Word: rozanova
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...Rozanova was a founding member of the "Union of Youth" organization of artists and published articulations of the theoretical foundations of her art in the journal Supremus, founded by Kazimir Malevich. In her article "The Bases of the New Creation and the Reasons Why It Is Misunderstood," Rozanova defines the process of creation in terms of three stages: the intuitive principle, individual transformation of the visible and abstract creation...
Malevich, Popova, Kandinsky, Chagall-these are the names that typically come to mind when someone mentions the Russian avant-garde in its early twentieth century heyday. In her book Exploring Color: Olga Rozanova and the Early Russian Avant-Garde, 1910-1918, art historian Nina Gurianova adds a new name to the old list by paying tribute to Olga Rozanova, a lesser known artist, and showing how she helped pioneer developments in futurism, suprematism and the role of color in painting...
...Olga Rozanova (1886-1918) left behind a legacy of art, poetry and theoretical articles that provides a key to understanding the cultural ferment of the early avant-garde movement in Russia. Her collaboration with the poet Aleksei Kruchenykh sought to overcome the boundaries that separate poetry from art. The two worked together on various projects, mostly editions of lithographic futurist books, enthused by the idea that words should serve as visual symbols that lack any specific meaning...
...Rozanova's art ran through a whole gamut of styles. Early works depict people in everyday settings such as parks or cafs. Disjointed combinations of overlapping, spiraling objects mark Rozanova's shift towards futurism. Rozanova's suprematist paintings lack any semblance to the naturalistic scenes of her earlier works. Her textile designs and simple shapes recall Malevich's abstract geometrical configurations and her planes of overlapping color bring to mind the paintings of Sonia Delaunay...
...future seem wholly prophetic. Time and again in LACMA's exhibition, one sees paintings and sculpture, modest in scale though not in ambition, that anticipate Western artists by half a century. Ivan Kliun (1873-1943) had most of Ellsworth Kelly's best ideas by 1917. Olga Rozanova's Color Construction, Green on White, 1917, a vertical stripe down the middle of a field, is a Barnett Newman "zip" 30 years before Newman, and her exquisite collages in the suite entitled The Universal War, 1916, with their energetically dancing shapes of pure color on a plain ground, predict...