Popova, love Sergeevna.

Baby's sleepLyubov Popova, born in Kazakhstan in Aksai.

Lived and studied in Angarsk, Irkutsk region. The family was musical; not a single holiday was complete without impromptu concerts.

Grandfather played the balalaika, father played the guitar, uncle played the harmonica, and I performed ditties. Having felt the taste of public speaking, I began to sing everywhere, at every opportunity.

After kindergarten, there was Angarsk School No. 32. The years of study flew by quickly and very interestingly. Lyubov Popova enjoyed studying and playing sports and found time to develop her musical abilities.

“By that time, I already clearly knew that I wanted to become a singer and began to study Russian folk songs at the Palace of Creativity and Youth,” she recalls.After graduating from high school, she accidentally found out that there was a pop-vocal studio in professional lyceum No. 32, headed by the famous musician and composer Evgeniy Yakushenko. Only lyceum students could study in the studio, so, without hesitation for a long time, she entered there and studied as a construction technician.She successfully participated in regional competitions and was awarded the First Prize “For an Author’s Song.”

The next stage was the Irkutsk College of Music, where the future singer entered the pop-jazz department, studied technique and professional vocals with the wonderful teacher A.Ya. Fratkina.

I didn’t stop there, but continued to study further. The desire to develop prompted me to go to the capital.Having passed the selection process, she entered the Moscow State University named after. Sholokhov in the pop-jazz department. And in 2008, Lyubov Popova was sent from Moscow State University for the Humanities to the third international vocal festival, where she won 2 prizes.

Over the years, I sang different songs, in different genres, but the dream of developing my own solo repertoire never left me; at that time I myself lost the skill of writing songs. Luckily for me, in 2014, my childhood friend and now successful chanson singer-songwriter, Evgeniy Konovalov, came to Moscow. In Angarsk, many people know that Zhenya writes songs both for herself and for famous artists - Alexander Marshal, Andrei Bandera, Galina Zhuravleva, Oleg Golubev and many others. I didn’t have to persuade Evgeniy for a long time and we recorded the first song, after which we couldn’t stop and the songs quickly “broke out” on social networks, and also began to be heard on regional radio stations throughout the country. Our creative tandem was joined by the wonderful Usolskaya, poetess Irina Demidova, author of wonderful poems, and the arrangements for the songs were recorded at the Moscow studio "ZAK-studio" by the wonderful musician Alexander Zakshevsky. That's how it all turned out so well.

In the same 2014, the singer submitted an application for the fifth international festival “My Chanson” “Russian Soul” and after passing the Internet vote she received an invitation to Germany to participate in the festival competition, where she took first place and was awarded the Audience Award, returning to Russia with two medals.

In 2015, my first solo album was successfully recorded. There is a lot of work and wonderful songs ahead. We have formed a wonderful and friendly team, to whom I express my sincere thanks: Evgeniy Konovalov, Irina Demidova, Alexander Zakshevsky, Yuri Kalitsev - guitar.

I wish all my fans and listeners love, happiness, faith and goodness!

Born on May 6, 1889 in the village of Ivanovskoye, Moscow region. Her father was a successful entrepreneur. Popova’s first lessons in the art of painting were given by family friend K.M. Orlov. In 1906, Popova moved to Moscow. From that moment on, she regularly takes painting lessons. Lyubov studied in many art studios: in the studio of V.E. Tatlina, A. Le-Fauconnier, K.F. Yuona, S.Yu. Zhukovsky. During this period, the aspiring artist travels a lot, visiting cities in Russia and Europe. In 1910, the artist lives and works in Italy, continuing to take lessons, and then goes to Paris.

Popova went through many stages in her work, paving the way from Cézanneism to cubism and futurism. At a certain period, the artist became a member of the Spremus group, organized by Kazimir Malevich. At this time, Suprematism especially fascinated her. Together with other members of the group, Popova works in the villages of Skoptsy and Verbovka. Popova actively participates in various exhibitions.

Her early paintings were executed in the traditions of analytical cubism and fauvism. Later, the artist would move away from this manner, giving preference to more dynamic cubo-futurism and synthetic cubism. The works “Portrait of a Philosopher” and “Man + Air + Space” belong to this period. The world in Popova’s perception was a huge still life. She tried to transfer this still life to a graphic sheet or canvas. The artist paid special attention to the meaning of the sounds of paints. In this sense, her cycle “Pictorial Architectonics” is very important. It is distinguished from Malevich's works by the variety of colorful rhythms.

In the twenties, Popova moved away a little from painting, turning to scenography. She participates in the design of the plays “The Tale of the Priest and His Worker Balda”, “The Chancellor and the Locksmith”. Popova works in the Art Deco style, combining the traditions of avant-garde and modernism. She also takes part in the design of the performances “The Earth on End” and “The Generous Cuckold” staged at the Meyerhold Theater.

Popova also paid attention to teaching. Since 1920, she worked at Vkhutemas and the Institute of Artistic Culture.

A variety of motifs are harmoniously intertwined in the artist’s work. Cubism, which she became acquainted with in Paris, intricately merged with a natural passion for the Renaissance and Russian icons. Even the artist’s non-objective works reflected a classical style. This is also characteristic of her “spatial-power constructions”, “picturesque constructions”. The traditions of the classics do not disappear from Popova’s works even when she is engaged in the production of fabrics, leaving painting.

Paintings by artist Popova L.S.

Popova Lyubov Sergeevna (1889–1924)

Lyubov Sergeevna Popova did not live very long, and she was engaged in painting for only seventeen years, but she lived at a time when the Russian avant-garde had not yet become obsolete, and the time of strict prohibitions had not yet come. She didn’t have to break herself and change her creative style. The artist was forgotten for several decades, and only recently Popova received worldwide recognition. Now the best museums in the world consider it their greatest luck to receive her works, made during that difficult period when people destroyed more than they created. The secret of the attractiveness of Popova’s works is in their amazing harmony and simplicity, thanks to which she stood out favorably from her colleagues in avant-garde associations.

Lyubov Sergeevna Popova was born in the Moscow region, into a wealthy merchant family. Her father was a theater expert and a music lover, her mother, L. Zubova, came from a family famous for famous philosophers and artists. In her youth, Popova was interested in painting and poetry. After graduating from high school and philological courses, she studied for several years in the art studios of S. Zhukovsky and K. Yuon. From 1912 to 1913, Popova took lessons in a private studio in Paris, where painting was taught by the famous masters Metzinger, Segonzac and Le Falconnier.

In the early period, the greatest influence on the formation of the artist’s independent style was exerted by her idols - M. Vrubel, K. Malevich and V. Tatlin. At the same time, Popova’s range of interests was amazingly wide: she studied ancient Russian frescoes and icon painting, the Hermitage collection, medieval architecture of Italy and France, so the artist’s innovation is unthinkable without a close connection with classics and tradition.

Popova believed that an independent period in her work began in 1913, but her earlier works dating back to 1908 are also of great interest. First of all, these are colorful, surprisingly bright still lifes and landscapes, reminiscent of Cezanne’s style and testifying to his passion for Cubism. In any case, these works, as well as the images of “Sitters” and “Models”, speak of a desire to overcome the verbosity of pictorial language.

From the mid-1910s, the period of cubo-futurism began in Popova’s work. This movement, which emerged as a result of the influence of French Cubism and Italian Futurism, was extremely popular in Russia. Cubo-futurism combined two seemingly mutually exclusive trends - the decomposition of objects into fragments (the analytical stage of cubism) and their subsequent construction and the dynamism of futurism, which decisively destroys any structures. Popova turned out to be close to the idea of ​​cubism, since it dictated stability and stability, imparted an internal rhythm to the compositions and had a harmonious beginning.

Like the Cubists, Popova used a fairly limited range of topics, and this, it would seem, sounded paradoxical: after all, Cubism gave the artist the opportunity to change the world in accordance with his own vision, but instead of expanding the objects worthy of the master’s attention, there is, on the contrary, a sharp narrowing, as a result of which After Picasso and Braque, representatives of Cubism began to depict musical objects, and after Cezanne - still lifes.

Thus, we can say that Cubism was the last point of contact with reality before the final transition to abstraction. Popova loved to depict clocks and vases in her compositions. One of the brilliant examples of cubo-futurist still life is “The Violin” (1915), where the composition is created through a thoughtful and subtle combination of straight and uneven lines, segments of a circle and a triangle. Nevertheless, among the superimposed and intersecting planes and edges, a music book, a violin, playing cards, and the plane of a table can be very clearly read. The work is painted in a restrained chromatic palette, characteristic of the works of the Cubists, and is distinguished by its fluid texture.

L. Popova. "Portrait of a Philosopher", 1915

L. Popova. "Pictorial Architectonics", 1916–1917

The “Portrait of a Philosopher”, performed in 1915, is remarkable. Created in a cubist manner, it amazes with its psychological nature. Despite the reincarnated face, one can feel the energetic character of the model and the intellectual concentration of the philosopher. The pictorial solution chosen by Popova is very interesting: she forms the body using planes, and then, with the help of protrusions, she seems to probe the surrounding space and creates an image of a person, without highlighting the differences between objectivity and intangible air. This work is fundamental because here begins the artist’s transition to non-objective art, where there is no difference between the presence of form and its absence.

Popova's latest works in the cubist manner indicate a decisive shift in emphasis towards abstraction, as objects lose their recognizable appearance, transforming into flat geometric shapes - rectangles, squares and trapezoids, although one can still guess in the curved contours of musical instruments or a cylinder laid out on plane. However, abstract works do not lose touch with reality at all: this is indicated by the names of the paintings - “Spring” or “Portrait”. This means that a specific image evokes deeply personal associations for the artist, and she creates abstract compositions inspired by real phenomena. Popova, like all abstractionists, strives to generally show the patterns inherent in this or that phenomenon of the world in simplified and understandable forms.

From 1916 to 1918, Popova created a series of abstract paintings under the general title “Pictorial Architectonics.” These compositions have a clear structural principle, which the artist strictly adheres to. The figures on the canvases are shown compactly. They are mainly located in the center, merging with each other, as if friendlyly layered in the shallow space of the canvas. There is, however, another, almost dramatic interaction of forms; it reaches its apogee when a diagonal line unites the composition. But this technique is not particularly characteristic of Popova, who wants to build harmony even in a difficult situation; for her, balance means a lot.

The planes in Popova’s compositions seem filled with energy; they gravitate towards merging and mutual consolidation. In this case, the artist more and more resembles a builder erecting rapidly rising facades of buildings, and here the color scheme begins to play a major role. Popova wants to establish the most expressive relationship between color and shape, thanks to which the interaction of planes will become harmonious.

L. Popova. “Spatial-force construction”, 1921

There is an undeniable connection between Popova’s “Pictorial Architectonics” and the Suprematist paintings of K. Malevich, but there is also a significant difference. The forms on Malevich’s canvases establish contact between reality and another world, while for Popova it is much more important to show the possibility of harmony in this world.

Works dating back to 1921–1922 are called “Spatial-force constructions.” As a rule, they feature vertical or inclined lines, horizontal lines that intersect each other, floating in airless space, as if Popova wants to understand the essence of the Universe and make an attempt to master the fourth dimension.

Another type of composition shows circles and moving spirals. Metal powder is added to the paint, and the artist chooses plywood as a texture. As before, the main role here belongs to color, but harmony is built by the relationship of the main energy principles existing in the world - centrifugal and centripetal force.

L. Popova. "Sketch for fabric", 1923–1924

In the last years of her life, Popova became interested in constructivism. It was no longer enough for her to find the inner harmony of forms; she wanted to transform the world around her with the help of artistic means. At this time, Popova was engaged in teaching at Vkhutemas, where she taught the “Color” course. She also designed theatrical productions, for example, her work for the V. E. Meyerhold Theater is known - designing a single structure instead of scenery for a play based on the play “The Generous Cuckold” by F. Crommelynck.

In the last year of her life, Popova was developing sketches for fabrics at a calico-printing factory. Decorative forms in her compositions continued to arise in the process of a general rethinking of global life patterns; eventually the circle was closed, and art returned to life in a tangible and concrete way. Lyubov Popova died unexpectedly from scarlet fever.

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Lyubov Popova was born in the village of Ivanovskoye near Moscow into a merchant family; her paternal grandfather had a cloth business. Perhaps, when Popova in the 1920s decisively left easel painting for “production” and created sketches of designs for fabrics, this was to a certain extent the consequence of a genetic attachment to the craft.

But at the time when Lyubov Popova was born, her father, Sergei Maksimovich, was almost no longer involved in business, but was a famous philanthropist, patron of music and theater and represented the character of an enlightened merchant, familiar from the image of Savva Mamontov, who had nothing in common with merchants Ostrovsky's "dark kingdom". It was not without reason that Lyubov Popova received her first drawing lessons from her father’s friend, the artist K.M. Orlov. She spent her early years in Yalta, studied at the gymnasium there, and only in 1906 came to Moscow, here she received a secondary education and entered pedagogical courses.

In 1908, Popova, who had been committed to the art of painting since childhood, began attending the private art school of K.F. Yuon, where she met many artists, including Nadezhda Udaltsova. With Udaltsova’s sister, Lyudmila Prudkovskaya, Lyubov Popova somewhat later rented a studio in Antipyevsky Lane, but according to the artist herself, their independent work was not particularly successful, and around 1911 they went to work at the Tower.

This was the first free collective workshop in Russia; the artists themselves staged life here, most often Mikhail Larionov, who was then a recognized “leader”. In addition to Popova, N. Udaltsova, K. Zdanevich, V. Bart, N. Goncharova and others were there. In this environment there was a very strong passion for primitives and ancient Russian art; young artists seemed to be rediscovering their national past. We should not forget that the first scientific restorations of icons date back to this time and they appeared in all the fullness of their original colors.

Interest in icon painting, which is mainly attributed to the “neo-primitivist” artists - Larionov and others, was characteristic of all those seeking new paths in art.

In 1909-1911, Lyubov Popova visited Novgorod, Pskov, Rostov, Yaroslavl, and Suzdal in order to study ancient Russian painting and architecture. In 1910, she went to Kyiv and here she received another impetus for her creativity - she saw Vrubel’s monumental paintings in the Kirillov Monastery.

Also in 1910, Lyubov Popova visited Italy, where her attention was attracted by Italian primitives, Giotto and Pinturicchio.

And the final touch to the great and intensive work that Popova did in comprehending artistic culture was that she became acquainted with the collection of S.I. Shchukin in Moscow. At that moment, Henri Matisse was Shchukin’s new hobby. The art of Matisse became the key link that connected the past and the present, the West and the East in Popova’s artistic worldview. She could not help but appreciate the courage of Matisse’s innovative painting language and at the same time felt its connection with the art of the Middle Ages.

Now it became clear to Popova where she should study painting - in 1912 she went to Paris, she went as a mature artist: her “Trees” of 1911 are qualitatively different from the early still lifes and landscapes that she painted in Yuon’s studio.

Popova went to Paris with Nadezhda Udaltsova, who later recalled this: “Popova and I examined everything possible, and began to look for a workshop. We intended to work for Matisse, but Matisse's school was already closed. We went to the workshop of Maurice Denis, came across a sitting Indian with feathers on a red background, we ran away. Someone mentioned Le Fauconnier's La Palette workshop, we went there and immediately decided that this was what we needed. It was the art of construction, fantastic art. Le Fauconnier, Metzinger or Segonzac came once a week. Le Fauconnier spoke about large surfaces, about the construction of canvas and space, Metzinger spoke about the latest achievements of Picasso. This was the era of classical cubism."

Lyubov Popova worked seriously in the workshop and spent many hours in the Louvre and the Cluny Museum. She lived in Paris at Madame Jeanne's boarding house, where mostly Russians stayed and where there was even a “Russian table*; Boris Ternovets and Vera Mukhina lived there at the same time, who studied sculpture with Bourdelle.

Popova had a sociable character, she quickly became friends with Mukhina and, having arrived in Paris for the second time in 1914, made a trip with her to Italy.

In winter, Lyubov Popova worked in V. Tatlin’s workshop in Moscow. Tatlin also came to Paris in 1914 and met with Popova there. The artist again plunged into the special atmosphere of Parisian life and art, but when she met her friends at La Palette, it seemed to her that they “had not gone anywhere,” the same as “last year.” Popova herself had outgrown La Palette; she visited the Udet collection, where she saw works by Picasso and Braque, and was now focused on searching for Picasso. And if Popova’s composition “Two Figures” of 1913, which was her debut at the “Jack of Diamonds” exhibition of 1914, bore traces of the influence of Metzinger, in particular his painting “The Blue Bird,” then in subsequent works she comes to a more in-depth understanding cubist systems.

“Portrait of a Philosopher” (1915) is distinguished by great restraint in color scheme; the dynamic composition of the canvas is built by alternating sonorous planes of color and intense rhythms of “convex” lines, which create an angular pictorial “relief” on the surface of the canvas. The composition includes inscriptions and the number “32” - this is a kind of license plate, designating the painting as a “thing”, like a factory stamp.

It is worth paying attention to the peculiarities of Popova’s understanding of cubism. She was attracted to the world of things, to identifying the possibilities contained in the material itself, having a precise address: if she paints a still life with dishes, then it is “Tinware” (1913); if objects - then “Items from the Dyehouse” (1914).

She was interested in the mechanism hidden behind the outer shell of the form; in 1915, she created several works “Clocks” - a fairly common subject in cubist and futurist painting, as a symbol of time - the fourth dimension introduced into spatial art. Popova is not content with the symbolic designation of the dial, she shows the “insides”, the clutches of cogs and wheels, she is fascinated by the work of human hands - a wonderful machine. This, perhaps a little naive, but sincere faith in technical progress cannot but captivate in Popova’s paintings.

However, the real flowering of Popova’s activity - a constructivist and production worker, a builder of new forms of “existence” of people - came after the revolution. She took an active part in the restructuring of all forms of life and everyday life: she designed mass revolutionary celebrations, created posters, made book models, sketches of clothing models, drawings for textiles, and was one of the founders of the school of domestic design.

In addition to practical work, Popova taught at the State Higher Theater Workshops, where many figures of Soviet art, including film director S. Eisenstein, studied with her. These workshops were led by Vs. Meyerhold, in his theater Popova staged productions: “The Generous Cuckold” (1922) and “The Earth on End” (1923), which went down in the history of theatrical and decorative art.

Lyubov Popova also taught at Vkhutemas in the main department, and actively participated in debates at the Institute of Artistic Culture. She supported the call to replace easel art with production art, put forward by the “productionists” and constructivists in Inkhuk in 1921. Moreover, unlike many figures of that romantic era, who went into production only “theoretically,” Lyubov Popova was not satisfied with half measures. Her last works were completed for the first calico-printing factory - designs for fabrics, decorative and practical, have not lost their “modern” quality to this day. According to the testimony of her Lef comrades, Mayakovsky and Brik, she found genuine satisfaction in this work.

Back in 1914, Lyubov Popova wrote: “Man is still a significant creature: as soon as he stops working, all life stops, cities become completely dead, but people earn money, and the city lives. What a terrible force is human work.”

E.DREVINA

Popova's paintings

"Spatial-force construction"

“Pictorial Architectonics” 3

"Pictorial Architectonics"

"The Traveler" 1916

"Composition with figures" 1914-15

Lyubov Sergeevna Popova (1889-1924) - Soviet painter, avant-garde artist, graphic artist and designer.

Lyubov Sergeevna Popova is one of the greatest masters of the Russian avant-garde. She was born into a wealthy and educated merchant family. Her father was a lover of music and theater, and she received her primary education from her mother at home. After graduating from the Moscow gymnasium in 1906, the future artist entered general education courses. Lyubov Popova was always interested in drawing and in 1907 she began studying in the studio of S. Yu. Zhukovsky, and in 1908 she moved to the school of drawing and painting by Yuon and Dudin. In 1910, Popova and her parents visited Italy, where she became interested in early Italian painting and especially the legacy of Giotto. After returning to Russia, under the influence of Italian impressions, she went to study ancient Russian painting in Novgorod and Pskov. Popova's artistic interests of this time were very diverse, but at the same time interconnected. In addition to Russian icon painting and the art of the Early Italian Renaissance, she was fascinated by the work of Vrubel. In 1912, Popova began visiting the Moscow Tower studio, where she met many figures of Russian avant-garde art. That same year they visited Paris, studied in the studio of the cubist Le Fauconnier and returned to Russia a convinced cubist. And in 1914, she exhibited her works at the exhibition “Jack of Diamonds” and at the same time she again went to Italy to study early Italian painting, and again her main attention was attracted by the legacy of Giotto.
By 1915, Lyubov Popova came to her own version of non-objective painting, which combined the traditional principles of Old Russian and early Italian painting: flatness, linearity and techniques of cubo-futurism. In 1916, she joined Kazimir Malevich’s group “Supremus” and created a series of non-objective works “Pictorial Architectonics”. At the same time, she began collaborating with the “Verbovka” enterprise, where she created sketches of embroidery and appliques. The company's stores sold products made by Ukrainian peasant women, decorated with drawings based on sketches by avant-garde masters. Since 1918, she taught at the State Free Art Workshops, where, together with A.A. Vesnin formulated a new program for teaching color disciplines. She proceeded from the position that color is an independent formative means. From 1920 to 1924, Lyubov Popova studied in the section of monumental art under the direction of Wassily Kandinsky at the Institute of Artistic Culture (Inkhuke).
In the early 1920s, the artist developed designs for theatrical productions and became close to the constructivists. Colleagues at Inkhuk accused Popova of prematurely turning to the theater, believing that constructivism was not yet ready to move out of experimental laboratory conditions into the masses. However, this did not stop Popova, and in the same year she designed the play “The Earth Stands on End” for V.E. Meyerhold. Constructivism studies led the artist to reject easel art and turn to industrial activities. Lyubov Popova worked in the field of industrial design at the First Calico Printing Factory in Moscow. However, this activity did not last long. On May 23, 1924, her son died of scarlet fever, and on May 25, the artist herself died.