'Painterly Architectonic' by Lyubov Popova, 1918, Reproduction 200gsm A3 Vintage Suprematism Constructivism Russian Avant-garde Poster

World of Art


Classic Lyubov Popovac 250gsm Gloss Art Card Reproduction A3 Poster
Lyubov Sergeyevna Popova, 1889 to 1924, was a Russian avant-garde artist (Cubist, Suprematist and Constructivist), painter and designer. 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 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. Colour is used as the iconic focus; the strong primary color at the center drawing the outer shapes together. 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, 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 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. Popova embraced both of these ideals but eventually identified herself entirely with the aims of the Revolution working in poster, book design, fabric and theatre design, as well as teaching. In 1916 she began to paint completely abstract 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 colour have the objective presence of actual space and materials. In 1918 Popova married the art historian Boris Eding, and gave birth to a son. Von Eding died the following year of typhoid fever. Popova was also seriously ill but recovered. From 1921–24 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 The Magnanimous Cuckold, 1922; Her Spatial Force Constructions were used as the basis of her art teaching theory at Vkhutemas and also designed typography of books, production art and textiles, and contributed designs for dresses to LEF.
A3 Size is 42cm x 29cm or in inches it's 16.53" x 11.69"

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