Editing Lyubov Popova (section)

== Style ==

=== Cubo-Futurism ===
[[File:1913 Popova Das Modell anagoria.JPG|thumb|''The Model'', 1913]]
[[File:Lyubov Popova - The Pianist.jpg|thumb|''The Pianist'', 1914, [[National Gallery of Canada]]]]
Popova was one of the first female pioneers in [[Cubo-Futurism]].<ref>{{cite web|last1=Drutt|first1=Matt|title=Lyubov Popova|url=http://www.guggenheim.org/new-york/collections/collection-online/artwork/3494|website=Guggenheim}}</ref> Through a synthesis of styles she worked towards what she termed ''painterly architectonics''. After first exploring [[Impressionism]], by 1913, in ''Composition with Figures'', she was experimenting with the particularly Russian development of Cubo-Futurism: a fusion of two equal influences from France and Italy.

From 1914 to 1915 her Moscow home became the meeting-place for artists and writers. In 1914–1916 Popova together with other [[avant-garde]] artists ([[Aleksandra Ekster]], Nadezhda Udaltsova, [[Olga Rozanova]]) contributed to the two [[Jack of Diamonds (artists)|''Knave of Diamonds'']] exhibitions, in Petrograd '' Tramway V'' and the ''[[0,10 Exhibition|0.10]]'', ''The Store'' in Moscow. An analysis of Popova's cubo-futurist work also suggests an affinity with the work of [[Fernand Léger|Fernand Leger]], whose geometry of tubular and conical forms in his series of paintings from 1913 to 1914 is similar to that in Popova's paintings.<ref name=":1" />

=== Suprematism ===
Her painting ''The Violin'' of 1914 suggests the development from Cubism towards the "painterly architectonics" series of 1916–1918. This series defined her distinct artistic trajectory in [[abstract art|abstract]] form. The canvas surface is an energy field of overlapping and intersecting angular planes in a constant state of potential release of energy. At the same time the elements are held in a balanced and proportioned whole as if linking the compositions of the classical past to the future. Color is used as the iconic focus; the strong primary color at the center drawing the outer shapes together.

[[File:Popova Philosopher.jpg|thumb|''Portrait of a Philosopher'' (Artist's brother, Pavel Sergeyevich Popov), 1915]]
In 1916 she joined the ''[[Supremus]]'' group with [[Kazimir Malevich]], the founder of [[Suprematism]], [[Aleksandra Ekster]], [[Ivan Kliun]],  [[Nadezhda Udaltsova]], [[Olga Rozanova]], [[Ivan Puni]], [[Nina Genke-Meller|Nina Genke]], [[Ksenia Boguslavskaya]] and others who at this time worked in [[Verbovka Village Folk Centre]]. The creation of a new kind of painting was part of the [[Russian Revolution (1917)|revolutionary]] urge of the [[Russian avant-garde]] to remake the world. The term 'supreme' refers to a 'non-objective' or abstract world beyond that of everyday reality.
However, there was a tension between those who, like Malevich, saw art as a spiritual quest, and others who responded to the need for the artist to create a new physical world.<ref>Bowlt, John, and [[Drutt, Matthew]], ''Amazons of the Avant-Garde'', Guggenheim Museum, New York, 1999</ref> Popova embraced both of these ideals but eventually identified herself entirely with the aims of the [[October Revolution|Revolution]] working in [[poster]], [[book design]], fabric and [[theatre]] design, as well as teaching. At ''0.10'' she had exhibited a number of figurative painted cardboard reliefs in a cubist derived style. In 1916 she began to paint completely abstract [[Suprematism|Suprematist]] compositions, but the title "Painterly Architectonics" (which she gave to many of her paintings) suggests that, even as a Suprematist, Popova was more interested in painting as a projection of material reality than as the personal expression of a metaphysical reality. Popova's superimposed planes and strong color have the objective presence of actual space and materials.<ref>Gooding, Mel, ''Abstract Art'', [[Tate Publishing Ltd|Tate Publishing]], 2001</ref><ref>Tedman, Gary, ''Soviet Avant Garde Aesthetics'' - chapter from Aesthetics & Alienation, [[Zero Books|John Hunt Publishing]], 2012</ref><!-- Deleted image removed:  [[File:Popova Paint arch 1918 2.jpg|thumb|Liubov Popova, ''Painterly architectonic'', 1918 {{deletable image-caption}}]] -->

In 1918 Popova married the art historian [[Boris von Eding]], and gave birth to a son. Von Eding died the following year of [[typhoid fever]]. Popova was also seriously ill but recovered.

=== Constructivism ===
As early as 1917, in parallel with her Suprematist work, the artist had made fabric designs and worked on ''Agitprop'' books and posters, In the ''[[Tenth State Exhibition: Non Objective Creativity and Suprematism]]'', 1918, she contributed the architectonic series of paintings. She continued painting advanced abstract works until 1921. In the [[5x5=25]] Exhibition of 1921,<ref>Gray, Camilla, ''The Russian Experiment in Art'', Thames and Hudson, 1965</ref> Popova and her four fellow [[Constructivism (art)|Constructivists]] declared that easel painting was to be abandoned and all creative work was to be for the people and the making of the new society. Popova worked in a broad range of mediums and disciplines, including painting, relief, works on paper, and designs for the theater, textiles, and typography. Popova did not join the [[First Working Group of Constructivists|Working Group of Constructivists]] when it was set up in Moscow in March 1921, but joined by the end of 1921. In 1923 she began creating designs for fabric to be manufactured by the First State Textile Printing Works in Moscow.<ref>{{Cite web|url=http://www.incorm.eu/Biogs/Popova.pdf|title=Liubov Popova|access-date=2017-03-11|archive-date=2016-07-05|archive-url=https://web.archive.org/web/20160705020110/http://www.incorm.eu/Biogs/Popova.pdf|url-status=dead}}</ref>

From 1921 to 1924 Popova became entirely involved in Constructivist projects, sometimes in collaboration with [[Varvara Stepanova]], the architect [[Alexander Vesnin]] and [[Alexander Rodchenko]]. She produced stage designs: [[Vsevolod Meyerhold]]'s production of [[Fernand Crommelynck]]'s [[Le Cocu magnifique|''The Magnanimous Cuckold'']], 1922; her ''Spatial Force Constructions'' were used as the basis of her art teaching theory at [[Vkhutemas]]. She designed typography of books, production art and textiles, and contributed designs for dresses to [[LEF (journal)|LEF]].<!-- Deleted image removed: [[File:Popova Spacial force constr. 4.jpg|thumb|Liubov Popova, ''Spatial force construction'', 1921, oil on plywood {{deletable image-caption}}]] -->

She worked briefly in the Cotton Printing Factory in Moscow with Varvara Stepanova.