalled: "Elena
St.
spirit of 'genius'
(from plaster).
have
never seen such unity between the creator and the subject under observation.
"
'-'
Without question. Matiushin was implying in this passage that Guro herself was
genius.
He expressed the
not as "feminine" or as "Russian." but as a definition of creativity itself something that the Symbolists, especially poet and philosopher Vladimir Soloviev,
identified with "love."
life,
22
it
away" 23
is
is crucial;
tionist line of
made her ink drawings with a brush, never with a pen so that she would not scratch
or dig into the object. 2 *
its
mediocre, non-
and blue)
it
not for
poem "Bednyi rytsar" (Poor knight), the youth appears before the heroine, who recognizes him as her own son; she experiences his incorporeality and
work, the
recall his
name)
as
This many-sided motif can be read in the context of Symbolism and the biological
procreativeness in
"life -creation,"
novel Mafarka- Futurist (1910), into a myth about the birth of a "mechanical son"
is
Malevich's work as the gaping absence of a "living, regal infant" (as Malevich
called his Black Square).'- 6
Guro's work inspired not only the "pantheistic" Matiushin, but also people
distant
from the
ideal of nature.
diary: "I
are
am aware that
precisely
it is
it
its
proved unable
so that they
EKarenna dyogot
an answer to
-"
tense and gender between subject and predicate, adjective and noun."
point
is
(Universal War)
klei (Colored
number,
A case in
to the
Russian avant-garde,
at
it
was published in
was shown.) The lack of grammatical agreement between the Russian words for
"colored" and "glue" ("colored" takes the feminine form, while "glue"
line) served to create not only
of total
an absurd semantic
identities.
is
mascu-
an atmosphere
Cubo-Fururist opera Victory Over the Sun, he declared, "Everything became masculine,"
and
30
and used
it
to replace "lily,"
as the
which he
enterprise.
Rozanova began to
gnezdyshko durnykh slov (Duck's Nest of Bad Words, 1913) (fig. 37), TeLiLe (1914)
(fig.
67),
and others. Their collaborative works, which are striking for their com-
summer 1915,
it
[this]
including Malevich,
One (Suprematism) was developed by Malevich, the other (The Word as Such) by Kruchenykh. Working at
influential versions of non-objective aesthetics.
information about Malevich's activities to Rozanova. Malevich was busy with the
[title] ,"
and
Suprematism
is
creaTive
'
jiM.rl. .
<r,
figure 37.
OLGa rozanova
Kruchenykh's
cm
Rome
EKaTenna dyogot
name
for the
of "the
word
new art,
"since
it
designates dominion."
its
3s
In Kruchenykh's theory
in contrast to
concern shared by many artists and theoreticians of the Russian avant-garde: the
question of
submission of the
Futurism were
its
artist's
criticized)
placing
it
is
sometimes
to
extreme conclusion in his Black Square, Guro, Matiushin. and Pavel Filonov
artist
who
latter in the
to
3*
Rozanova
means
and Symbolist traditions by using this term to refer to the blending of the subject
with the object, of the means with the end. She wrote, "Futurism provided art with
a
unique expression, the fusion of two worlds, the subjective and the objective." 36
In her extraordinary late paintings of 1917-18 (plates 5354), Rozanova
blurred the boundaries between figure and ground, eventually removing them
altogether, along with representation as the demonstration of
much emotion,
it)
power (which
who proved
able to
without staining
lyricism, or intimacy,
is still
its
aes-
the Russian avant-garde was truly unique. Rut her late paintings also derive from
toward the radical deconstruction of binary pairs. ("We started seeing 'here' and
'there,'"
he wrote.
where these binaries could be challenged and then effaced, not in the silence of
Malevich's eternal "nothing," but in unstable syntheses. (This
is
reminiscent of
One
such area was male/female erotic relationships; another was collaborative ventures.
brilliant publications of
whom the book appeared to be less a form of collaboration between poet and artist
than an
artistic
119
of subject-object relations.
It
figure 38.
OLGa rozanova
cm
and the man the subject (or the object was always a woman and the subject
rather,
it
proved to be a
man);
Neither Rozanova and Kruchenykh's collaborative partnership nor their personal relationship was free of problems,
you pay
it
seems.
"I
how much
me for my illustrations of your books and why I keep silent about it,"
to Kruchenykhin 1914. "I am told you are exploiting me, making
Rozanova wrote
me
illustrate prints
and
illustrator of your
own
artist to
do
it;
39
after 1913,
it
was Rozanova
handwrote
the texts for Starinnaia liubov (Old-time love) himself, although according to the
text of his
Such, 1913),
it
utmost significance
and
is
to
so. 4
text
it
state
ence toward the question of who should handwrite the text in a collaborative book
the author or the
artist.
is
eKaTerma dyogot
artist,
mind the
woman. This
a sensi-
from perceptions
affairs
transrationalists also
(of a
is
little girls.*
verses,
publishing his "autographic" books in 191718, he sent her the sketch of a visual
poem, which she colored before he made more changes, and he occasionally used
such works in his books with no reference to her. What does this mean?
Exploitation?
Or does
it
it
a peculiarity of
for Rodchenko's
notes, in
numerous
sphere
"I" refers
another role
sometimes to
her,
image
of
Varvara, to
"mecha-
nized" men.
In 1915,
shall
tectural
of
on "non-objective sub-
more
Musicians, 1920,
first joint
photograph.
made
^1919, she
figures, as if to
Street
background of these
their poses
far
left:
varvara
figure 39.
STepanova
Caricature of Alexander
Rodchenko, 1923
India ink on paper,
23.5
x18
cm
Private collection
varvara
figure 40.
STepanova
Self- Caricature,
1922
on paper,
India ink
33.5x17.5
cm
Private collection
is
made by
at
House
of
it
is
allowed
The demand
for both
reality,
(Stepanova's letters and diaries demonstrate her boundless devotion to her hus-
is
of her
work is the
in Constructivism
concerned the object, which supplanted the obsolete conception of the painting.
Invariably, the painting
tute.
(Malevich referred to
it
as a
it
represented;
it
appealed
made
in 1924,
Lavinsky turn away from the nude, Rodchenko opposed the objectified body with
the face of a
new creator,
cease to be a thing, a
com-
modity, the object of a picture. Visiting Paris in 1925, Rodchenko found the cult of
distasteful.
bears a
hands should
also
eKaTerma dyogot
According to
selves.
is
strength of love for the subject (as in Symbolism, which lay at the foundation of
aesthetic resolutions of the 1900s
itive
object's pos-
was
embodied
are usually
apart,
mond - shaped patches in the area of the knees so that the closing and opening of
the legs would constitute the outfit's
main visual
effect.
since this
eroticism was virtually a side effect of the primary goal, which was to abolish
alienation in the structure of the thing- commodity, picture -commodity, body-
new art. 4?
There was
relations.
tionship," 4 8
fully
and the
still
its
"new
stated
of their rela-
On exactly which territory the new lovers could meet, however, was not
Many of the works created by the Lef group at that time (including exhibition
thetics.
clear.
designs and book covers) became standard fare, just a way of making ends meet.
is
characteristic that
it
this
ele-
ments
of the erotic
It
recalling the Surrealist circle) took the place of the anarchic creative substance of
1918 to 1921. During the 1920s, the gatherings of the Lef group proceeded like
seances or maniacal games of Chinese mah-jongg. Stepanova's neighbor and colleague Elizaveta Lavinskaia asserted that the circle
possibilities of
made
relations: "Varvara
Stepanova pretended
be a saint, she picked out mistresses for Rodchenko herself, and then
terics.
Of course,
all
fell
Inher memoirs, written in 1948. Lavinskaia connected the "new way of life"
Mayakovsky family (Osip Brik, Lili Brik. and Vladimir
Mayakovsky)
123
to
into hys-
all,
creaTive
its
own uniqueness
which the Lef group censured as the basis of fetishism and with the exclusive
character of its
was not
own subjective-objective
at all free
from
from
Paris as
Christina Kiaer writes of the deeply fetishistic character of the Constructivist the ory of the object. 5
If
soon confirmed
it.
Stepanova's work for the motion picture Alienation (1926), in which the walls of the
bizarre, expensive hairdresser's
bed in
Rodchenko
embellishes her image with an erotic fetish: one of the most striking photographs
In 192738, Rodchenko launched a photographic experiment to study and reeroticize the passive object, evident in his
still lifes
and one that pays with the distortion of its image led Rodchenko to his dramatic
impression of him. The assumption that an object
is
trip to the
Crimea), his circus photographs during the 1980s, and his Surrealist abstractions
made
in 1984.
The personal
is
No
all.
Women Artists?"
1.
3.
Women, Art, and Power and Other Essays (New York: Harper & Row, 1988), pp. 145-78.
See, for example. Whitney Chadwick, Women Artists and the Surrealist Movement (Boston:
Great
(1971). in Nochlin,
Little,
and Intimate Partnership (London: Thames & Hudson, 1993); and Renee Riese Hubert, Magnifying
Mirrors: Women. Surrealism, and Partnership (Lincoln: University of Nebraska Press, 1994)3.
4.
Popova's husband, Boris von Eding, died in 1918, a year after they were married. In 1903, Exter
p. a3.
married the lawyer Nikolai Exter, who did not hinder his wife's lengthy trips
and
St.
1993]
p. 180.)
members
to Paris,
Moscow,
Udaltsova,
who married in
124
Galart,
1908, wrote ten years later that her husband "did not
eKarenna dyogot
..
[her] hard
and
stati,
Drevina and
carried his
surname
him in
1915, but
still
War II.
5.
is
having lived to see the acknowledgment of their parents' work after many years
of persecution
to
from their personal lives with which to acquaint the reader. Any approach to the present topic
requires a thorough familiarity with the archives.
6.
7.
to
Goncharova
Goncharova (Zhizn
Krusanov, Russkii avangard: i^o^-ic/3^. Istoricheskii ohzorvtrekh tomakh. Tom uBoevoe desi-
atiletie (St.
11.
Ballet
had
F.
circles, referred to
them as
See "A Conversation with Alexandra KorsakovaG 904-1990), "Heresies (New York), no. 26
i3.
(1992), p. 93.
i
14.
Benedikt Livshits, The One and a Half- Eyed Archer, trans. John
E.
See Nancy Chodorow, The Reproduction of Mothering: Psychoanalysis and the Sociology of Gender
(Berkeley: University of California Press, 1978).
16. Livshits,
p. 197.
17.
18.
Quoted in Alexander Oeheretiansky, Dzherald Yanechek, and Vadim Kreid, labytyi avangard:
Rossiia. PervaiatretXXstoletiia.
St.
RA, 1997),
p.
p.
64.
Sbomik spravochnykh
teoreticheskikh materialov
46.
eds.,
JV. I.
p. 168.
20. Elena Guro.- Poet i khudoxhnik. i8ff-ipi3, exh. cat. (St. Petersburg: Mifril, 1994), p. 52.
21.
22.
See Olga Matich, "The Symbolist Meaning of Love: Theory and Practice," Irina Paperno and Joan
eds., N.
J.
Khardzhiev, p. 152.
Delaney Grossman, eds. Creating Life: The Aesthetic Utopia ofRussian Modernism (Stanford:
,
Stanford University Press, 1994), pp. 24-50. The relationship between Guro and Matiushin has
125
marriage.
24. Rakitin
25.
and Sarabianov,
eds.. N.
I.
p. 189.
26. Jean-Claude
p. 53.
Khardzhiev, p. 155.
ig3o self-portrait by
Malevich and Mother-and-Child icons, apart from the significant absence of the child in
Malevich's work. Jean-Claude Marcade, Malevitch (Paris: Nouvelles Editions Franchises, 1990).
p.
27.
266.
Guro Nebesnye'verbliuzhata.
Its
29.
p. 3i.
28. Alexei
Kruchenykh, "New Ways of the Word," in Eagle and Lawton. eds. Russian Futurism through
,
Manifestoes, p. 73.
since
it
of gender, Vselenskaia
to a
voma is
On the authorship,
Avant-garde Visual Experiments iyooic/3o (Princeton: Princeton University Press, 1984,), pp.
Toward
R. Stapanian, "Universal
pp. 34-35. n.
of 'Zaum': Abstraction
(1985),
2.
Word
as Such," in Eagle
and Lawton,
eds., Russian
Futurism, p. 67.
3i.
32.
(1994). p. 369. Gurianova has demonstrated that Kruchenykh was referring here
"Pisma
K. S.
otdela Pushkinskogo
33.
doma na
1974
Ezhegodnik Rukopisnogo
p. 187.
34. See
Gmurzynska, 1981),
p. 100.
et al.,
RADIKS, 1993),
pp. 142-58.
i
iskrennosti
v $tt.
iz
predelovtvorchestva," in Alexandra
(Tom u
Stati.
manifesty. teoreticheskie
Suprematism,"
p. io3.
37.
38.
cat.
Museum,
1992), p. 37.
39. Alexei Kruchenykh, OurArrival: From, the Bistory ofRussian Futurism. (Moscow: RA, 1995), p. 46.
117.
ed.,
The Spiritual in
p. 178.
p. 377.
44. Quoted inVarvara Rodchenko, "Life and Art," in Lavrentiev and Bowlt, eds., Varvara Stepanova.
p. 162.
p. 41.
126
(1927), p. 17.
"Rodchenko in
(summer
an ^
51.
See the photograph illustrated in Lavrentiev and Bowlt. eds.. Van'araStepanova,\>. 100.
52.
Judging from Rodchenko's diaries and letters (see Lavrentiev and Rodchenko,.Alexander
Rodchenko) he was deeply in love with Lemberg and was considering leaving Stepanova for her,
,
but
Lemberg died
summer of 1934.
8^i!|l!!W%3l|II!^|||IS^3^
ijp'
MK
_L'.:.';
,.,,,;:
--.:}
uiiyiiy^^
%
m
1
S;i^'
IS
aLexanDra
exTer
Georcn KovaLenKO
is
Ukrainian avant-garde.
say,
city of
and developed
stars in the
at least until
she
left
her conversations and correspondence as an emigre toward the end of her life,
she continued to evoke the
memory of the
city of
heryouth. 2
In the late nineteenth and early twentieth centuries, the Ukrainian city of Kiev
St.
insulated from the cultural mainstream of Russia and the West, although Exter.
at least,
did
Ukrainian
all
soil.
Thanks
in
no small degree
to
her advocacy,
artists
and
intellectuals
in Kiev were able to discover and appreciate trends such as Neo-Primitivism and
Cubism. For example, Exter helped organize two avant-garde exhibitions in Kiev,
The Link (1908) and The Ring (1914). There was also Vladimir Izdebsky's
international Salon, which traveled
first
Exter played an important organizational role. 3 Here the Ukrainian public saw,
for the first time,
Ukrainian
art
examples of the
latest
Kiev,
who
is
artistic event,
first
response to
bringing the
art of
Giacomo
European artists
many other
In the early 1910s Kiev emerged rapidly as a center of intense intellectual and
literary exploration.
common ground
with philosophers such as Nikolai Berdiaev and Lev Shestov, poets such as Anna
Livshits,
cians such as Pavel Kokhansky, Genrikh Neigauz, and Karol Szymanovsky, and
was in Kiev also that Exter cultivated an abiding interest in Ukrainian folk
It
culture,
Between 1918 and 1930, in the wake of war and insurrection, Kiev became
city of violence
Moscow, and
St.
ceorcn KovaLenxo
experiment. Her studio there brought together not only artists and writers, but also
theater directors and choreographers such as Les Kurbas, Konstantin Mardzhanov,
all,
who came to her for lessons and advice some of whom, such as
Alexander Khvostenko-Khvostov, Vadim Meller, and Anatolii Petritsky, would
painters
and sophisticated
style,
fall
of 1907, just as
its
potential.
However, Exter did not study Cubism in formal classes, as her Russian colleagues
Liubov Popova and Nadezhda Udaltsova did under Jean Metzinger and Henri Le
Fauconnier. Instead, she learned about Cubism through personal contact with
its
inventors, for by the end of 1907, poet and critic Guillaume Apollinaire and
painter Serge Ferat had introduced her to Picasso, Braque, and poet
and shortly thereafter she met both Fernand Leger and Ardengo
clear, lucid principles of the
Max Jacob,
In the
Soffici.
answers to the problems of the correlation of volume and surface, texture and
form, composition and rhythm. But she found
it
difficult to accept
were saying about color or how they were applying it (or not applying it) because
,
to Exter color
was everything
it
still lifes
and
its
art of painting.
environment are
approach
the objects, surrounding and dominating them. Exter removes figuration, while
retaining a definite order.
The
result
is
it
is a
remarkable vitality of color, deriving more from the rich traditions of the
Ukrainian decorative arts than from the sober conventions of Braque and Picasso.
There
is
reason to believe that Exter was responsible for introducing the term
"Cubo- Futurism" into the Bussian lexicon, for she happened to be in Paris in
October 1913,
any
just as
rate, Exter
Russian
artistic
it
stylistic
Paris
tailored to Bussian
and Ukrainian
subject matter. Thus, she could render an Italian city in a Cubist and even
Simultanist
manner
mid
i33
many cityscapes,
(fig.
mere render-
aLexarmra exTer
ings of urban scenes, but fleeting experiments in bold and dynamic color
sitions charged with the energy of
nous surfaces
The
constructions.
light,
and combine
fast
movement,
form fantastic
and
to
compo-
to
is
experi-
ments of Giacomo Balla and Umberto Boccioni. However, Exter did not
embrace the doctrine of Italian Futurism, even
if
fully
during the 1910s, and often the Italian statements could have been her own:
essential to impart a
inclination,
couches we
it
its
sit
dynamic
movement,
feeling, that
or. shall
we
is,
passes and, in
its
inner force.
say, its
"It is
its
it."?
Although Exter acknowledged the value of Italian Futurism, she did not follow
blindly and was not especially interested in the vehicle hurtling through space that
so fascinated Boccioni
its
antici-
pation and actuality was very important to Exter's pictorial philosophy, and, like
as for Boccioni
rhythm was a primary component of movement. Her ideas about
rhythm were also similar to those of radical Moscow critic Nikolai Tarabukhin, who
wrote in 1916
ment, rhythm
which its
(just as Exter
is
an
illustration.
basis of
Yakov Tugendkhold.
works produce
searches
a strange
and unsettling
human content,
disappointment.
futile
However,
it is
and is
impossible to turn
away, foryou begin to sense the enchantment, cold and pure, like music, of these
This
is
inform
no
portrait, landscape, or
still life;
this is
some kind
and depth, balance and movement. "9 These "pure concepts of painting"
all
134
if
to
If.
in
transcending
ceoron KovaLeiiKo
f2n
Ik
i
VI
k^SS/
*W
BYf
^*
-a
"Aii
t^i
\
m\
left:
figure 43.
aLexanDra exTer
Oil
Illi^l
on canvas. 88 x 71
State Russian
cm
Museum.
St.
Petersburg
below:
figure 44.
aLexanDra exTer
Florence. 1914-15
Oil
VjVjVJBb7
'35
-J0JBK&-.
on canvas.
91 x 78
cm
Moscow
jfeA
of color are just as essential as those of any other entity. Exter's colors tend to
"explode" beyond the boundaries of a given form, producing liberated and almost
of,
or
commen-
Cubo- Futurist phase already containing the basic elements of the more advanced,
abstract experiments (as in, for example, Cityscape (Composition) ca. 1916
,
[plate 8]).
as Composition:
and Construction
the impression of being cool, calculated arrangements of forms and colors, deter-
mined by the
logic of carefully
Exter's
tem-
perament and individuality could never be tamed and tempered by the sobriety of
mere logic or calculation. True, Exter often described her non-objective compositions using terms
energy and direction; and, as in the world of physics, her non-objective compositions are never static, creating an almost hypnotic impression of constant change
and evolution. Yet for all their sophistication, Exter's abstract paintings seem
to derive
from a more
local,
also
bring to mind the zigzag lines of flowers in Ukrainian peasant paintings: certainly,
especially her
at
the
Moscow Chamber
Salome (1917), and William Shakespeare's Romeo and Juliet (1931)- Critic Abram
Efros described Exter's sets for Thamira Khytharedes as a "festive parade of
Cubism"'
facing page:
figure 45. Oscar Wilde's Salome,
at
the
produced
set
and
left:
figure 46.
to the
set
at
in William Shakespeare's
the
Chamber Theater.
1921..
set
and costume
to a purely utilitarian
function but
of the plot.
it
that space
Romeo and Julie t were even more dynamic: unpredictable in their physical
for
contrast,
interaction of mass, and convergence and divergence of line, with a constant interplay of forms, colors, light,
"character."
fell
The
sets
intricate
itself
became
a principal
reducing or expanding the space of the stage The curtains were also used to intro .
a particular color,
be
it
lemon,
violet,
orange, or crimson.
We can understand why Efros referred to this Romeo and Juliet as a "most Cubist
Cubism in a most Baroque Baroque."" Here and elsewhere, Exter's ideas about
costumes were no less radical, for she insisted on the need for the costumes to
interact organically with the sets or backdrops, so that their planar divisions
and
volumetrical interrelationships would correspond to the equivalent plastic relationships established within the broader space of the stage.
a stage
designer, and thenceforth the performing arts continued to play a major role in
her career. For example, she collaborated with dancer Elza Kriuger and choreogra-
London,
Paris,
and Prague in the 1920s was on her work for the theater, the
ballet,
the movies, and marionettes; and in the 1920s she taught stage design at Leger's
art
school in Paris, the Academie Moderne. In 1980 she published a set of experi-
,:>,-
Exter-.
figure 47.
aixxanDra exier
"Prostota
accompanying Exter's
article
praktichnost v odezhde,"
(May
27, 1923), p. 3i
designs and proposals for the circus, operettas and revues, and drama (with an
introduction by Tairov) Well after she emigrated, Exter found solace in the the.
ater, creating
designs for costumes and sets for plays by Aeschylus and Sophocles,
though without any specific commission or production in mind. During the 1980s
Exter also returned to the theme of the
commedia
her paintings and drawings becoming ballerinas and acrobats. Even her ceramic
designs and the several maquettes that she
member of the
pated in the major Russian exhibitions such as Tramway 1^(1915) and The Store
(1916);
was
a colleague of Natalia
Italy.
Moscowin
house in Moscowin 1938), book design (Ivan Aksenov's poetry), and movie-set
design (forthe Martian sequence inYakov Protazanov's film Aelita in 1934).
An
inspiration to many, the strangely proper Exter was regarded as the ultimate
arbiter of
by a single flower on
i38
art of the
Russian avant-garde.
figure 48.
muKHina
1.
Moscow, 1933
was sixteen.
2.
3.
It
to organize the
Mukhina
in
RGALI
(inv. no.
2326, op.
1).
two Salons that Izdebsky financed and toured in 1910 and 1911.
For information on these two Salons, including the Kiev venue, see Dmitrii Severiukhin,
"Vladimir Izdebsky and His Salons," Experiment (Los Angeles), no.
4.
members
of the
(Toulouse:
Musee
d'Art
Bogomazov, Zhivopis
5.
Exter
B.
is
of the
most original
in
Its
cat.
Alexander
Institute.
6.
et
first
Filippo
Tommaso
Iris,
8.
9.
YakovTugendkhold,.4ie.Tandrarterfcafcz/iii'opsets
10.
Abram
11.
teorii
Efros, Khudozhniki
139
Kamemogo
teatra
khudozhmk stsenr
p. xxiv.
(1882-1949)
1882
189299
190103
1904
190608
Attends the
St.
Kiev.
Gymnasium in Kiev.
Olga Women's
1907
1908
190914
first
cities.
book illustrations.
of the
international avant-garde.
1910
Petersburg.
first Jack of Diamonds
exhibition in Moscow.
1910-11
Contributes to the
191213
Moves to
191314
1915
191516
St.
objective painting.
191617
Store.
at
the
1918
191819
191820
1920
1921
192122
Teaches
at Vkhutemas.
$x$ = 25 in Moscow.
at
140
Stedelijk
CHfOnOLOGY
19^3
Turns to
textile
Moscow.
Is a
Pavilion at
work on the
Aelita.
Teaches
1925
at
et
and 1930s);
Theatre Choreographique.
19^7
Exhibition
at
Der Sturm,
1929
Exhibition
at
1936
Berlin.
Monjardin (1936).
1937
Exhibition
1949
Dies March
141
at
the
17,
in Paris.
et
Metiers, Paris.
142
facing page:
plate
l.aLexanDra exTer
f/ir lirule
Oil
(.SV'i
res)
National Art
1912
cm
Museum of Ukraine,
on canvas, 145
x 115
above:
plate 2.
aLexarmra exTer
on canvas, 115.5x86.5
143
cm
Kiev
plate 3.
City,
Oil
aLexanDra exTer
1913
on canvas, 88.5x70.5 cm
144
plate4.
aLexarmra exTer
1913
Collage and
oil
on canvas. 68
x 53
cm
MuseoThyssen-Bornemisza. Madrid
'45
plate 5.
aLexanora exTer
Still Life.
on canvas, 89 x 72 cm
Rostov Kremlin State Museum Preserve
Oil
146
plate 6.
aLexanDra exTer
Composition. 1914
Oil
on canvas. 90.7x72.5 cm
147
Moscow
plate 7.
aLexariDra exTer
Venice. 1915
Oil
on canvas, i^3 x 97 cm
148
plate 8.
aLexarmra exTer
17 x 88 cm
Museum and Exhibition Center
on canvas,
Slobodskoi
149
above:
plate 9.
aLexanDra exTer
on canvas,
71 x
53 era
Museum
facing page:
plate 10.
aLexanDra exTer
Oil
State
plate
1 1
aLexanDra exTer
on canvas, 89 x 89 cm
State Radischev Art Museum, Saratov
Oil
!52
plate 12.
aLexarmra exrer
Construction,
Oil
The Museum
The
'53
1922 23
on canvas, 89.8
of
x 89.2
cm
Riklis Collection of
McCrory Corporation
(partial gift).
naTana
GoncHarova
jane
a.
SHarp
Tsvetaeva distinguishes Goncharova's biography, her "outer life," from her creative
historical
it is
life"
it is
woman. Indeed,
tory.
Goncharova's identity as an
phy,
i.e.,
at
life,
and
engaged the
determined
her experiences as
Goncharova requires
Tsvetaeva's approach
artist is
is
somewhat contradic-
the point
which the poet reconnected with the painter, former neighbors who met each
other first in
born on June
same year as
Larionov. Picasso, and Leger) in the village of Nagaevo, in the Chern district of
Tula province. 3 Goncharova's immediate family were politically liberal and well-
educated
the
'55
naraua conc-Harova
their
mother in family homes in the Orlov and Tula provinces. Goncharova moved
to
Moscow in 1893 to attend the Fourth Women's Gymnasium, from which she graduated in 1898. After several false starts in history, zoology, botany, and medicine,
Goncharova
finally
fall
of 1901.
city
and country
as a cri-
sis in her life one that places her work within the continuum of European (and
retreats to the country are everywhere apparent in her art. Photographs of the
show her playing peasant, dressed in local clothing, but wearing city
Agroup of three early self-portraits reveal her interest in elite masquerades
family estate
shoes.
her morning dress; the others focus on her identity as a painter (see Self-Portrait
with Yellow
Lilies
mapped
Lilies,
picture frame
we
is
russia:
POLOTniarm zavoD
Goncharova's early pastels and paintings draw on her rural environs, particularly
the family's
main estate
in Kaluga province,
named
same grounds
as the pala-
class,
in late -nineteenth-
may be
estate's
owner,
Moscow opera company. Both of them performed and invited others to participate
and drama. Among the more celebrated visitors during
Goncharova's era was theater critic Anatolii Lunacharsky (later Lenin's Commissar
in evenings of music
of Enlightenment).
at
it
is likely
that
Goncharova
does not mention them in any of her autobiographical sketches. Instead, what
impressed her most were the daily activities of the servants and peasants who lived
!5 6
rPHMACM
Bl>
MCKVCCTB'b.
TeiTpi.
Ha
ii
e p c
.i
o m
.*<,*
h.
21. 1913). p. 9.
artificially
estate.
A series of inter-
and
scapes
at
indication
connected ponds,
some
Her farming
number of gardening images can also be identified with specific land190609 when she regularly returned
tutionswhich
at
arts reflects
art insti-
little
training
naraua coticHarova
far
1910-1911
left:
r.r.
flEKA6Pb dHBflPb
strum
BUCTABBH
.,B5H0Bblfl
cm
B/U1ETV
left:
figure 53.
naTana GoncHarova
(attributed to)
HaTanbn foHnapOBa.
IlIapHcb
as a painter
is
belied by
Maxa.
Institute infre-
quently following her receipt of a small silver medal for sculpture (1903 04), yet she
did not officially withdraw until 1909. 8
at Ilia
From at least
It
sketches of the male and female nude, completing the studio exercises that would have
after
Institute.
While
at
the
Moscow Institute,
together they maintained a studio and living quarters. 10 Clearly, he was her most
important instructor,
at
leagues and friends underscore the reciprocity of their relationship and the central
place
it
The Moscow
circles. 13
Goncharova with
her immediate milieu: the cast of ever shifting participants in the avant-garde exhibitions organized in Moscow. Following the January 1910
contemporary
Konchalovsky, Alexander Kuprin, Mashkov (expelled the year earlier), and others
formed the
first radical
vard literature and the identifying pattern on prison uniforms. Goncharova exhibited
first
Tail,
press. She
dominated
MarchApril
191?, with
gallery space.
The other major Moscow shows in which she participated were The
(March-April 1913), and No. 4 (MarchApril 1914). Larionov may be credited with
158
figure 53.
naTaua GoncHarova
cm
Private collection.
promoting her career over his own in these exhibitions and with arranging her
retrospectives in 191.3 (Moscow) and 1914
(St.
Petersburg).' 3
Quite apart from Larionov's efforts on her behalf, Goncharova played a unique
role among the Russian, specifically Muscovite, avant-garde. She put into practice
many of the aesthetic programs advanced by him and others. Moreover, her oeuvre
in
its
wide - ranging dialogue with both Eastern and Western traditions served as
Futurism (see Airplane over a Train, 1913, plate zz) and Rayism (see Yellow and
Green Forest, 1913, plate 24) in paintings, publications, and exhibitions.
shifts in
style
remains
problematic, her participation in the exhibitions mentioned above and her state-
of the East. She declared in a press interview of April 1910 to be inspired by the
"sculptural clarity" of Le Fauconnier, Picasso, and Braque, but her first "Cubist"
at least
Cubist style from the forms of Scythian stone statues (kamennye baby) (see Peasants
Gathering Grapes, 191?, plate 19) and Russia's popular arts
the artist from childhood. '+ In an account of The Donkey's Tail and The Target exhibitions, author Varsanofii Parkin (possibly a
to
and Raphael."
a policy that
"fight against
attributes
actual practice's
Neo-Primitivism as
it
'59
naTaLia coiiCHarova
figure 54.
naTaLia GoncHarova
on canvas, 78 x 105 cm
Museum. St. Petersburg
State Russian
jane
sHarp
a.
painting and Russian decorative and Byzantine models, this theory promoted
dual readings of images and the assimilative (rather than exclusionistic) character
of Russian national identity.
of Russian
Modernism was
sheet,
fact that
such eclectic sources within her work can be traced back to images painted and
exhibited
much earlier
and
movement
6
a style to those years.'
The
Russia
last
avant-garde
vsechestvo
(everythingism)
first
Petersburg on March
17,
identified in
on her deliberate
multiplicity as
an
art criticism.
He
argues that
it is
futile for a
Russian
artist to
aspire to heterogeneity: diverse cultural traditions (East and West) and period
styles
tive
moted with a view to erasing boundaries between origin and copy Goncharova's
modus operandi.
Goncharova's voice
last
is
Among her
tures)
is a
Filippo
letter
Italians of generating a
artistic laws.
new
and untrammeled
a recurring
motif in
Larionov's writings from the 1930s to the 1950s on the history of Cubism as the
European
all
three
legacy.
Goncharova's solo exhibitions of 1910, 1913, and 1914 were landmarks in the
history of avant-garde public provocations, polarizing an already partisan critical
press.
l6l
on March 24,
Moscow made her uniquely visible
as
naTaLia concHarova
an artist;
it
on December
police
at
the
?2, iqio.'
members of the
physically
St.
"anti-artist, "'9 a
1914,.
Society) for
removed by the
Tail of 1912,
Denounced
pornography
as the
and again
work of an
banned by the
Ecclesiastical Censorship
Committee
of
critical
acclaim. In 1913 the acquisitions committee for the Tretiakov Gallery bought their
first
spective.
21
The
avant-garde
Moscow's
first full-scale
artist,
it
was
If
critic
put
it,
more
woman,
Moscow retro-
textiles, clothing,
its
more
Goncharova
broadsheets. She thus initiated an interchange between fine and popular arts that
(fig. 6;
left
Goncharova was
at
A model for her generation, and particularly for women artists such as Sofiia
Dymshits-Tolstaia and Nadezhda Udaltsova (both of whom wrote about the positive
impact that Goncharova's studio visits had on them), she had demonstrated
-aFTer russia":
what each
still
hoped to achieve.
LiFe in emiGraTion
Goncharova and Larionov left Moscow for Paris on April 29, 1914, although with
the last phase of Larionov's service in the Russian Imperial
returned to
Moscow shortly thereafter. 23 Her first sets for Le Coq d 'Or (painted by
both Larionov and Goncharova) were spectacular displays of color and simplified
form
its
and
as properly Russian.
Based on
success, the productions that followed, including several unrealized ones, such
16?
self- fashioning,
jane
Their
life as
a.
sHarp
to friends over
the course of the 1920s and memoirs written in the Stalinist era underscore
how
them
as
at
former lead-
excitement over the Revolution and the urgent need for news of political events,
just as in the
engagement
is
its
Her level
diabolical about-face.
of political
not clear during the pre -Revolutionary period. Rut numerous illus-
trations for the Socialist journal Lepopulaire in Paris (edited by Oreste Rosenfeld
to leftist politics in
Europe. 2 +
In Paris, Goncharova was a
cycles (as she did before emigrating), beginning with the Spanish
women in the
1910s and 1920s and ending with her exploration of space motifs: images with
planet- and meteor-shaped forms inspired by the first Russian Sputnik launch in
the 1950s.
It is
a Cubist
compromised the
On June
2,
stroke (in 1951), the two artists married in Paris so as to ensure each the benefits of
Goncharova died
1.
on October
first,
17,
arthritis,
1962.
(all
VVI,
in Prometei
my own.
3.
The
artist
first
in
Moscow
8.
met when Goncharova was asked to escort Tsvetaeva home from the
school that they attended together (in different classes); Tsvetaeva, "Natalia Goncharova (zhizn
tvorchestvo)," p. 154.
3.
There
is still
of christening (Staryi
Roskovels. June 26, 1881), indicates that her father was "landowner in the village of Nagaevo."
However. Tsvetaeva's essay gives Goncharova's birthplace as Lodyzhino, also in Tula province
(Tsvetaeva. p. 154). Family
Goncharova
members
i63
all
villages
naTaua concHarova
Tula provinces.
Sculpture,
4.
The
city of Kaluga.
inv. no.
f.
680, op.
era,
3, ed.
estate,
and
it is
less than
in the city
museum, and the estate itself with its parks and ponds was transformed into a sanatorium.
Damaged severely during Wo rid War II, it is now a shell of a structure and has recently been sold
to a private investor. I am grateful to various members of the Goncharov family who have provided
Goncharov and
who was
Igor Goncharov has stated that his grandfather was a social democrat,
political
sympathies for leftist causes by supplying Lunacharsky with free paper for party publications. He
introduced an eight -hour work day
at
interviews with the author in June 1997. The theater was described as a "worker's theater" during
this time; seePushkinianakaluzhskoigubern.ii (Tula:
6.
Zdanevich, Goncharova's
Ilia
Eli
first
Kommunar,
1990), no.
2, p.
36.
artist's rural
p. i3.
Gontcharova de 1907-1911," in Jessica Boissel, Nathalie Gontcharova. Michel Lanonov, pp. 178-87.
8.
of Painting, Sculpture,
inv. no.
f.
680, op.
3, ed.
khr. i638, p.
the
fall
for
nonpayment
of tuition. In
it.
silver
to
in the
She
is
for Natalia
registered
from
expelled
class."
medal for sculpture," but because she was only an auditor, she was not
She also passed a course in perspective. Her correspondence with the school
indicates that for health reasons she did not plan to attend classes in
Goncharova
9.
12..
valet: primitiv
as "daughter of a
190304
p. i3).
(letter
from
p. 27.
Jane A. Sharp, "Redrawing the Margins of Russian Vanguard Art: Natalia Goncharova's Trial for
and
the
12.
istorii
odnoi
no. 11 (1988),
St.
Petersburg,
See "Beseda
March
15
5,
11
Bolshaia Dmitrovka,
"Pismo N. Goncharovoi."
15.
Georgii Kovalenko, ed. Zhizn khudozhnikov. Natalia Goncharova. Mikhail Lanonov (Moscow:
14.
illiustratsii."
348.
T.
Body in Russian Culture (Stanford: Stanford University Press, 1993), pp. 10406.
164
March 3,
5,
1910, p. 3;
and
1913, p. 3.
al.,
jane
a.
SHarp
p. 8a.
Although the dating of this movement has varied from scholar to scholar, use of the term in
Russian can be dated to igi3; see Jane Ashton Sharp, "Primitivism. 'Neoprimitivism' and the Art
of Natalia
17.
Goncharova" (Ph.D.
203-07.
Several variants of these lectures exist in draft form in the State Russian
Division, inv. no.
Zdanevich,
f.
Museum, Manuscript
Ilia
December
published by John
E.
f.
79a, op.
1,
ed. khr.
1. 11.
18.
19.
Valentin Songaillo,
p. 6.
),
1909,
oil
on canvas
386i. For details on the reception of the exhibition, see Sharp (1992), pp. 370-83.
22. Sofiia Dymshits-Tolstaia,
notations by the
artist,
an undated
29th.
letter to Le Dantiu,
finally left
was held up a bit on account of the costumes." State Russian Museum. Manuscript
f.
135. op. 7, p. 2.
24. Jessica Boissel, "Catalogue des oeuvres"; Viviane Tarenne, "Le populaire," in Nathalie
1'..-,
on the
1881
Born June
189398
1900
sji,
a fellow student,
1901
Enrolls at the
Moscow Institute
of Painting, Sculpture,
and
1906
at
190607
190810
style.
style.
1910
December 1910-January
1911.
1910
at
the
life
studies.
1913
191314
splits
She participates in
rival exhibitions
1913-13
Works
1913
in
styles.
Berlin.
191314
1914
Leaves for Paris on April 39 with Larionov to mount their set designs
(1913) and
St.
Petersburg (1914).
166
artists'
work.
curonoLOGY
1915
at
the
Chamber Theater,
Moscow.
1917
Italy. Settles
in Paris
with Larionov.
1920s
192021
includes
work
by Larionov).
d 9 3i).
1940s50s Except for occasional contributions to exhibitions, Larionov and
Goncharova
live
the efforts of
graph, a
enter
first
museum collections,
1954
Diaghilev exhibition in
is
resurrected
at
including
Modern Art
major mono-
New Zealand.
Richard Buckle's
1955
1961
Dies October
167
17,
in Paris.
in
plate 13.
NaTaLia concHarova
Oil
on canvas. 77 x58.2
168
1907
cm
Moscow
plate 14.
naiaua GoncHarova
Mowers. 190708
Oil
on canvas, 98
x 118
cm
169
Gmurzynska, Cologne
plate 15.
naTana concHarova
Pillars of Salt,
Oil
1908
on canvas, 80.5 x 96 cm
170
Moscow
plate 16.
naTaua GoncHarova
on canvas, 147
x 188
171
cm
Moscow
172
plate 17.
naiana GoncHarova
1)
Oil
on canvas. 204
State Russian
17 3
58
Museum.
cm each
St.
Petersburg
plate 18.
naTaua concHarova
Sabbath, 1912
Oil
174
137.5 x 11 8 cm
Museum of the Visual Arts of Tatarstan, Kazan
on canvas,
State
plate 19.
naiana concHarova
'75
14.5 x i3o cm
Museum of Bashkkortostan.
on canvas.
State Art
Ufa
above:
plate 30.
Electric
naTaua GoncHarova
Lamp
1913
Musee
facing page:
plate 3i.
naTaua GoncHarova
176
153.3 x 99 cm
Museum and Gallery.
on canvas.
National
Cardiff
?7
plate 22.
naiaua GoncHarova
on canvas, 55 x 83-5 cm
State
178
plate 23.
naTaua Goncnarova
on canvas,
91 X75.4,
179
cm
Perm
plate 24.
Yellow
Oil
naTaua GoncHarova
on canvas, 102 x 85 cm
Staatsgalerie, Stuttgart
plate 25.
naiaLia ooncHarova
rose, black,
andyellow). 1913
plate
36.naxaLia GoncHarova
Emptiness. 1913
Moscow
plate 27.
naxana GoncHarova
Composition, 1913-14
Oil
Musee national
i83
d'art
moderne. Paris
IflTOB
np
RP
m
IP
%
figure 55.
IB
LIUBOV
popova
"Man is a really remarkable creature. He has only to quit working and all life comes
soon as people get down to work, however, the city
lives. What a terrible force is human labor! " So Popova wrote in a letter to her
mother from Italy on the eve of World War I.
The image of Popova that we are attempting to recapture here would not have
been obvious
elegant,
to
independent young woman of a high station and with the right upbringing,
her from many artists with whom she worked at La
known as the Academie de la Palette) or at the Tower in
behind
a fragrance of
a true
an artist from
comrade.
...
a sculptor,
met Popova
in
the art school of Konstantin Yuon and Ivan Dudin, and described her as
life
'5
left
all
Moscow at
"tall,
well-
figure 56.
LIUBOV POPOVa
on paper,
35.5x21
cm
Private collection.
to
etc.
Moscow
She had
a great talent." 3
her
sister,
Nadezhda Prudkovskaia
one time.
at
For Popova the period between Yuon's studio and La Palette was a very difficult
one, not only artistically, but also psychologically. She
directions: her enthusiasm for the
was natural
artistic
pulled in different
felt
interested in the artistic ideas of the Symbolists, but also attempted to assimilate
to
Mikhail Bulgakov.
Still,
doubt,
forms was
spirituality of "Gothic"
No
he was a profes-
a difficult task.
For Popova, accordingto IvanAksenov. this stage "nearly drove her out of her
mind" and "nearly cost her her life. "5 One may presume
her best friend
at that
sion
that the
mental
illness of
new circumstances
facilitated
upon
not least, her Paris apprenticeship with Henri Le Fauconnier and Jean
To
all
naTaua aoasKina
enjoyed authority
191? 13, when Popova was working under Le Fauconnier, Metzinger, and Andre
Dunoyer de Segonzac at La
Palette,
memoirs
of
Mukhina.
15, 1913].
L.S. is
diaries of Udaltsova,
all
A stern Udaltsova
we
see a
Popova
she became interested in the fifteenth- and sixteenth -century masters, but by
1914,
contemporary
of Classical art
and architec-
Italian Futurism, to
Still Life,
which some of
From the old classical models, Popova extrapolated formal structures and, as
Mukhina recalled, "interpreted Italy very passionately. ... At that time she was
studying the interrelation of colors in an attempt to determine the power of color
and
its
of Popova's
including stops
Pisa, Bologna,
and
Padua left vivid impressions. By 191314, Popova was beginning her professional career and, in February 1914,
bition in
in various independent
to Paris (in
after,
she worked
life
of the avant-garde,
and
on art"
in
Grishchenko, even Malevich attended the meetings. Art historians such as Boris
and
later Popova's
hus-
band) and Boris Vipper, philosopher Pavel Florensky, and others also joined in
the discussions. In 191516 Popova took an eager part in the organization of the
187
at
left:
Moscow, 1924.
facing page:
figure 58.
Posthumous exhibition
of Popova's work.
Moscow, 1924.
with
Exter, Kliun,
including Alexandra
critic
Aliagrov
(Roman
5,
the
home
of the artist
LevBruni and
a regular
Narkompros
took over the task of organizing numerous exhibitions, helped acquire works of art
for the state depositories,
activities,
Popova, von Eding, their son, and her governess and friend, Adelaida Dege,
moved
to Rostov- on- Don. But there von Eding contracted typhoid fever and died, while
ill
managed to
sell
works
to the State
life,
design, and
it is
(fig.
57).
During the
Department
last
stage, poster,
three
and book
began to be applied
become
years of her
at
to sets
and costumes for the theater. Not only did she now
Department
at
Vkhutemas
at
at
"
supreme principles
cordial, festively
of constructing
it
reality of
form of Suprematism." 8
The transition from studio painting to production art was symptomatic of a crisis
in the arts, but Popova's ideas provided
some
solutions.
Another reason
for
Popova's optimism and tenacity was the unflagging support of those around her,
their friendship,
articles
and
love. Sergei
Popova was in close contact with both writers within the publishing- house and
bohemian circle
called Centrifuge.
But Popova's closest, most important friend was Alexander Vesnin, and every-
one knew of their intimate relationship. Natalia Vesnina, the wife of his brother
Viktor, writes in her
woman as a young man and preserved his feeling for her throughout
even though she married another man. "9 In the summer of 1933 Popova
beautiful
his
life,
traveled with Vesnin to the Caucasus. Since their youth, they had
been tied by
Romeo and Juliet that the Chamber Theater prepared (but did not produce) and on
an agitprop event.
In the catalogue of her posthumous exhibition, Popova's brother, Pavel, wrote:
satisfied with
ever aspiring forward, from a young age Popova displayed an enthusiasm for revolutionary forms and
in the basic
189
LIUBOV popova
leftism in
all
" 10
spheres of activity.
work as
artistic
a "duty
and
a social obligation.""
Although
Popova did not emphasize the theme of social service in her own theoretical
she did underscore the need to unite the two revolutions
social.
texts,
the ideology of production art (and unconditional acceptance of the social revolu-
associated with the journal Lef(Left Front of the Arts), and those in Vsevolod
1.
S.
(fig. 61).
Stati.
1924, p.
5.
p. 85.
3.
4.
Mikhail Alexandrovieh Vrubel (18561910), Russia's primary artist of the fin de siecle, shared
the Symbolists' premise that the world of appearances was but a
p. 4,1.
cosmic truth. Correspondingly, he displaced and distorted outward forms in order to express
the intensity of his inner vision. Artists of the avant-garde held Vrubel in high esteem, even
first
"Cubist."
Ivan Aksenov, "Posmertnaia vystavka L.S. Popovoi," Zhizniskusstva (Leningrad), no. 5 (1925),
P-5-
6.
15.
2,
1913, in Ekaterina
pp. 19-21.
7.
p. 85.
8.
kartmy: Sbomik
9.
statei
Natalia Vesnina,
Popov,
L. S.
F.
p. 169.
Popova, p.
5.
190
p. 5.
first
is
it
art
and then
mature work of
most
reflects the
disparate tendencies
Italian Renaissance),
under Henri Le Fauconnier and Jean Metzingerat La Palette in 1913 and 1918),
Italian
Futurism
(to
Russian avant-garde
if
As
stay in Italy),
is
that of classical
though, while
still
St.
From the paintings that she observed there, she made draw-
both skillful copies and free interpretations that included biblical figures
ings
and the
erary (by which time she was an avant-gardist), she selected cities that were cele-
art.
As Popova noted
in her diaries,
also cultivated a
deep
tural
ings
strong interest in
works include
precise sense of up and down, a frontality in the construction of form, and a strong
is
fixed
and proportions define relationships, whether simple or multiple. These proportions are based
sciously
and deliberately
parts; there is
human,
human figures,
natural,
spirit,
not
and simple.
How does this affinity for Renaissance form relate to Popova's parallel interest
191
LIUBOV popova
styles? Just as she visited St. Petersburg to study Italian Renaissance painting, she
traveled to the ancient cities of Kiev. Novgorod, Pskov, Yaroslavl, Rostov, and
Suzdal and studied the icon paintings there. Using her distinct sensibility and her
as a guide.
effect
A similar
to create
an
For Popova, Russian icon painting and Italian Renaissance painting shared
certain principles, though
to turn to the painted relief as a new medium. From 1915 on, Popova
mous list
and Alexander
some
of her Cubo-Futurist
and that of the female nude. The latterworks demonstrate her particu-
to
Moscow and which was first on the list of works that she compiled
herself
shows the influence not only of Le Fauconnier and Metzinger, but also of Tatlin.
Popova's approach changed after she saw such prototypical Cubo-Futurist
paintings as Malevich's The Knife -Grinder, 1913, and Goncharova's The Bicyclist.
(fig. 54), in which two opposing forms of energy clash, restraining and at
same time encouraging the perception of the object and its environment as
merging together. Popova began to experiment with this emphasis on abstract
191313
the
Man
as The Pianist,
sions of the Traveling Woman, 1915 (plate 33), in which Popova achieved an effective
balance between the centrifugal and the centripetal. Such paintings also
19a
DmiTin saraBianov
figure 59.
LIUBOV POPOVa
on canvas.
137.1 x 91.4
Private collection
93
cm.
wnrEfflft
figure 60.
LIUBOV POPOVa
11
cm
mandolin or
by giving it an emphatic
a guitar) always
plasticity.
it)
it
artists
Malevich's Knife -Grinder must have been an ideal model for Popova; her two
versions of the Traveling Woman (a.k.a. The Traveler) show a similar dissolution
of legibility within the
its
intricate lines
non-objectivity.
nearly absolute flatness (as, for example, in the triangle of the keyboard).
Popova, however, gives us a mostly frontal view of the face, while showing the
side, in profile,
a layered
array of sheet music floating in the middle. Within a year she would be
Around
this.
began to work in
years, Malevich
making
et
Popova became
Suprematism
of the Parisian
in her synthetic system that, in turn, prepared her for the next
construction in the
194
object, so
for
prised the living matter of the painting, there the edge of the painting assumes
major importance, becoming virtually the foundation of the composition, replacing the surface as the principal focal element. The planes have
totally
disconnected from
reality,
become stripes,
and
stability,
forces.
thanks to the
Now. movement
unfolds not in real space, but in a new. unearthly dimension that rejects
and centripetal
still
To
lead to their
is
characteristic of
Cubo - Futurism.
compounds
of Constructivism
and
Production art that she investigated with such alacrity after the October
Revolution. The radical accomplishments that
fashion, and
book designs
we
and often
years earlier. Indeed, without the rigorous formal explorations that Popova pur-
"i-
(fig.
61)
impossible.
1889
1899
Gymnasium.
1907
190809
Attends the
art
1909
1910
1911
1912
191213
15th-
to Paris,
at
La
Palette.
1913
1914
191415
191416
exhibitions in
1916),
Moscow.
1915
style,
of Painterly Architectonics
Supremus group.
1916
Joins the
1917
196
textile
CHTOnOLOGY
1918
Marries von Eding. Works on designs for Soviet agitprop. Gives birth
to a
1919
son in November.
191921
Paints
1920
Makes
Juliet at
the
and
Makes
stage sets,
and tex-
1922
Magnanimous
Kunstausstellung in Berlin.
1923
duction
192324
1924
art.
Works on textile and dress designs for the First State Textile Factory.
Dies May 25, in Moscow. A large posthumous exhibition of her work
opens in Moscow (December 21).
97
lgt
facing page:
plate 28.
LIUBOVPOPOVa
Oil
on canvas. 160
x 124.3
cm
above:
plate 29.
LIUBOV POPOVa
61.5x48
cm
199
Moscow
plate
3o.LIUB0V POPOVa
Guitar, 1915
Oil
Dmitrii Sarabianov,
Moscow
plate3i.LIUB0V POPOVa
The Pianist. 1915
Oil
on canvas. 106.5
x ^8-7
cm
above:
plate 3s.
LIUBOVPOPOVa
Lady with a
Oil
Guitar, 1915
cm
Museum of History-, Architecture, and Art. Smolensk
on canvas. 107x71.5
State
facingpage:
plate 33.
LIUBOV POPOVa
Traveling
Woman,
Oil
1915
cm
2o3
above:
plate 34.
Jug on
Oil
LIUBOV POPOVa
59.1x45.3
cm
Moscow,
George Costakis
facing page:
plate 35.
Birsk,
Oil
LIUBOV POPOVa
1916
204
2S
plate 36.
LIUBOV POPOVa
Oil
on canvas, 107 x 88 cm
206
Museum
plate 37.
LIUBOV POPOVa
Oil
on canvas, 105 x 80 cm
Museum and Exhibition Center
Slobodskoi
plate38.LIUBOVPOPOVa
Construction, 1920
Oil
208
cm
Moscow
plate 39.
LIUBOV POPOVa
11
209
--7
cm
facing page:
plate 40.
LIUBOV POPOVa
on plywood, 124
x 82-3
cm
Moscow,
George Costakis
above:
plate 41.
LIUBOV POPOVa
71 x
64 cm
fj|t|
mm|
IB
'5
%
3
Ml
mm
M.
P.
Koreneva
a
:
if;
MM
OLGa
Rozanova
nina Gurianova
styles,
accommo -
dated easily within the sole categories of Cubo - Futurism or Suprematism, for her
paintings, drawings, and designs contain a strength
and
originality that
pushes
compressed time,
to exist as a single,
compact
entity;
and
this is
no
as being the
fundamental element in composition. Such was her method in creating her early
paintings,
when she worked more by intuition, and also in her later art, which she
something that
today both in theory and in practice helps us understand more clearly the
From the very beginning of her artistic career, Rozanova tended mostly toward
abstract composition based
on dynamics, interaction
from
of color,
early Neo-Primitivist
and discordant
still lifes
and
lin-
portraits,
Lady in Pink
with the dissonance of the industrial city manifest in the paintings that she con-
2l3
left:
figure 63.
OLGa rozanova
no. 3 (1913)
Lithograph
Institute of
Modern Russian
OLGa TOZanOVa
on canvas, 56 x 65 cm
State Russian
and
Museum.
November
St.
Petersburg
the latter bears a strong resemblance to images within Boccioni's series of Stati
d'animo, 1911, and indicates that Rozanova's primary artistic purpose was to convey
external and the visible, then the internal and the spiritual.
Museum and
the striking application of black lines and contours, something that produces
seem to expand arbitrarily and the composition to yield to a dynamic rhythm that
pulsates throughout the work. Rozanova treats the theme of the city in which disparate elements, objects, and forms are transformed into an autonomous organism.
Still,
unlike the Italian Futurists. Rozanova approaches the city and the
a sense of mystery
and danger.
In her Futurist urban landscapes of 191314, the "actors" or "characters" are the
buildings, streetlights,
214
if
they are
Nina cunanova
of the
at
abstraction (which
also, as
have said, to subordinate this style to a new aesthetic psychology). This duality
lends a special attraction to the novel and unpredictable quality of her 1915 works,
which hover on the boundary between objective and non-objective. In any case,
in following Rozanova's
but notice a metamorphosis as she advances from the Cubo -Futurist portraits of
191314 or the dramatic Fire in the City (Cityscape) to the unprecedented abstract
reliefs Automobile, 1915,
and Bicyclist,
1915,
Futurist notions of
first
at
the
Larionov. At
first,
as a requisite
component
of
contemporary urban
dream books,
and symbols
all
these connotations
when he
most
fanciful
spirit of Malevich's
"alogism" (Malevich's
from Beyond
trast of bright colors, with the black- gray grisaille of the faces
half-alive characters.
is
such
some
provincial
fair.
group and the very manner of execution go well beyond the conventions of
Pop
art.
to some extent anticipate the aesThe process whereby playing cards turn into people counterbal -
when real-life,
as, for
teenth century.
^5
historical
figure 65.
OLGa rozanova
on canvas, 80 x 69 cm
Present whereabouts
unknown
sketches. Four Aces-. Simultaneous Representation, for example, contains only the
circle,
and
(Auction), 1914 (plate 44), or The "Moderne" Movie Theater (In the Street), 1915
(plate 48).
The
last anticipates
of Malevich's
its
usual context,
becomes
a requisite attribute of
in
such compo-
Russians'
zaum
(transrational poetry)
Nina curianova
and
the malleability of her graphic art suited itself perfectly to the poetry of Alexei
Kruchenykh, inventor and theoretician of zaum. In 1913, he and Khlebnikov published the manifesto Slovo kak takovoe (The Word as Such), proclaiming a
form in
new verbal
and
in the
ple, they
is
unique
style of the
published Te
li le,
line
book by using collages made from colored paper. Rozanova employed this technique to particular advantage in her designs for Zaumnaia gniga (Transrational
Gook), 1915, by
and
a collection of poetry by
is
the
first
Kruchenykh.
majestic simplicity of the colors (white, blue, and black) and of the shapes (rectangle,
at o. jo,
at this
shown
exhibition that
explained by the fact that she came to Suprematism by way of collage, a path that
art.
about transrational poetry that she began to compose verse herself, albeit
(i.e.,
Throughout Rozanova's
an Airplane), 1916
(plate 49),
titled Non-Objective
Composition
dominant
own variant
of
once even calling her the "only true Suprematist." 8 Nonetheless, in her article
"Cubism. Futurism, Suprematism"
abstract art
"paint
is
the
217
art.
When
OLGa rozanova
duces
still
means
"paint," with
to lie in its
word "color"
all its
it
pro-
"non- materiality."
Color
is
all
means
the
uni-
of expression at his
is
"to create
quality of form in connection with quality of color,"' 3 not vice versa, for she
considered form as merely deriving from color. Later, in 191718, she conceived of the notion of the destruction of form
tant distinction
form as such.
spond to these
and
almost into a line. But seventeen colors the three primary colors, their complimentary colors, and eleven mixed colors resound in Rozanova's composition. Color variety is justified
The texture
is
Numerous geometrized
circles, rectangles,
and
exploded and distributed them with enormous centrifugal force. Three large
colored planes loom in the background
into a single static figure (a structure reminiscent of Liubov Popova's PainterlyArchitectonics [plate 36])-,
ground, which remains only as a narrow strip along the edges of the canvas.
The foreground
is
is
come
Unlike Popova, in whose works color emerges with the plastic, almost
who subordinates
new dimension of the dominating space, Rozanova achieves aspe-
figure 66.
OLGa rozanova
Workboz, 1915
Oil
on canvas with
collage, 53 x 33
cm
Moscow
"it is
is
is
warm and
cold,
com-
harmonious and
uniform rhythm: the basic color combinations are reflected endlessly in supplemental, fragmentary forms that
fill
Composition (Suprematism), 1916 (plate 50), for example, has only six colors (black,
white, yellow, blue,
embodying the
With
its
may be read
fullness
makes
and com-
for the
bends
to a displacement,
composition, one of the most atectonic in construction and rhythmically tense and
expressive, might be called an example of "Romantic" Suprematism.
"'
e^Aofft
/titf\j\
\U
Bit
iMtHA
>;
//
/~~cin.t/etn H nfKt((
f/
figure 67.
OLGa rozanova
li
le
Petersburg: 1914)
Institute of
Modern Russian
Rozanova created
different
from the
number of expressive
initial stage of
abstract
mass
of color.
Such
is
seem to
stick
solid,
heavy
of a dissonant
not
at
" l6
Rozanova concluded her own color theory in which she distanced herself
of color-painting (tsvetopis).
within the
The Tenth
as several
by
some
of the principles he
Rozanova's article
the nature of color and
its
function in abstract
art.
of the "immaterial essence of the color," she emphasizes that the "texture of the
paper. After experimenting with various transformations, she reached her ideal
to
its
BOKHA
figure 68.
PUbBA0.P03AH0B0M
oLGa rozanova
CjlOBA A.KPyHEHblX
Linocut,4ox3i
cm
and
its
interconnection with
light.
In the 1916
is
is
maximum
Green Stnpe
is
surely
is
evidence to assume
effect brings to
Hans Richter and Viking Eggeling in the 1930s. In his "Posthumous Word" on
it not you who wanted to light up the world in
who proposed projecting color compositions into
Was
it
not you
Suprematism became
a laboratory
light." 20
whose experiments
led
Rozanova
to put
her
by attempting to transform the everyday into a "living environment" for art, as was
the case with the Suprematist designs for women's fashions, handbags, and
all,
intuitive,
to
com-
spiritual, mystilast
works she
OLca rozanova
found
Malevich perceived
If
poetics of dehumanization in
new humanized beauty: "Nevertheless, we do believe that the time will come
when for many our art will become an esthetic necessity, an art justified by a selfless aspiration to present a new beauty to the world." 22 With a natural elegance,
Rozanova combined the universality and severe grandeur of theoretical
Suprematism with
more
local
spiritual
and
the mystical with emotion and irony and transmuted the "non-objectness"
of
i.
Suprematism
S.
3 97
vol.
1,
is
3,
1916, p.
11.
is
1914.
[inv. no.
f.
summer of 1915
339, op.
5, ed.
khr. 14]). In
other words, the linocuts supposedly preceded the paintings on the same theme.
4..
method
between "high"
and "low." See John Bowlt, "A Brazen Can-Can in the Temple of Art: The Russian Avant- Garde
and Popular Culture." in KirkVarnedoe and Adam Gopnik,
Readings in High and
the
name
Rocambole,
le
its
eds..
see Gleb Pospelov, Bubnovyi valet (Moscow: Sovetskii khudozhnik, 1990), pp. 99100.
5.
This series includes Simultaneous Representation of Four Aces (State Russian Museum,
St.
Petersburg), Simultaneous Representation of the Queen of Spades and the Queen of Hearts
(location
(Kustodiev Picture Gallery, Astrakhan), King of Spades (location unknown). King of Clubs
(plate 46),
Queen of Spades (plate 47), Queen of Hearts (location unknown). Queen of Diamonds
(Nizhnii-Novgorod Art Museum), Jack of Hearts (plate 45), Jack of Diamonds (location unknown),
and Jack of Clubs (Ivanovo Art Museum). Rozanova replaced the Queen of Hearts and Jack of Spades
in the linocut series by a
6.
new card
291-92
1963),
n. 223.
7.
See the letters from Rozanova to Alexei Kruchenykh [December 1915; see Documents section].
8.
Kazimir Malevich, "Vystavka profsoiuza khudozhnikov-zhivopistsev: Levaia federatsiia (molodaiafraktsiia)," in Anarkhiia (Moscow), no. 89, 1918, unpaginated.
9.
Kazimir Malevich, "Ot kubizma i futurizma k suprematizmu: Novyi zhivopisnyi realizm" (1916),
in Alexandra Shatskikh and Andrei Sarabianov, eds., Kazimir Malevich: Sobranie sochinenii, 5 vols.
(Moscow:
1,
p. 50.
Nina cunanova
10.
11.
12.
futurizmaksuprematizmu,"
p. 41.
i3. Ibid.
14.
grafika
L. S.
Popovoi." in
I. S.
Popova, catalogue of
15.
section].
16.
Manuscript Department,
exhibition
at
Moscow
(inv. no.
f.
339. op.
It is
5, ed.
khr. 14).
difficult to say
18, 1917.
word svetopis
lection of the
stripe
on
work of no
20. Alexander
Moscow.
21.
artistic value,"
and
its
present whereabouts
later
is
unknown.
would
like to
See Charlotte Douglas, "Suprematist Embroidered Ornament, " Art journal (New York) 54. no.
(Spring 1995), p. 42.
223
1886
Born June
2,2
1907
Audits classes
at
at
191113
Moves to
1912,
St.
makes
191315
its
first
St.
Petersburg
journal in 1913.
li
le
Marinetti in
St.
Rome.
1915
Petrograd.
(War-, 1916).
Works with
Moves to Moscow.
Roslavets,
last
November
1918
1916. Contributes
Moscow in
poems to Kruchenykh's Balos (1917).
Moscow streets and squares for May Day. Becomes
in charge
Professional
its first
in Tiflis. Dies
234
November 7,
in
ClirollOLOUY
at
at
1919
Represented
Suprematism.
1922
Represented
225
plate 42.
OLGa rozanova
Portrait of a
Lady in Pink
(Portrait of Anna
on canvas, n3 x 189 cm
Museum of Visual Arts, Ekaterinburg
Oil
226
Rozanova, the
plate 43.
oi.ca
rozanova
Oil
on metal. 71x71 cm
Art
Museum. Samara
1914
plate 44.
oLGa rozanova
on canvas, 84 x 66 cm
228
Museum, Kostroma
plate 45.
OLGa Rozanova
229
x 65 cm
Museum and Exhibition Center
on canvas, 80
Slobodskoi
plate 46.
OLGa rozanova
on canvas, 72 x 60 cm
Museum and Exhibition Center
Slobodskoi
23o
piate47.oixa
rozanova
on canvas, 77.5 x 61 .5 cm
Regional Art
z3i
Museum. Ulianovsk
plate 48.
OLGa rozanova
on canvas.
Slobodskoi
23z
101 x 77
Street)
1915
cm
Museum and
Exhibition Center
plate 49.
OLGa rozanova
on canvas,
Art
Museum, Samara
233
118 x 101
cm
plate
5o.0LGa rozanova
Oil
on canvas, go x 74, cm
234
Ekaterinburg
plate 51.
oLGa rozanova
on canvas, 102 x 94 cm
23 5
Ekaterinburg
191
plate 52.
oLGa rozanova
Oil
on canvas, 62.5
State Russian
3 36
x 40.5
Museum,
cm
St.
Petersburg
237
above:
plate 53.
OLGa rozanova
64 cm
Regional Art Museum, Ulianovsk
Oil
on canvas,
71 x
facing page;
plate 54.
OLGa rozanova
Oil
on canvas, 71-5x49 cm
2 38
Museum Preserve
917
a39
Moscow, 1916.
varvara
STepanova
aLexanDer LavrenTiev
(analytical)
Rodchenko, Varvara
Stepanova's husband, used to divide artists into two groups, analysts and synthesists.
Rodchenko
classified the
his
own as analytical, and regarded that of Alexander Drevin and Ivan Kliun, for example, as synthetic. "Synthesists" knowhowto take the aesthetic components and
potentially useful ideas discovered by other inventors and apply them to specific
fields of creativity
such as the theater, the printing arts, and design. They can
a new style out of the many possibilities discovered in the course of their
own experiments, although, of course, any artist is bound to resolve both analytical
assemble
Rorn
in 1894. Stepanova.
the avant-garde,
moved
who was
rapidly
is
one reason
why Stepanova was able to synthesize easily for example, she integrated nonobjective graphic art
figures,
and combined many systems in her work for the theater, printing, and design.
In the late 1910s and early 1930s, Stepanova worked closely with the non- objective
241
varvara srepanova
far left:
varvara STepanova
figure 70.
SEHEP
cm
Private collection
lull
in
b-1i'
v J
left:
figure 71.
*/
varvara STepanova
"Watercolor, pencil,
and photographic
cm
3 4-5"25-5
Private collection
had had no
marker (1909),
geometric
at
and in
however,
style.
Among
later,
silk
book
fragment of a
female figures in luxurious dresses with bright stripes of colored fabric and decorative sequins.
were a creative team, and although Stepanova may be considered Rodchenko's student, she guarded her independence jealously (figs. 70, 71). Turning to the past
for during the 1920s the artists of the left followed only
one vector the future. Rodchenko wrote: "Innovators of all times and countries,
inventors, constructors of the new, the eternally new,
we rush
dreams
letters.
at first
they
The inscription
of
is
Rodchenko. This
whose
role of artist
alliteration of voiceless
and
writer,
and voiced
242
collage.
aixxanDer LavrenTiev
Zbrzhest zdeban
zhbzmets
etta
zhmuts dekhkha
umerets
ittera.4
its
a delicate
melodic texture, as
in'Tiantachiol":
Afta iur inka
nair prazi
Taveniu lirka
taiuz fai
male
le
totti
maiaft
izva leiatti
Ifta liiard.5
As Stepanova affirmed:
"I
verse as sound and letter with painterly perception and this infuses a
visual impression into the
ation.
sound of verse.
new living,
[my] two
[both 1918].
latter's
possibilities quantitatively." 6
The variable
all
this deliberately
text, as
Kruchenykh and
some
are
warm, others
some
letters
seem to be
close, others
hand, and the timbre and type of sound, on the other, make for a complex aural
is
all
all
abstract
Kruchenykh's Gly-Gly
(fig.
72) and
191819: four
forms on pages pasted into her handwritten book RtnyKhomle. She signed
(i.e..
243
and two
far left:
figure 72.
varvara sTepanova
Kruchenykh's
Gly-Gly, 1918
on paper,
cm
Private collection
left:
figure 73.
varvara STepanova
cm
Private collection
Suprematism, a
musical imitation of Mikhail Matiushin, the painterly planes of Popova, and a very
unstable composition called Rozanova Dancing
(fig.
^3 ) But the
.
same year
in a press run of fifty copies. She wrote the verses by hand on sheets
newspaper in large black letters running across the newsprint and made non-
objective collages
During the
on some
first
of the pages.
at
the
in 1930
Museum was in the courtyard of 14 Volkhonka Street, now the Museum of Private
Collections,
artistic careers of
to analysis.
In her linocuts of 1919, Stepanova explored the expressive possibilities of line and
duced
fall
The head
is
stencil
and
Rodchenko, also used the technique of the semi- dry brush, something that
if
a spray texture,
artist to
model large
and small forms. In several drawings, Stepanova employed another tool the
toothed wheel dipped in paint which
244
left a
far left:
figure 74.
Works by Stepanova
in
left:
figure 75.
varvara STepanova
it
paper. This
which she
fabric,
the
little
Private collection
Rodchenko production
for
some
creative use,
machine (which to
this
cut
outfit.
ink,
(at
sewing
recalls a child's
own cardboard dolls for the cartoon booklets that she made
The catalogue
for that
filled
an entire
Moscow
hall
(at
showed
oils
and fifty-three
graphic pieces by Stepanova, the subjects being music, sports, and even the ballet.
playing with the words "Varvara" and "varvarism." coined the term "varvaric art"
for
some
of the
works she was making at that time. Some observers found that
artists
and Georgii and Vladimir Stenberg made their first free-standing sculptures, and
Stepanova, too, demonstrated her
Constructivist idea.
She no longer simply searched for schematic, anatomical principles, but tried
to
convey the structural nature of the head, the torso, and the figure as a whole.
Collector and
works "robots." 9
production
art in
September
1921.
25
easel painting to
245
figure 76.
varvara STepanova
525 =
36x4,4.5
QTKpHThE
ffiBEpr
first
part
Private collection
oi$x$
Rodchenko contributed
cm
later) consisted
an example
of practical
Stepanova her last Figures (plates 73, 73). At that time, Stepanova was teaching art
at
of
its
dren's
art.
As
a result, Stepanova
to the primitive
member
chil-
of her figures
resemble
them
"tadpoles." 11
Afterja^
25,
and Stepanova
also
and
a Utopian project
became members
of Inkhuk.
itself.
Rodchenko
to
record the protocols of the meetings and discussions, and they also took part in the
debates around the journal LefiLeft Front of the Arts).
her
is
(I
said of
which he presented to
Stepanova, the poet wrote: "To the 'Frenzied' Stepanova with heartfelt feelings." 13
Stepanova recorded Rodehenko's thoughts about "synthesists" and "analysts" in an entry in her
diary in 1919. See Alexander Lavrentiev and Varvara Rodchenko, eds., Varvara Stepanova: Chelovek
ne mozhet zhit bez chuda. Pisma. Poeticheskie opyty. Zapiski khudozhnitsy (Moscow: Sfera, 1994).
pp. 77-78, 89.
2.
One point
of view holds that together with the Non-Objectivist circle of artists (Popova.
Rodchenko. Rozanova, and Udaltsova), Stepanova followed Malevich in her researches; see
Evgenii Kovtun, "Put Malevicha," in Malevich, catalogue of exhibition
Museum, Leningrad
[St.
at
Non-Objectivists were united with Malevich in their refusal to imitate nature, but they did not
Alexander Rodchenko.
"Iz
246
aLexanrter i.avrermev
Alexander Lavrentiev and Varvara Rodchenko, Alexander Rodchenko: Opyty dim budushchego
4.
p. 67.
8,
Rodchenko-Stepanova
Archive, Moscow.
5.
6.
V.
7.
Quoted
p.
Grits,
38o.
8.
Ibid.
9.
Angelica Zander Rudenstine, ed., Russian Avant- Garde Art: The George Costakis Collection (New
York: Abrams, 1981).
13.
Institute.
Mayakovsky
and
art.
247
in
which he
1894
Born October 9,
191014
in
Ilia
191517
Works
ies
as
art
Moscow Salon.
Moscow (1916).
1917
art
and begins
to create experi-
First Exhibition
and
Painters
and
(Visual
1919
and Suprematism.
Illustrates Alexei
known as
Constructivism.
192033
Participates in discussions
a
member and,
and
activities of
1921
1920 35
Teaches
at
Inkhuk, in Moscow, as
the Krupskaia
25.
Education.
1922
Makes
and costumes
1933-38
Closely involved with the journals Lef (Left Front of the Arts) and
Novyi
193435
of the Arts).
24,8
a designer,
I'll
192:5
I'OIII
1936-33
Works predominantly as
to paint, design,
194143
Lives in Perm.
1958
Dies
May 30,
249
et
Modernes in Paris.
in
Moscow.
and
exhibit.
fulfilling
plate 55.
varvara STepanova
250
em
S^R MAMMA
0l? PAtl
40
**5?wfc t^^/
plate 56.
varvara sTepanova
"RtnyKhomle," 1918
25 1
em
tiAJlli
plate 57.
varvara STepanova
"RtnyKhomle." 191
252
cm
plate 58.
varvara STepanova
Khomle,
253
cm
"
1918
plate 59.
varvara STepanova
254
em
1918
plate
6o.varvara siepanova
255
cm
plate
6i.varvara STepanova
256
cm
plate 62.
varvara STepanova
Mustmtionforthepoem
"ZigraAr,
^57
"
cm
191
plate 63.
varvara sTepanova
258
cm
1918
plate 64.
varvara STepanova
259
cm
plate 65.
varvara STepanova
on canvas, 107.5
4^-5
260
cm
Moscow
plate 66.
varvara STepanova
Five Figures
Oil
on canvas, 80 x 98
Private collection
cm
plate 67.
varvara STepanova
Billiard Players.
Oil
1920
on canvas. 68 x 129
cm
Carmen Thyssen-Bornemisza
262
Collection
plate 68.
varvara STepanova
on plywood, 78
Private collection
263
62
cm
plate 69.
varvara STepanova
on canvas, 70 x 57
Private collection
264
cm
plate
7o.varvara STepanova
Musicians, 1920
Oil
265
plate 7i.
varvara STepanova
1930
71 x 52.5 cm
Museum of Private Collections,
Pushkin State Museum of Fine Arts, Moscow
Oil
on plywood,
266
267
above:
plate 72.
varvara STepanova
Oil
on canvas. 99.5
x 65.5
cm
Private collection
facingpage:
plate 73.
varvara STepanova
Figure, 1921
Oil
on canvas, 125x71.5 cm
Private collection
268
269
figure 77-
Nadezhda Udaltsova
naDezHDa
UDaursova
vasiLii
RaKinn
proFessionaL painTer
The
life
Nadezhda Udaltsova
of
is
a tragic one.
ing the painful death of one of her younger sisters, Liudmila Prudkovskaia,
a retired general,
who
husband, fellow artist Alexander Drevin, was arrested and shot in 1938, although
she fostered the hope that by some miracle he was
grace was
art. It
still alive.
made her debut as a professional artist at the Jack of Diamonds exhiMoscow in the winter of 1914, together with her friend Liubov Popova
(fig. 78). But only one reviewer, Alexei Grishchenko, an artist whom they knew
from various Moscow studios, noted their contribution, mentioning that while
almost the entire exhibition moved under the banner of Picasso, these two young
Udaltsova
bition in
women showed an enthusiasm for another French artist Jean Metzinger and
his painting Oiseau bleu (Blue Bird).
grammar of Cubism at
known under the more respectable name Academie de
At this point, the two women's drawing styles were very similar and
271
figure 78.
Moscow.
man,
demonstrated that they had assimilated their Cubist lessons well, even though
their paintings relied
Cubism
(fig.
of Parisian
79).
Cubism did not hinder the expression of individuality. Udaltsova, for example,
accepted Cubism as a legitimate phenomenon that was linked organically to the
history of European art with Leonardo da Vinci, the Middle Ages, Poussin and
with the environment of Paris
of
its
their
viaducts, with
city]
The architecture
embodiment
itself.
locomotive smoke
its
seemed to be
a fantastic
trails,
airborne
and
silver tones
found
Of course, Picasso
sensibility
and character of
Udaltsova herself.
Udaltsova's rendering of space in the paintings of 191415 often resembles
As
and
little
of her
a rule,
light; unfortunately,
comparatively
later versions of
During the 1930s, the Tretiakov Gallery, the Russian Museum, and the various
Cubism and justifiably so. Indeed, Udaltsova's paintings are perhaps the most
organic manifestation of Russian Cubism or of what we refer to conditionally
as Russian
Skillfully
made,
272
vasiLii RaKiTiri
sion of her intent, and are characterized by a pictorial serenity, a Cubist sfumato
(see The Blue Jug, 1915,
among
fig. 81).
its
complex
essence, "+
more
plastic synthesis.
For Udaltsova, the path to the new painting culminated in the non- objective.
She compared what she was doing with the work of colleagues, and wondered who
was
right.
There was the subtle Vladimir Tatlin, for example, who abandoned
ferent
work out
of iron
portrait of a
girl." 5
dif-
Udaltsova, while
reliefs,
understood perfectly well that he was not a Russian Picasso. Tatlin recognized the
value of her insight into his work, and. in fact, the text in the promotional booklet
much in common with the plastic works of Tatlin for example, her Self-Portrait
with Palette, 1915 (plate 80), and the spiral form of his
International, 1919.
destiny of the
bloc
at
Tramway V,
0.10,
Monument to the
a distinct path,
Third
the ultimate
united
an advocate of cool and rational calculation. The various versions of the painting
Restaurant, 1915, for example (plates 83, 83;
fig.
light
and shade
relief
and
of painting. In other
words, the culture of painting as such and the tradition of European painting in
particular were of extreme importance to Udaltsova, even
if
War and revolution disrupted the common course and ready interchange of the
new art, although for the Russians the isolation proved to be beneficial. What happened to their painting after Cubism? Certainly, Udaltsova was among the first to
appreciate Popova's architectonic paintings (plates 36, 3?), and, even
interested in the plasticity of
if
she was
also
drawn both to
its
its
of
decorative
When Natalia Davydova asked her to make textile designs for the
Verbovka peasant
matic Malevich
of the charis-
In the winter of 1916 17, Udaltsova and her colleagues began referring to
273
and Popova
applied their Suprematist ideas to their decoration for the Club of the
also
Young Leftist
born leader, could not reconcile himself to the wide range of opinions within
the
Supremus
circle,
even
if
Textile Institute in
Moscow. But
at
textile
Vkhutemas-
in
With fellow artist Alexander Drevin (whom she married in 1919), she tried to
Rodchenko within the Association of Extreme
Innovators (Askranov). The attempt failed, but she continued to nurture the idea
of a united front for the
tion declared that painting was not consistent with the goals of modernity and
all
her
own Rodchenko,
for example
not her cup of tea. For her, painting was primary, and only once, with Drevin and
their students, did she build a
274
model
had
facing page,
figure 79.
left:
naDezHDa UDaLTSOVa
cm
Private collection
t.H
NIU
[I.IL'l'.
IL'lll
naDezHDa uDarrsova
figure 80.
on canvas
left:
figure 81.
naDeZHDa UDaLTSOVa
been patently
a
on canvas
reading,
Painters"
then
at
art.
at
moving "back
and finding Constable and Corot more exciting than Modernism. But
If the
Jack of
Diamonds
more
new unity;
so
it is
not surprising
turned toward
artists
left a
to nature,"
trivial
at
II.
Udaltsova did not accept the aesthetic of Socialist Realism, instead continuing
portraits,
adhere
to
Falk,
and on one
Rodchenko, one of the leaders of the Constructivists with whom Udaltsova used
275
naDezHDa uDairsova
to
wrangle so furiously over the destiny of painting once wrote to Stepanova, the
"I
was
at
i.
me this painting.
11
Alexei Grishchenko, "Bubnovyi valet'. Vpechatleniias vystavki," in Nov (Moscow), no. 22, 1914.
pp.
is
d'Art
de Paris.
2.
Union of Artists
the
at
eds.,
of the
Artist
common scheme"
agreed:
"Cubism
in Russia
and Cubism
Van Diemen,
[St.
Punin
may even
iz
kollek-
Petersburg:
1,
ed..
Kazimir Malevich.
p. 119.
5.
6.
Tatlin
is
(i.e.,
the
Supremus
circle),
al." as
repre-
Alexander Lavrentiev and Varvara Rodchenko, eds., Varvara Stepanova: Chelovek ne mozhet zhit
chuda. Pisma. Poeticheskie opyty. Zapiski khudozhnitsy (Moscow: Sfera, 1994), p. 75.
9.
10.
The
spatial
model
for a
rostrum
is
n. 4.
376
liubliu zhizn
p. 58.
Stati.
p. 122-
bez
'
paintings
at
377
(plate 83)
Moscow).
1885
189a
1905
art
school of
1907
Yuon/Dudin school.
1908
Visits the
Shchukin
MayJune.
Fails
and Dresden in
Moscow Institute
of Painting,
191011
191213
at
La Palette in Paris.
1914,
artists.
191516
o.
1916
191617
Is
work on preparations
for publishing a
as Suprematists
and
never appears.
1917
Is
Professional
of the
Painters. Collaborates
on the deco-
278
Moscow Proletcult.
CHTOnOLOGY
1918 30
Teaches
1919
at
at
Malevich's invitation.
193031
Member of Inkhuk.
193030
Teaches
textile
Institute in
design
at
Vkhutemas-Vkhutein, and
at
the Textile
Moscow.
1933
193334
shows
at
at
the
193735
Contributes to
Drevin
at
the Russian
exhibitions, including
Museum in Leningrad in
193333
is
1938
Drevin
1945
Solo exhibition
1958
is
the
in October.
1961
279
at
Moscow
plate74-IlaDeZHDa UDaLTSOVa
Seamstress. 1912-13
Oil
on canvas,
Moscow
plate75-
naDCZHDa UDaLTSOVa
Composition, io,i3
Oil
Pereiaslavl-Zalesskii
plate76.naDezHDa UDaLTSova
At the Piano, 1915
Oil
on canvas, 107 x 89 cm
Anonyme
plate 77.
naoezHDa UDausova
283
George Costakis
cm
Moscow.
facing page:
plate78.
Artist's
Oil
naDezHDa uDaursova
Model, 1914.
on canvas, 106
State Russian
x 71
cm
Museum.
St.
Petersburg
above:
piate79.
nacezHDa UDai/rsova
New, 1914-15
Oil
on canvas, 60 x 48
cm
285
plate
8o.naDezHDa uDaLisova
Oil
286
1915
on canvas, 72 x 53 cm
Moscow
plate
8i.naDezHDa uDaLTsova
RedFigure, 1915
Oil
on canvas, 70 x 70 cm
387
Museum
Preserve
plate Sz.
naDezHDa uDaursova
on canvas, 71 x 53 cm
288
Moscow
plate 83.
IiaDeZHDa UDaLTSOVa
Restaurant, 1915
Oil
on canvas,
State Russian
184.x 116
cm
Museum,
St.
Petersburg
plate 84.
nanezHDa uDarrsova
Kitchen, 1915
Oil
on canvas,
Museum
290
161 x 165
cm
'
]Hg
t^b
'
f:
8rfB
'
"i
'
^B|
j^m
inSI
plate 85.
naDezHDa UDaLTSova
291
Moscow
plate 86.
naDezHDa uDansova
Untitled,
1916
Watercolor on paper. 48 x 40
cm
292
*
1
plate 87.
naDezHDa uDaLTsova
Untitled. 1916
x 15.9
293
cm
294
facing page:
plate 88.
naDezHDa UDausova
Untitled, 1916
above:
plate 89.
naDezHDa UDarrsova
Untitled,
1916
295
amis
f3%
*JGr-ZZi OS-k
^-
/ZZ<z^e**^C^r
e^A
e^^se~*&-^
rJo2c**CS
<^<?
^^
*^<3
aC~0^
on page 3o6.)
21,
1920.
aLexarmra
exTer
Archipenko and
Not only
is
he
I'd like to
even
if
known in Russia. He
really
ought to be placed.
mood here,
expecting
[a lot]
feel that
demands
for the
of their future
really
the technical
he's not
help him.
the
mentioned
and
people are
colors.
Judging by
study
from us Russians, so
freely in lines
it.
we
it
that's
in question
Sobachko (1918)
color, characteristic of
Types of decorative
art include,
among
rugs.
An
ornament.
A decorative composition
itself differs
tion in that
it is
conditioned by the
more recent
it
its
basis in-
and laws
of color
and
line composition.
by the repetitiveness of
we may point to
initial
that
is,
which
achieves
coloring
Asymmetrical representa-
plicated.
tion,
-''
DocumenTS
we perceive
the development of the laws of composition, from primitive rhythm (the rug,
In decorative folk
clay) to
art,
dynamic rhythm
(the painted
this
Easter egg)
Thus, for
athletic
unconscious
tive,
less, at
creativity,
nonethe-
Russian,
who
training.
During the
nated clothes
standpoint inasmuch as
much later.
That
is
and sometimes
ing a
lier clothing
and
had devel-
of 1914
life
its
War
kind
no thought of creat-
torious
is
from the
emerging vic-
and
have begun.
defense. The
itself
was
3oo
artistic
research into
life
and
human
new forms
been the
.
outfitting of
aLexarmra exxer
all
is a
artists
problem
and
that
still
confronts
specialists alike.
removed
figure 84.
from the
general
outfit
of the clothes
Frame from
IsaakRabinovich.
primary color no
anonymity.
reached such
a point that
we saw the
outfit
fiable
It
has to
be said that the contemporary specialized costume for stage performers has
still
and the
this
of production.
dressed in a worker's
a
mason or of a
no
real
outfit,
whether of
Onstage,
of some
who
i.e.,
movement
of the
body during a
classi-
torso
3oi
DocumenTs
The
itself.
reject
it
out
of
of
European
civilization,
with
its
ronment
rich,
4AlEPH6//r ~
TEsCTP
of Russia
demands
dresses
xyao^KHH k-ajkztep
example, with
as, for
/v^JUKA-A foPTEP
color
more
brightly
(Germany
and more
sical ballet.
ater
is
movement
(physical, emotional,
should base
the
its
production clothing on
movement of the
actor's body.
that, of course,
would
In preserving the
ration, designers
style of Rakst
flat
painted deco-
who worked
were unable
in the
to resolve
ume
kind or another.
and we
work
moving out
in front.
Con-
proceed from
desired
of the
it.
That
new costume.
It
is
the condition
should be incor-
3oa
single
and
of a
aLexanDra exTer
metric forms
Free
movement
is
the fundamental
act.
The bland
all
artist's
mission
is
may blend
into a
quence, the
of the
movement
much
if
brilliantly so,
such
to give as
centrated, with
the
at
control.
The
artist
minimal external
method
planes that
is
essential to
make
a clean
It
break with
move by means
of
set,
of an elec-
tric current.
it
confluence in unthinkable.
The fundamental
effect of
drama. The
mony of the
tial
freely with
modulate
colors.
light.
light in the
It is
also possible to
as
the
chance to display
action.
[they] can
3o3
in
one
methods serve
within the
As
movement
onstage.
if
atten-
DocumenTS
as in stage
tume,
The composition
its
form and
of the cos-
con-
color, should
is fully
riHEHN/i
uonpocw
combina-
may either
5*5-25
YJ\
KOTOPM5
B OAMH
MIS
as a plastic whole,
over,
it
is difficult to
of costumes
made
of "real" material
three-dimensional
36x44.5 cm.
Private collection.
25
on paper,
artistic
do
is to
artist:
the
at
one
reproduction of a
Costumes
sets.
For the
folds
more-
ABToPW S?fc
exhibition, 1931, colored india ink
or that
tone to them.
all
you need
and
intricate
and
clarity
which can be
embodied quite
without re-
freely,
be observed com-
pletely
achieved.
on the conventional
crude dissonance.
a given period.
The actor in a
"real"
costume
stage creates a
.
echo
it
in the costumes
Artist's
the Exhibition 5 \ 5
qg(iy2,i) s
on color which,
of experiments
relationship of color,
its
in part,
mutual ten-
and
it is
304
essential to
on the laws
of color itself.
aLexanDra exTer
(March 3, 1929)9
Dearest Vera,
...
at
10
the Quatre
don't
I've
able,
confused
state that
last
you found
me
again
can believe in
feel that
my powers.
once
moment only.
through
It
it all
and
stylistic "collegiality,"
new sets,
a characteristic
individuality
nod to
understand that de
can't
been
it
because what
what's
left.
A propos of individuality
design
art. I've
again
am going through
influence on me.
is
and once
will pass,
like
feel a
left
past year
doubt, I've
No
says.
Morally
shall
"in," as
looked
the
at
first
idea and in
original.
me and I,
Made
too,
had
its
deep
everyone
nothing
I'd like to
this
parts. Nothing,
else, for
we
vinced
every fiber of
much it
3o 5
are pathetic
we won't be
like that.
DocumenTS
Mukhina
(December^ 194s) 12
My dear,
Letter to Vera
The Triangle
got so
might
Museum.
have to
down.
lie
lie
hopeless.
lack of will
Ukrainian
3.
have
Ganny Sobachko,"
artists.
Loneliness, sickness,
that's all
Pribylskoi
brings no joy
I.
4.
left.
feel
teatre. Iz
into a
Odessku
besedy
listok
Alexandroi Exter." in
(1898-1978) was
whole day.
to
drop by after
a Preface
commis-
of these.
Moscow, in 1916.
7.
some
designs for
6.
I'll
Goziason
angry, but
a stage
Mikhailovich,
State
134. ed.
commissions.
f.
E.
St.
in the
khr. 62).
In general,
Pain in my
my health's not good
heart, cramps in my hand, very weak,
.
is
worked up
(St.
at
the
Chamber Theater,
the
p. 105: translated
from
Paris
8.
53:5-35. held
among the
Cubo- Futurists,
St.
Petersburg
writing, lecturing,
3o6
and
at
in 1917.
at
title
aLexanDra exTer
515
= 25.
A second
(inv. no.
i3.
1.
d.
kh
r.
254).
Nekrasov (1878-1945).
E. Bowlt.
maintained
a regular
correspondence with
was
a sculptor
ion
at
stainless-steel
et
Mukhina
still
went
an
to see Exter
first
during her
collaborated as
Chamber
letter is in
(inv. no.
f.
2.326. op.
1.
d.khr. 254).
10. Exter's exhibition at the
Quatre Chemins
of them architects:
ill
p. 108: translated
11.
2826, op.
in October.
9.
f.
Exter was in
The letter is
307
/-'
ca. 1914.
naTaLia
GoncHarova
Album (1911?)
When follow the path of Cezanne, my
works satisfy me less than those that
1
derive
is
artifacts
style,
and so
because of a lack of
mountain to
Lord not let
give
that
that
have
influence of
I've
made
is
outstanding, but
not.
just can't
his church
and garden in
and this
A radiant Christ, a
me.
me paint this?
Jealousy
is,
Lord, for-
based on sensuality
is
on sexual
attraction
and that
no reason what-
who
at all, is a
torturous feeling.
It
would be interest-
European
attraction
at all.
Eureka.
light
were
time. Perhaps
if
the
be gratified every
to
it
other-
piness of an entire
(in three
not set
all hell
life at
any moment,
we value, would
jealousy
red.
trunks with
little
a paler color.
tle
transverse strokes of
a lit-
still
friends. Perhaps
the branches
corrupt monster.
sit
peacocks and
tiny,
3og
Others argue
alone
and
own
am such a
DocumeriTS
TfyGTMHMMKU
HOSMA
AKpy^EHbixt
Wl
Persian,
etc.,
the point.
me the following
"Do drawings
of the sky
and the
for Alexei
might appear, in
all
cases observing
their characteristics.
me that
icons.
enough.
as to seize the
fast.
feeds too
it
would
is
next, just as
it
happens in nature
that
my icons
moment. In this
Do this simply so
acteristic at a given
feeling's
Make
also as they
fear
first centuries,
another,
different style.
part,
then
Change
and
and
its
relationship to others.
do
it
pre -
cisely that
some kind
of material, through an
within
all
that material
is
you perceive
color-blind
most
artists
realist of
artworks by different
3io
sciously in your
own mind.
and in life."
write
it all
"It is
it. I
down:
naTaLia concHarova
same old
colors.
It is
much better to
invent
is
fig-
The
black.
popular prints
if,
same
as in
of black.
works well
brightest effect.
bright.
have to give
use a
light one,
some thought.
forgot to write:
particularly-
work on some-
it
add
when in
better to
to
It is
It
color as
its
is
of the
same
realistic
lines.
So that
it
stands out,
only
if
it is
Misha asked
me to note these
things
recall of what
Misha told
ago.
I'll
me yesterday
write
down what
says.
and
debate on the
at
the
DocumenTS
it
Over the
last
whereas in Russia
truly.
it
has beenyours
same time,
just
of the
Maiden on
collection.
it's
lost,
is
memory.
pathetic,
and
artists
did not
had
begun to
say.
Consequently,
my hum-
will cling to
and
modern art,
Cubism is
it is
a positive
not altogether a
cially as far as
Scythians
this
ill-
formu-
phenomenon, but
new one, espe-
ative work.
Russia
style.
of innovators. This
especially Cubism.
is
concerned. The
hallowed
mugs
bour-
of his speech,
fat
in
Wonderful painted,
3l2
were
later constructed;
and
after that,
naTaua GoncHarova
and countries
at a
where there
is
that
In
i.e.,
As
Futurism
a theory,
consider academism to be a
genuine
transient
ing (since
certain
no
is
art.
In contradistinction to
therefore,
is,
at
how
nite
object
beautiful,
ment
it?
still
exist
is
at
all,
is
renouncing beauty as
I
great and, in
It
was said
it
at
is
advances
of beauty, ugliness,
be equally
toward ugliness.
on
all
confirmed
also important.
is
[making]
France (above
depicted
it's
I
art as
life.
weak in
Ugliness in art
and
little
and art
art, first
of deep
Letter (1913?) 3
What can
and foremost,
is
is
say about
times? To repeat
of the
good and
to say a
It
all
because such
my assurances
is
respect.
Open
whatever
accom-
plishments.
I
Accept
is
to
3i3
want
DocumenTS
are a guest,
everything
[She
of which you
Our country,
daughter.
is still
is
is]
creature
Woman is
[illegible]
They are
mother- men and formally are womenmen-lovers, but as with the worker,
there
is
no need
them. In
to despise
human beings of
human
relationships and our own nationality.
As for the new color [painting] I can
being] designates the
of God, that
human will
woman should not
you that
tell
and mind,
that a
art in
museums
were
and
ator
Futurism
[sic]
hardly
too, that
when one
colleague
is
base,
lazy,
is
very
and Europe,
[still]
exists-, it is
one with
it
new academicism,
am right.
(1914)
Tommaso Marinetti
and
Monsieur Marinetti,
Our country is
letter
on business this
spring.
I'll
be in Paris
a beautiful country. It is
like that? Is
[sic]
an
artist
it
really so
important that
Man is a com-
even
becomes
if
one has
a Futurist
314
son or
a static
moving and
thing with
its
own
naTaLia GoncHarova
individual
life,
will. If you
own inner
dressing, walk-
little
is
all
that's left
What remains
weakly.
extrinsic
and
is
gratification.
thetic
merely the
However, there
is
discovering equilibrium,
i.e.,
forget
of a foreign country,
artist,
what
beyond
up
to the
That's what
me for
It is
coma flower on a
part of the
like
in an artifi-
will
even
so,
at first
still
bet-
it
lightly or
topic.
may be torn
ter, but.
me to write
Englishman
you
recently.
as
yourself.
that
needs
to
nous places,
devote his
to take life
methods
artist,
life to
how-
indige-
lot.
think
European without
good person."
my overly serious
about a
from
indigenous places.
Please forgive
first
3>5
creating a divi-
DocumenTs
ladies),
and
work-, there
a lecture about
me and my
commissions
is
for
lished in the
techeniia
praise
the
is
lavished on
my old works,
appeared in
not
Eli
memoirs
"Albom"
Amsterdam
(in
Box
78); translated
is difficult to
fact that
from the
with
from
it
no.
3.
Moscow (inv.
handwritten
is
"Album" dates
The let-
Manuscript Division
indicates
f.
it
is
is
accompanied
1911.
Goncharova wrote
exhibition.
Rykovsky Archive
of the Polytechnic
Moscow
Museum, Moscow.
appears here
drafted in
some
military
first
et
in the Archive of
2.
letter
new art,
consisted of three
4.
It is
(inv. no.
at
f.
Goncharova wrote
Marinetti's visit to
St.
Kandinsky
fol-
letter,
in
Moscow and
1914; translated
Bowlt.
It is
was ever
women,
news -
3i6
not
sent. Clearly
E.
letter
Goncharova was
Goncharova sent
1,
undated
421, no.
this
the Manuscript
at least as
some
of the
naTaua GoncHarova
commanded
if
Goncharova and
identified.
exhibitions in
November
Futurism. The
Goncharova
to
photograph of
accompany a commentary on
P.
Kozhevnikov,
The
Amsterdam
(in
Box
78).
is
letter,
written in
It is
not
and
writer,
and intellectuals
(at
and con-
Apollon (Apollo)
Russian section for Roger Fry's Second PostImpressionist Exhibition at the Grafton
Galleries,
a
The
Amsterdam
(in
Box
78).
and Larionov
left for
Paris via
Rome
in April
much
Moscow (September-
1913) and
St.
Petersburg
(March-April 1914).
In
March
removed
view of the
St.
Petersburg venue of
Goncharova's exhibition.
A
J|H By\pl>
Moscow.
LIUBOV
popova
25(1931)'
and
of derivation
Department of Contemporary
too obvi-
experiments toward
all
produce a
stands out
artistic culture
experiencing the
Nevertheless,
and
let
us try to locate
is.
international exhibitions
of
or because of
Russian painting
at
its
art
parallel with
tions
it,
its
individual devia-
nourished by the
the viewer.
Later on, the goal narrowed and
Consequently,
within
precise
scheme based on a
art]
its
moved
concept to
ticularly
French
as troublesome,
art of
if
recent decades)
319
drawn.
DOCumenTs
consciousness
tive
taking place
is
to all its
individual parts or
moved
means
ing.
is
of paint-
no longer
in
and wallpa-
its
the
method
(ca.
1921)
of representation.
its
can speak of a
itself
andpurpose.
Moments
[are]
The
latter
of a living organism.
is
goal here
320
Not
new Great
a single historical
The past
occurring on a
we
moment will
be repeated.
tendency denotes an
completely
that
of formal achievement
as formal
is
is
for history.
The present
is
both creative
will
LIUBOV popova
its
hypothe-
we build our
new life and new world view.
More than anyone else, the artist
knows this intuitively and believes in it
absolutely. That is exactly why artists,
as in our inventions, can
above
all,
have created
all
is
sweeping away
all
the
qualities,
if
is
for the
borrowed from
cm.
x 18.6
which
is
also
As a purpose,
if
art.
it
of expression or reconstructed
need to concretize
321
from
a particular world
view.
It
ness in relation to
its
own past.
DOCumenTS
tation of
its
consciousness (which
new artistic
organization to mani-
now
own art, with
constructing [his/her]
total conviction.
more apparent
era
is
a great
to
humanity.
(Form
figure 94. Popova's
Moscow studio,
left)
rhythm
(bottom
+ color + texture +
1924. pho-
our
organize)
Note
1931)
art.
(1917,
Meierkhold and
it is
form
the revo-
(1928).
is
(on easel)
onEnd
(ca.
and unique.
ments
is
all,
the
more
moment of
because, ultimately,
liberated
connected with
is still
traditional ones,
all
creation: a
and
object
322
it.
emergent need.
ferently at the
form of the
object,
which
emerges from the work not only transformed, but as an altogether different
form.
LIUBOV popova
unfinished manuscript in
tion.
new form)
writers'
Popova contributed
five
works
E. Bowlt.
to the exhi-
[Constructions]
Moscow.
text is
from an
Moscow (inv.
no.
f.
11.
1-2).
who
et
vate collection,
in a pri-
Moscow.
323
a private collec-
by J. Frank Goodwin.
ittW
UUi
..
tf2$
,,
OU<U
'7ijL<UteSU,
figure 95.
\ Ui^U^n,
Handwritten
letter
lift
yw
i fLf-f~UUou~tO^
i3rVi-U,
Lou
in connection with the 0.10 exhibition, Petrograd, 1915 16. Archive of the
au
78). (Translation
on
1915.
ikui.
OLGa
rozanova
(Deeemberc), 1913)-
Your portrait
[Portrait of a
(Portrait ofAnna
Sister) plate
Lady in Pink,
among artists!
...
met a most
inter-
to
me
at
try to ingratiate
self
Burliuk lectures on
art.
too.
Wanted
to
photograph
my paintings so as to show
them to the
him! What
a great chest
lecturing in
St.
He
Good for
he has! But
ture. 0, David!
i.e.,
The
critics
spoke with
my
now reading
am hanging
My paintings
(December 9, 1913) 8
.
have been
from them.
I've
happy that
a.m. Thus
another."
So far
I'm
says, "They
...
the Stray
at
Shkolniksaidno.+
ing, but
If you
themselves
Tomorrow he's
was
it
make my acquain-
Vodkin 6
my portrait of you
from the
a great pleasure to
particularly liked
artist
3^5
sat
got there
and
on the
left
An
through the
recently.
last street-
on the
to 7:3o
first
one
my labors
DocumenTS
n a c x a y
y t y p n c t
<i>
o b ^.
just as there is
crafts of shoemaking
so on.
lar.
and non-objectivity
arts.
art,
only possible
No connection whatsoever!!!
painting!
Letter to Alexei
Kruchenykh
(December 1915)'
He [Puni] has taken down my
[l
A C
II
bl
si
n O
E A A H
(I
[Bicyclist]
nyp* JlTpT.
to
Puni's.
figure 96. Ivan Otsup, Photograph captioned Easter
(left to right)
Showing
There
is
me
no tension between
Kamensky. The
Oksana
is
a stupid old
behaving like
absolutely
no one on Puni's
went
side. In the
catalogue, Puni
is
about to punch
as far as to sign
Letter to Alexei
all
Kruchenykh
Right now,
gusting. Not
Rostislavov' 3
not even
etc.
no
rivalry,
nothing in common.
326
is
since
financed with
(summer 1915)9
.
is
their capital
is
dis-
in ecstasy over
my
never mind!
I'll
say more:
all
of
Suprematism
OLca rozanova
com-
and
realistic subject.
is
he
totally -without a
mention my name.
He has turned
with me.
a bit
politely.
first day.
my back on him.
Did you show Malevich my collages,
deliberately turned
Gmurzynska, Cologne
no painting.
painting is infinitely
My narrative
more Suprematist
saw Zelmanova'4
at
the opening.
don't
me over to
of that.
I'll
send
if
it
to you.
know how to
haven't read
Attendance
Heavy Weapon.
at
them yet.
the exhibition
is
at
the opening.
rimanded him
rep-
had to endure. So as to
curiosity, here are
satisfy your
my copies of
for that.
Kruchenykh
(December 1915)
Letter to Alexei
exhibition, they
did not
don't have
much money
didn't
[title
me as a
In general, he
Letter to Alexei
Kruchenykh (1916)
for.
like
Unfortunately.
327
16
made the
How do you
already
Documenxs
and
to
of the
The works
aesthetic ideas.
of the
nonobjective
Their art
art.
is
characterized by efforts
reality.
Gouache
A Kruchenrkh.
igooi<)3o.
art that
had
technique.
In
when I read
9 7
.
aim and
force
and
its clarity
of per-
to
be repeated.
But the ideological gnosticism of
)>7
made form
first
idea of
tive.
its
lost all
of reality
and foremost
reproductive,
to the ready-
and to make
it
a creative, not a
Futurism had no
on the damned
on a piece of
effect
course of world
art.
Our time
is initiative
one of metal,
is
its
full potential.
Futurists are
all
These
artists are
328
soul
its
Cubists,
an
(i
bomb
came
along,
OLGa rozanova
resulted
new reality,
maxi-
ment
movement.
a rendering of
of these forms,
all,
and dim.
not force
We
its
reflective
effectively
metry or asymmetry, on
dynamic elements,
ative thinking
is
static
or
ity.
and
be a
to
use
was
of a kind of abstract
As
least mutabil-
and
up
its
painterly
trum). But
Just as a
of
destroy things, so
the spectrum.
world of colors
is
of the
Cubo-
prism of
3a 9
and
dynamism in the
created by the proper-
The unreality
of
mentally.
content.
as its
to,
by their weight or
dynamism is,
This
It
commands attention.
style
It
engenders
..
DocumenTS
itarian considerations.
from
creature. Malevich
is like
their lackey.
The works
How
util-
'cor-
are excerpts
endeavors
Box 78).
2.
and this
The reference
to put painting
is
IosifSolomonovichShkolnik (1883-1926),
4.
a painter,
reveal a
by
its selfless
aspiration to
new beauty.
State
Translation of figure 95
to satisfy
of
some
I've ever
had
"
:
[It
to endure. In
of Malevich's pictures:
Automobile
[first
ond drawing]
5.
order
bition in
my copies
Lady in an
my money and
is
sly.
school in
8.
While
it
harm someone
disgusting.
was
33o
Kruchenykh
Rozanova
is
describing the
myriad other
it
Letter to
They
art
and
St.
that
December
Petersburg,
7.
The
Petersburg.
else,
promised
St.
don't
self,
his wife
St.
is to
6.
(1878-1939), a painter
I
Petersburg), no.
is
Russian Museum,
The reference
everything
(St.
Smithy (1912),
opening]
to poet
is
11.
mentioned here.
o.
o exhibition.
oixa rozanova
12.
of the
Union of Youth,
December 1913.
sponsor
produced in
Sun and
Vladimir Maiakovsky.
i3.
14.
art critic.
Anna MikhailovnaZelmanovaChudovskaia
(ca.
18901948) was
mem-
Rozanova
16.
is
(18721939). a literary
critic.
Rozanova
is
al..
Olga Rozanova
7S86-i 9 7S.pp.3--38.
17.
Russian by John
E. Bowlt.
from the
The
entire text
33i
tt
a^^jaiW (tap-
$^mjtm. %|urto4
figure 99.
efi&ftuuea.
on page 340.)
varvara
STepanova
On Non-Objective Creativity
to
tic
for Russia,
the
is
is
a painting of synthe-
monumental kind
is just
end
of painting that
become
rial life.
surface,
its
them from
Non-objective creativity
ment of the
spirit, a
is
move-
all
it.
first to
an object, break
it
through
life.
world view in
it
French
art.
appreci-
present you with the object or a painting in which the object in the painting
realizes its highest potential.
its
develop-
itself
but through
333
DOCumenTs
The Suprematists
to painting [itself]
Cubism.
The
shift
it
away from
began to investigate
[Artists]
removed the
extolled the
was
to elaborate
in a
became just
component
auxiliary
assuming
preeminence.
Where
preceding accomplishments
to their
artist
Some explored
color,
non- objective
sciousness of
group
creativity
it
deepened, a particular
[of artists]
came
to the fore,
is
Made
limit.
formerly
the living force of Suprematism now
further shift, since color
finest
and quite
successfully.
It is
is
decorative and, as a
Suprematism needed
to find a better
tive painting.
The
Suprematism
as interpreted in two
first
method was
Suprematist method to
colored form
be
that
of course,
was not
a discovery, but
its
logical
con-
of
at least
incomplete, and
paint from the tube
three times
when applied to
its
is
more
intense, so
composition the
properties.
ticular
method
ity,
however,
of painting
from the
object, while
334
in their
finally
non- objective
at
of
one
creativ-
varvara STepanova
it
to the point of
decora
to
accommodate
Exhibition,
Kandinsky) or to assign an
their achievements. All in
"
it is
difficult to find
could characterize
non-
all,
is still
'
an "-ism" that
it
fully.
works. The
But one
all
which
it
create his
own
school.
and vivid
may well
The non-objec-
works
eccentric
'
.
effort is
work
(Udaltsova,
the non-
Moscow group
from
development, and
is
ism" to
left) at
Moscow, 1920.
Diary (1919)'
January^
0.10. 5
Malevich discovers
the exhibition, he
called
"The
Wishing to ruin
managed
to
have
it
33 5
Kliun
Popova's
all
broken
in stripes.
is
out,
Malevich
DOCumenTS
MAPCOBO
no/IE,
Hi 7.
works,
lOCJIMHflfl
at first
no
since the
avail,
BblCTHBKA KftPTHHl
failed to
hang his
reliefs in
time and
is
010
HOJIbHECflTb)
TpaMBaH
cocraai
50
ysaCTHHHOB'b-iuaiiEi
HMcrnfi
npH6bi/in
fl-bRTeJieil
no/ibay
B-b
entrance.
B",
JlaaapeTa *
McHyccTea.
BPHHCCfl>K"b-f9.ro fteHaopn,
OTHPblTIE 20-ro fleHaSpn, urn 50
B-b
I'll
iqurtw
fo
p.
TpaMBaM:
figure 101.
im
injurii
JfeJVa
I,
50
2,
I-
3,
Anonymous designer.
laoiir
in
12,
50 HL
15,
nil>fl
at
the
-.
um n
The
Malevich- Puni
Bi>iieHb
8'
The public
30
22.
peasant
(his,
Udaltsova's, Popova's) be
removed
Poster advertising
from the
and
Tatlin
his
explain
to
remove
wants
n't
"Punka"
to
He
The
curses at
Suprematism in that
own words,
Malevich's
room is partitioned
the o of form."
scatter
Kliun, Malevich,
tion and at
to
[of their
all
costs to
336
it
derives
"I've
from
reached
they were to
if
the
to ruin o.io,
on the
and Puni
...
other,
In order
poster in her
varvara STepanova
Again
a scandal
Throughout
all
breaks out.
was
all
Malevich appears
his back
is
at
The
Store''
o.io is written
declaration "I
am an apostle"
(of what
figure 102. Varvara Stepanova. Rozanova Dancing.
announce-
ment
one"] that he
[of
it
being "the
last
15.5 x 11
Suprematism
at
The Store
thanks to Udaltsova. as
it
turned out,
who
take
Suprematism there.
Rodchenko to
Jack of Diamonds.
participate in the
January
It
ah began delightfully.
Rozanova
s exhibition. ...
Opening today
Drevin and
I.
Here we
are.
Kliun and
enormous
a sign
to get a better
337
exhibition
Drevin and
become
DocumenTS
We shout at the
extremely indignant.
guys not to put
"Put
it
up!" At
it
first
Malevich
resumed working.
We
that
based on
All
is
we
Kliun whines
he painted them.
Most
as
by Malevich.
a sketch
Kliun blames
tion of "ornaments"
Rozanova['s name]
... It
Gan.
disgraceful
is
that Malevich
is
look
at
the exhibition.
We
The exhibition
is
per-
fits
objective" room.
get
removed
demands
Kliun
stammers
still a
essence
that's
as a
is
paint,
it is
decoration,
art,
exhibitions of decorative
art.
Thus
at
He
its
and
to,
in
it
common between
there in
Kliun
few
sphere of Suprematism,
omega, not
its
alpha and
Suprematism of
color.
night
We take a look
delight!
...
0, what a
Rozanova to
Suprematism of the
Bad language
Drevin, Suprematism
is like
a textile,
square
"decorations" be
left
behind for
338
but merely a
varvara sTepanova
cance. Furthermore,
if
Malevich
is
nonsense. Drevin
Then in
when Malevich promulgated the
same
exhibition. In
too, with-
lies
and how,
Who thought of
do not know.
figure io3. Varvara Stepanova. cover for the catalogue
The square
air
February
On the
will
ij
and
Of course, Udaltsova
let
is
monot-
Rodchenko
exhibits old
that's
Rodchenko
This
a certain dryness.
trait is characteristic of
artists
many
(Shevchenko.
r>
33 9
Rozanova has
Le-Dantiu).'
done
hasn't begun"
all
still
the
walks around
Russian
paint, but he
is
whom he likes.
to a "t" to the
amazement: "And
dirty trick
is
go a long away.
P.
is
he'll
quite
showyou,
ony).
of \h.e$%5
17.7 x 14
The works
obviously
of Pevzner
and Drevin
made an impression on
DocumenTS
Artist's
Moscow,
'
35 (1921)
artist's creativity,
1915,
Lemercier Gallery,
composition is
contemplative approach.
3.
CON-
chrome paintings in
mono-
titled
as contemplative visuality.
of the
work
[of
4.
cat.
the
194,0s; translated
New
ument events
eternal.
Movement
bition,
posthumous exhi-
first
three-dimensional perception."
manuscript in
from a
a private collection,
Moscow.
Osterreichische
and
and Bowlt.
5.
0.10:
the
sented
in Petrograd
Anumber of the
at
at
fanuary 1916.
pp. 171-83.
2.
the
at
pseudonym
Suprematists, particularly
6.
340
varvara STepanova
7.
(plate 73).
Moscow in
o. to.
opened in
showed
1916. Tatlin
but
reliefs,
six
non-objective ruler-and-compass
compositions.
10.
the first
i.e..
State Exhibition.
11.
Avant-garde Polish
artist
Wladyslaw
at this
time.
i3.
18901977) and
Moscow
in 1920.
14. Pavel
Varfomoleevich Kuznetsov
Rayonism.
16. Varst (i.e..
= 25.
held
at
the All
September
1921: translated
Russian by John
from the
E. Bowlt.
Stepanova contributed
five
works
to the
341
Two
andfigure
v
X.
ILWA ttGg
SlVctL/
t
/'
Pc
"(Lett
UJfy
/(U&O
p^uQtJ
naDezHDa
UDaursova
Extract
Febru a ry 17
Picasso
is
a classic.
He has a classical
works, and
Metzinger told
(early 19.30s)
"Vous avez
...
In
November
1912.
went
to Paris
progress"]
at
fait le
progres extraordi-
made extraordinary
me!
soon returned to
[living] in isolation,
conscious
studio.
For the
"
we went over to
"
that
artist
first
turned
and a
time
me into a
real individual.
not a goal.
sit-
and we
my
fully
it
decided that
.
it
itself.
Oddlv enough,
through a season in
just
had to
Paris.
leave, that
mv own countrv.
after working
felt that
the need to
in
banale [ordinary
life]
felt
latest
still
all
the
the
which first
(Paris.
March 3 1913)
3 +3
letter.
There's a lot
DocumenTS
Nadezhda Udaltsova to
Letter from
and
completely.
we
tion," as
ment
prettiness,
and
but
skillful,
an ele-
a technique that
just don't
understand
on paper.
Private collection.
need to
tell
my head is simply
you and
important news.
at
Violin
wasn't sure
if
(I
sent you
Violin,
only
young or old,
to
it
think
all
course,
(I
we
is
a very
try-
art
minimum of
culture
in fact,
Does
lie.
like so
is
Essentially.
figure 105.
but the
same
art of a Cubist
is
who
through a knowledge of
other cultures.
from the
art of
other cultures
marble
is
its
colors, the
sickliness
344
upon them.
...
forms of
naDezHDa
In
iiDai/rsova
a different art.
exhibition and
an
art
an end in
ing, painting as
itself,
which
will
the
human soul,
of
me, but
going off
didn't
December so
If
clarity.
healthy
life
cultivating a strong
art.
driven
remained out-
relief
Just
and
my own
tasks.
December 37
...
cultivated thought
apologized, kissed
it's
pendent.
true,
and wood
a
for us is the
same
sunny landscape or a
If artists
as painting
portrait of a girl.
let
them do
so.
We
in
December 8
in itself.
less expediently
than the
artists of
those who
Pure forms
fly in
headlong race,
through their
static
Exhibition (1915)
Letter from
December 6
Tatlin has
left.
Doesn't write.
Nadezhda Udaltsova to
December
ly
[I've
345
had]
art recently
Documents
and
create a
new world
of reality.
If the
if
move-
if artists
figure 106.
of
Untitled. 1916.
collection.
its
depth,
Just as nine years ago the first
form
art of
its
weight.
Henceforth, the
strive to
transform
artist will
not
given form of
new art.
It is
is
creating a
already establishing a
new
of color.
built
on
these
this
forms of
We know
compile
relations
and
intensity.
We could
346
will go to the
is
light of this or
he
color.
stimu-
The world
perception
is a
as a result of sensory
is
naoezHDa uDai/rsova
medium of expres-
ment before the machine and technology, but on the calm application of
these factors of life and on the free crefrom the
life; all
summoned
is
all
life is
created, a life
Translation of figure
Mikhailovich.
all
own creative
way, a concrete
than
We
con-
more
slavery of property.
by necessity.
existence
ative
life
What found
I
to
went
out
is
104.:
Alexander
to the Proletkult.
I'll
be
N. Udaltsova.
rounding forms, and only the individual desire of the artist will
1.
aspect.
of
discovering
new forms
2.
in their canvases.
We who
The manuscript
of this letter
is
in the
it
vospominaniia (Moscow:
stati,
Rakitin.
russkoi kubistki.
Life in Art"
life.
first
are
B) Art gives
entered
show them
vate collection in
347
St.
list of piaTes
book
some cases,
differs
from
that
it is
the infor-
Target-. Target,
Art Salon,
11
Bolshaia
Diamonds,
made
Moscow,
discoveries
1913.
St.
1913.
this exhibition.
fol-
11
1913
House of
on the
1914. Kiev,
1914
Ring-.
Ring,
Ilia
Kalf
(Natalia
1914.
Art Salon,
issues of itinerary
artists of the
still
of Diamonds,
1914
be done on the
Russian avant-garde.
at
Exhibitions. While
11
St.
Petersburg,
March-April 1914.
1914.
Moscow, Wo.
<f:No. 4,
Levisson Building,
11
used:
1914. Paris, Guillaume-. Exposition Natalia de
1911.
Levisson Building,
11
Gontcharova
et
1911
1915. Petrograd,
1913.
Moscow, Donkey's
of Painting, Sculpture,
Tail:
Donkey's
Tail, Institute
March-April 1912
1915.
11
Bolshaia Dmitrovka,
1915
0. 10.
-.o.w.
The
Last Futurist
73 Nevskii Prospect,
St.
Petersburg,
January-February 1912
1916.
1916.
Art Salon,
1913 14.
St.
St.
11
November-December 1916
Petersburg.
1914,
1917.
Art Salon,
1913.
Moscow, Jack
Art Salon,
1 1
February-March 1913
348
of Diamonds,
November-December
1917
list of piaTes
1918.
Moscow,
Exhibition.
Studies, Sketches,
Salon,
2.
1919.
and Suprematism,
Exhibitions: 1914.
Mi338
Jack of Diamonds
187 or 192)
Kazan
(cat. no.
(1981) Inv.
Moscow
3. City, 1913
and
Oil
cm
Vologda
1920. Moscow, Nineteenth State Exhibition-.
11.
Inv.
Zh-614
Union of Youth
Moscow. 5x5
at 1914.
(cat. no.
188)
25:515
= 25.
Possibly
1922. Berlin, Erste russische Kunstausstellung-. Erste
russische Kunstausstellung Galerie
,
Berlin,
Van Diemen,
Museum
Moscow, No. 4
1914.
(cat. no.
284)
Tramway V {cat.
no. 84)
at
Petersburg.
Possibly
St.
1921.
(1927);
4.
no. 32)
1913
on canvas. 68 x 53 cm
MuseoThyssen-Bornemisza. Madrid
New York;
aiexanDra exxer
MuseoThvssen-Bornemisza. Madrid.
1.
Oil
on canvas. 145
National Art
x 115
Inv. 540(1973.26)
cm
Museum of Ukraine.
Kiev
(cat.
no. 193)
1915. Petrograd.
Provenance: State
State
(National Art
Inv.
ZhS-045
Exhibitions: 1913.
(cat. no.
Tramway V (cat.
Kiev;
5.
Still Life.
Oil
on canvas, 89
x 72
cm
Museum
Preserve
182)
404)
Yaroslavskn
(as of
Museum
349
TramwayV
Preserve)
LIST of PLaTes
6. Composition,
Oil
1914
cm
Moscow
on canvas, 92.5x76.9 cm
Oil
State
Nizhnii Tagil
George Costakis
Provenance: State Art Fund, Moscow;
Moscow
(1977), Inv.
46984
1924
(cat. no. 3i
or 32)
Evening )
on canvas, 89 x 89
7. Venice, 1915
Oil
Oil
on canvas, 123 x 97 cm
Moderna Museet, Stockholm
Inv.
cm
Museum, Saratov
Inv.
MOM(i 7 3)
Exhibition-.
Zh- 685
1924
(cat.
d'Arte della
no. 3o)
Oil
117 x88 cm
Museum and Exhibition Center
on canvas,
Slobodskoi
Riklis Collection of
McCrory Corporation
(partial gift)
Provenance:
Slobodskoi
Corporation, The
(1983)
1916-17 (within
cat.
naTaLia GoncHarova
nos. 284-88)
1
Oil
on canvas, 77x58.2
1907
cm
Moscow
Museum
Provenance: Moscow Soviet Depository of Works
(as of
from the
artist in
LevZhegin (1927),
(cat.
Art
Exhibitions: 1913.
Inv. 8965
Moscow, Goncharova
no. 339)
Mowers, 190708
Oil
on canvas, 98x118
cm
Gmurzynska,
Cologne
1914. Paris,
350
Moscow, Goncharova
no. 554?)
Gudlaume
(cat. no.
54)
LIST of PLaTes
18.
Sabbath, 1912
cm
Oil
on canvas, i3?-5 x
Moscow
State
1908
on canvas. 80.5
Oil
96
118 cm
Museum of the Visual Arts ofTatarstan, Kazan
Provenance:
Alexandra Tomilina
(until
mid-i920s);
State
(1964.);
Moscow
Exhibitions: 1913.
(1988)
Moscow.
Moscow. Goncharova
Inv.Zh-1579. P-74159
1913.
or 161)
1913.
Moscow, Goncharova
1914.
St.
(cat.
(cat.
no. 605)
no. 441)
Petersburg, Goncharova
(cat. no.
49)
Oil
cm
Museum of Bashkkortostan,
State Art
Ufa
Oil
on canvas, 147
x 188
cm
Moscow
Contemporary Art
(until
mid-i920s);
1913.
Inv.
Moscow
(1988).
Ufa (1920)
Inv.Zh-1438
Moscow (1919);
Moscow, Donkey's
Tail
34)
cat.
no. 753)
Zh-1585
Exhibitions: 1914.
(cat. no.
St.
Petersburg, Goncharova
249)
Paris
Oil
on canvas, 204
State Russian
58
Museum.
cm each
St.
Petersburg
Contemporary Art
(until
mid-i92os);
Musee National
d'Art
Inv.AM435BP
Exhibitions: 1914. Moscow, No. 4 (cat. no. 39 or 51)
inv.Zh-8i83-86
Exhibitions: 1914.
(cat.
St.
Petersburg, Goncharova
21.
Oil
on canvas.
National
153. 3 x 99 cm
Museum and Gallery.
Cardiff
no. 247).
Cardiff (1975)
A 2056
765)
351
LIST of PLaTes
on canvas, 55 x 83-5 cm
State
of Tatarstan, Kazan
Moscow (1919);
Provenance:
Moscow, Goncharova
Inv.
Moscow
(1988),
Zh-1543
Exhibitions: 1914.
no. 632)
(cat.
of
Contemporary Art
cm
Moscow
Moscow, No.
4,
(cat.
no. 51)
Kazan
(cat.
27. Composition,
no. 28)
Oil
191314
on canvas, 103.5 x
cm
97- 2
2,3.
Oil
on canvas, 91x75.4 cm
Paris
Perm
Provenance: Moscow Soviet Depository of Works of
Contemporary Art
Moscow (1919);
Museum Bureau of IZO NKP, Moscow (1920);
(1920);
(as of
1920 Regional
Museum of Local
Moderne
Exhibitions: 1913.
Moscow,
Moscow, Goncharova
24. Yellow
Oil
Perm
(1935). Inv.
mid-i920s);
Moscow
(1988),
Lore,
Sverdlov),
1913.
(until
(1988), Inv.
AM 1988-887
Zh-538
(cat.
LIUBOV POPOVa
no. 633)
on canvas. 102 x 85 cm
Oil
on canvas, 160 x
124-3
cm
Moscow
Staatsgalerie, Stuttgart
Exhibitions: 1912.
73, as Autumn
LNA881
Moscow, Donkey's
October-November, 1913
(cat.
Exhibitions: 1914.
Der Sturm,
(cat.
no. 151)
and
Inv. i3io
no. 119)
(cat.
no. 17)
yellow), 1913
Oil, plaster,
61.5x48
Oil
Moscow (1977).
cm
Moscow
57.1484
Provenance:
Provenance:
From the
artist,
1957
Moscow, Goncharova
1913. Berlin,
Sept.
Der Sturm.
20-Nov.
(cat. no.
(cat.
no. 645)
Moscow;
Moscow (1927).
Zh-9365
149)
Museum
Moscow,
no. 153)
352
(cat.
no. 29)
LIST of PLaTes
on canvas, 83-5
x 71
cm
$4,.
Oil
cm
59.1x45.3
Moscow,
George Costakis
Gift,
AlexanderVesnin, Moscow;
Moscow
(i960)
Inv. P
Moscow
3i.
Oil
on canvas, 106.5x88.7 cm
1916.
35. Birsk,
Victor Moore.
Moscow
Oil
(cat.
o. 10 (cat.
no. 96)
no. 54)
1916
George Costakis);
Solomon
Gift,
Inv.
(1977),
46736
R.
NGC 14930
Provenance: Pavel Popov (Liubov Popova's brother),
3a.
Lady with a
Oil
Museum
State
Moscow;
Guitar, 1915
of History, Architecture,
and Art,
Solomon
R.
Smolensk
Provenance:
Smolensk (1920),
Inv.
Tramway V
on canvas, 107 x 88 cm
Provenance:
Museum
no. 45)
1916.
Oil
Zh-855
(1981)
(cat. no.
47)
Moscow
(until 1929);
(attributed to
Ivan Klnm)
33. Traveling
Oil
Woman, 1915
Inv,
403
Exhibitions: 1924.
cat.
nos. 33-46)
Oil
Inv. 177.78
Slobodskoi
x 80 cm
Museum and Exhibition Center
on canvas. 105
Moscow,
no. 51)
SMK 995/49
164^4)
353
LIST OF PLSTeS
OLGa rozanova
on canvas, 106.8x88.7 cm
Moscow
42. Portrait of a
Lady in Pink
Provenance:
Moscow (1927),
Inv.
13 x 139
cm
Ekaterinburg
9389
Provenance: Museum Bureau of IZO NKP. Moscow;
Museum of Local Lore of the City of Ekaterinburg,
(as of 1920 Regional Museum of Local Lore,
Sverdlovsk:
on canvas,
Oil
Moscow;
(Portrait ofAnna
Sister). 1911
cm
as of
Museum of VisualArts.
Ekaterinburg) (1920).
390
Inv.
Exhibitions: 1912,
(cat.
no. 67)
Inv. no.
1918.
17578
cm
Moscow,
(cat.
no. 73)
4.3.
Oil
on metal.
Art
Museum, Samara
71 x 71
cm
George Costakis
Provenance:
Moscow
(1977),
Inv.Zhi3i4 (P 46727)
Oil with
71 x
64 cm
Museum, Samara
(Art Museum, Kuibyshev;
Art Museum. Samara) (1919),
Art
Inv.
Zh-411
TramwayV
63)
1916.
Moscow. Jack
1918.
Moscow,
65 or
66?)
Oil
on canvas. 84 x 66 cm
Museum, Kostroma
Exhibitions: 1924.
Moscow, Popova
(as of
Inv.
NV5
3 54
Moscow
(cat.
no. 89)
83)
LIST of PLaTes
4.5.
from the
series
Playing Cards
Oil
Oil
on canvas, 80 x 65 cm
Slobodskoi
on canvas, 101x77
Slobodskoi
cm
Museum and
Exhibition Center
Provenance:
Museum of Local
(as of
1998 Slobodskoi
Museum and
Exhibition
SMK 995/14
SMK 995/48
as In the Street)
1918.
Moscow,
no, 90-91,
dated 1912)
1918.
Moscow,
(within
nos.
cat.
36-4 7 )
1916
Oil
on canvas,
Art
Museum, Samara
118 x 101
cm
on canvas, 72 x 60 cm
Museum and Exhibition Center
Provenance:
Slobodskoi
Museum of Local
(as of
1998 Slobodskoi
Museum and
Exhibition
1918.
Moscow
Jack of Diamonds
nos.
Inv.
Zh-418
of Diamonds
269^4)
(within
cat. no.
93-111)
no. 182,
Oil
Moscow,
cat.
Moscow,
Moscow, Jack
(cat.
dated 1912)
1918.
Museum. Samara),
Exhibitions: 1916.
(within
SMK 995/23
1917.
Kuibyshev; Art
(within
cat.
nos.
on canvas, 90 x 74 cm
Ekaterinburg
36-47)
from the
series
Playing Cards
Oil
on canvas,
77.5 x 61.5
cm
Sverdlovsk;
as of
Ekaterinburg) (1920).
Provenance:
Inv.
Regional Art
Museum, Simbirsk
(as of
Inv.
(within
Zh-504
1918.
Moscow
(cat. no.
88)
dated 1912)
1918.
Zh-409
3 6-47)
355
cat.
nos.
cat.
nos. 26974)
Moscow,
93-111)
(within
cat.
nos.
LIST OF PLaTes
51. Non-Objective
Oil
on canvas. 102 x 94
cm
Oil
on canvas. 71.5x49 cm
Ekaterinburg
Yaroslavskii
Sverdlovsk;
(as of
Provenance:
as of
Gallery-.
Sverdlovsk:
cat.
Exhibitions: 1916.
(within
1918.
cat.
Museum Preserve)
1918.
Moscow.
nos. 26974)
Moscow,
Exhibitions: 1917.
Ekaterinburg) (1920).
Zh-411
Museum Preserve
(within
cat.
nos.
1919.
(cat.
1917
varvara STepanova
Provenance:
Museum of Artistic
Culture. Petrograd
Museum, Leningrad
Moscow.
under the
title
Color Composition)
(within
cat.
(cat.
Moscow
Exhibitions: 1919-
no. 181 or
cm
Private collection
182?)
Oil
Private collection.
nos.
1919.
1918
nos. 15976.
1918.
"
cm
(1926),
ZhB 1579
Exhibitions: 1917.
cat.
(1922);
State Russian
Inv.
no. 181 or
182?)
93-111)
on canvas,
71 x
64 cm
Moscow
Exhibitions: 1919.
Regional Art
Museum. Ulianovsk
Provenance:
Regional Art
Museum. Simbirsk.
(as of 1924.
Inv.
Art
Museum. Ulianovsk)
1180-zh
cm
Private collection
(1920),
1918.
Moscow.
title
Color Composition)
(within
cat.
nos.
Moscow
Exhibitions: 1919.
Moscow.
182?)
"
1918
cm
Private collection
Exhibitions: 1919.
3^6
Moscow
Moscow. Tenth State Exhibition
list of PLaxes
cm
Private collection
1920
cm
Moscow
Moscow
Exhibitions; 1919.
Exhibitions: 1919.
Moscow (1998)
"
1918
cm
66. Five Figures on a White Background 1920
Private collection
Oil
Moscow
Exhibitions: 1919.
98
cm
Private collection
Private collection,
on canvas, 80
1918
cm
Moscow
Exhibitions: 1920.
Exhibition
Exhibition of Four Artists (Kandinsky. Rodchenko.
Private collection
Stepanova. Shevchenko)
Moscow
Exhibitions: 1919-
Exhibition
1920
on canvas, 68 x 129 cm
Carmen Thyssen-Bornemisza Collection
Oil
cm
Private collection
Moscow
Exhibitions: 1919-
cm
Oil
on plywood. 78
62
cm
Private collection
Private collection
Moscow
Exhibitions: 1919.
Exhibition
Private collection.
Moscow
Exhibitions: 1920.
Moscow, Nineteenth
State
Exhibition
Stepanova, Shevchenko)
cm
Private collection
Moscow
Exhibitions: 1919.
Moscow, Tenth
State Exhibition
on canvas, 70 x 57 cm
Private collection
Moscow
Exhibitions: 1920.
Exhibition
Exhibition of Four Artists (Kandinsky, Rodchenko.
Stepanova. Shevchenko)
357
LIST of PLaTes
1920
70. Musicians,
Oil
Oil
Pereiaslavl-Zalesskii
Exhibitions: 1919-
Museum
of History
Exhibitions: 1914.
9934
Moscow
Jack of Diamonds
no. 144)
(cat.
on plywood,
Oil
on canvas, 107x89 cm
Oil
1920
71 x 52.5
cm
Kunstausstellung;
Societe
Exhibition
Inv. 1941.725
Katherine Dreier,
(1922);
Stepanova, Shevchenko)
as Music
1916.
72. Figure (Peasant), 1921
Oil
(cat. no.
80)
(cat. no.
235)
Private collection
77. Guitar Fugue,
Moscow
Exhibitions; 1921.
on canvas,
Gift,
125 X71.5
cm
Private collection
Inv.
Moscow
Exhibitions: 1921.
Moscow, 5x5 = 25
no. 3 or 5)
State Russian
Provenance:
Zh-B
Museum,
St.
Petersburg
State Russian
Inv.
Museum, Leningrad
cm
73, asArtist's
Moscow
Tramway V (cat
New, 1914-15
Oil
on canvas, 60 x 48 cm
Moscow
Zh-1297
no.
Composition])
79.
Inv.
Moscow;
Petrograd;
(1926),
1712
on canvas, 71.5x70.5
(1977),
on canvas. 106x71 cm
Oil
(cat.
Moscow
Zh-1296
naoezHDa uDaivrsova
Oil
Moscow,
George Costakis
Oil
191415
Oil
artist's son.
(1977),
Provenance: Yaransk
Museum of Local
Lore of Kirov-
Region (1923);
Vasnetsov Regional Art Museum, Kirov (1958),
Inv.
35 8
NV/Zh-54
list of PLaxes
'-
on canvas, 72
x 53
cm
Provenance:
Oil
Moscow
on canvas, 109 x 79 cm
Provenance:
Exhibitions: 1916.
as
My Representation)
81.
(cat. no.
Moscow
Moscow
on canvas, 70 x 70 cm
Rostov Kremlin State Museum Preserve
Watercolor on paper, 48 x 40
Oil
cm
Provenance:
Inv.
82.
Oil
on canvas,
71 x 53
cm
artist's son,
Moscow;
ATH 80.21
87. Untitled,
1916
Moscow
15.9
cm
Provenance:
(cat. no.
1916.
artist's son,
Moscow;
74)
Inv.
200.80
Oil
on canvas, 134
State Russian
x 116
Museum.
cm
Petersburg
St.
Provenance:
State Russian
Exhibitions: 1916.
(cat.
Petrograd;
Inv. i334
no. 73)
MOSCOW;
artist's son,
on canvas,
Museum
161 x 165
cm
Inv.
ATH
80.19
Provenance:
Museum
(as of
Ekaterinburg) (1920),
artist's son.
Moscow;
George Costakis. Moscow;
Art Co. Ltd (George Costakis Collection) (1984).
Inv. 421
Moscow,
cm
1919,
x 44.5
of Local Lore,
Sverdlovsk;
as of
Gouache on paper. 64
(From Impressionism
to
N on -Objectivity),
no. 268
359
as cat.
Inv.
ATH
80.18
BIBLIOCCaPHY
E., ed.
E.
1988.
Books,
191316.
UMI
1962.
russkii avangard.
Roman,
eds.
Fla.:
University Press of
Costlow, Jane
T.,
pp. 39-51.
Stoffe
Howard, Jeremy.
7?te
New York:
Museum,
debut
duXX
Exh.
siecie.
Gusev, Vladimir,
et al.
Leningrad:
cat.,
1981.
Museum,
1995.
Anna,
et al.
Athens:
Museum, 1996.
Lippard, Lucy
R., et al.
muzee.
Kunstlerinnen international
Charlottenburg, 1977.
et al. L'Avant- Garde aufeminin-.
les
Parkstone, 1996.
Pioneering
99 3.
1983.
Geometry.
Gmurzynska. 1979.
Schlagheck, Irma. "GenialeTochter der russischen
Revolution. "An (Hamburg), no. 3 (March 1992).
pp. 32-47.
Stein,
in the Avant-Garde:
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PHOTO creDus
byfigure number
2.
Archiv, Zurich;
8.
5.
Courtesy Puni-
Estate of
10.
New York,
Kovalenko;
14,.
12.
11.
Courtesy Georgii
Smithsonian Institution:
Moscow;
22-
State Russian
St.
Herman Bernmger.
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18.
Zurich;
Moscow (Oton
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State Russian
Museum, St. Petersburg; 44. State Tretiakov
Culture, San Francisco; 43.
Gallery,
Moscow;
55.
Petersburg;
Modern
Institute of
62. Courtesy
State
Modern
byplate
2-
number
6, i3, 15,
16, 26, 28, 29. 34, 38, 40, 65, 74, 77, 80, 82. 85.
of
12.
1999
14. Karl
du Mnam/Cci;
Cardiff; 27.
21
Mnam/Cci.;
(George
Collections, Pushkin
78.
83.
Courtesy
20.
Museum,
Museum of Private
Museum of Fine Arts. Moscow;
Art Co.