Synonyms for olga_rozanova or Related words with olga_rozanova

ivan_kliun              nadezhda_udaltsova              aleksandra_ekster              liubov_popova              mikhail_larionov              lyubov_popova              ivan_puni              natalia_goncharova              vladimir_tatlin              varvara_stepanova              kazimir_malevich              alexander_rodchenko              alexander_bogomazov              vasily_polenov              david_burliuk              kuzma_petrov_vodkin              aristarkh_lentulov              pavel_filonov              isaak_brodsky              pavel_kuznetsov              konstantin_korovin              isaac_levitan              boguslavskaya              wladimir_burliuk              el_lissitzky              pyotr_konchalovsky              nina_genke_meller              rodchenko              konstantin_somov              alexandra_exter              boris_grigoriev              mikhail_vrubel              leonid_pasternak              kasimir_malevich              malevich              valentin_serov              mstislav_dobuzhinsky              david_shterenberg              igor_grabar              vladimir_makovsky              suprematist              nina_genke              abram_arkhipov              alexander_savinov              rudolf_frentz              gustav_klutsis              vadim_meller              boris_kustodiev              ilya_mashkov              ilya_kabakov             

Examples of "olga_rozanova"
The Chairman of the society was a patron of the arts Levky Zheverzheyev (Левкий Жевержеев). The Manifesto of the group was written by Olga Rozanova. Among notable members of the society were:
Supremus (; 1915–1916) was a group of Russian avant-garde artists led by the "father" of Suprematism, Kazimir Malevich. It included Aleksandra Ekster, Liubov Popova, Olga Rozanova, Ivan Kliun, Ivan Puni, Nadezhda Udaltsova, Nina Genke-Meller, Ksenia Boguslavskaya and others.
Olga Rozanova was born in Melenki, a small town near Vladimir. Her father, Vladimir Rozanov, was a district police officer and her mother, Elizaveta Rozanova, was the daughter of an Orthodox priest. She was the family's fifth child; she had two sisters, Anna and Alevtina, and two brothers, Anatolii and Vladimir.
She spent her early years in Riga, then moved with her family to Moscow in 1915. From 1917 to 1920 she studied at the Moscow School of Painting, Sculpture and Architecture. She was a member of the Moscow Union of Artists with Casimir Malevich, Olga Rozanova, Vladimir Tatlin and Alexander Rodchenko, among others.
At first Costakis had collected the Masters of the Dutch School of Landscape Painters but modernist works by Pablo Picasso and Henri Matisse soon became his main subject, then in 1946 he came across three paintings in a Moscow studio by Olga Rozanova . He described how, in the dark days after the war these brightly coloured paintings of the lost Avant-Garde:
Under the influence of Tatlin, Udaltsova experimented with Constructivism, but eventually embraced the more painterly approach of the Suprematist movement. In 1916, she participated with other Suprematist artists in a Jack of Diamonds exhibition, and during that same time period she joined Kazimir Malevich's" Supremus" group. In 1915–1916, together with other suprematist artists (Kazimir Malevich, Aleksandra Ekster, Liubov Popova, Nina Genke, Olga Rozanova, Ivan Kliun, Ivan Puni, Ksenia Boguslavskaya and others) worked at the Verbovka Village Folk Centre.
Aleksei Eliseevich Kruchenykh or Kruchonykh or Kruchyonykh (; 21 February 1886 – 17 June 1968), a well-known poet of the Russian "Silver Age", was perhaps the most radical poet of Russian Futurism, a movement that included Vladimir Mayakovsky, David Burliuk and others. Together with Velimir Khlebnikov, Kruchenykh is considered the inventor of "zaum". Kruchenykh wrote the libretto for the Futurist opera "Victory Over the Sun", with sets provided by Kazimir Malevich. He married Olga Rozanova, an avant-garde artist, in 1912.
When Kazimir Malevich returned to Stalinist Russia, his works were confiscated, and he was arrested and banned from making art in 1930. Khardzhiev preserved a large number of documents and memoirs associated with the avante-garde movement, and around 1,350 artworks. These included oil paintings, gouaches and drawings by Malevich; paintings by Pavel Filonov, Mikhail Larionov, Natalia Goncharova and Olga Rozanova; and important drawings by El Lissitzky.
Nina Genke was closely connected with the "Supremus" group that was led by Kazimir Malevich, the founder of Suprematism. From 1915 Genke worked as a head and a chief artist of the Verbovka Village Folk Centre (province in Kiev). She attracted famous avant-garde artists such as Kazimir Malevich, Nadezhda Udaltsova, Aleksandra Ekster, Ivan Kliun, Ivan Puni, Lyubov Popova, Olga Rozanova, Ksenia Boguslavskaya and others to the creative peasant artisans co-operative.
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.
While not confined within a particular movement, Exter was one of the most experimental women of the avant-garde. Ekster absorbed from many sources and cultures in order to develop her own original style. In 1915–1916 she worked in the peasant craft cooperatives in the villages Skoptsi and Verbovka along with Kazimir Malevich, Yevgenia Pribylskaya, Natalia Davidova, Nina Genke, Liubov Popova, Ivan Puni, Olga Rozanova, Nadezhda Udaltsova and others. Ekster later founded a teaching and production workshop (MDI) in Kiev (1918–1920). Vadym Meller, Anatol Petrytsky, Kliment Red'ko, Tchelitchew, Shifrin, Nikritin worked there. Also during this period she was one of the leading stage designers of Alexander Tairov's Chamber Theatre.
From 1914–1915 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 "Knave of Diamonds" exhibitions, in Petrograd " Tramway V" and the "0.10", "The Store" in Moscow. An analysis of Popova's cubo-futurist work also suggests an affinity with the work of Fernand Leger, whose geometry of tubular and conical forms in his series of paintings from 1913–1914 is similar to that in Popova's paintings.
"Universal War" is often erroneously credited as a collaboration between Kruchenykh and his wife, the artist Olga Rozanova. Whilst the pair often collaborated on artist's books-including "A Game In Hell" (1914) and "Transrational Boog" (1915)- most authorities now consider the work to be by Kruchenykh alone. A series of similar collages - also credited to Kruchenykh - in the book "1918" was published in Tiflis (Tbilisi) in January or February 1917, whilst Rozanova was still in Moscow and the Verbovka Village Folk Centre working for Malevich and, later, Izo Narkompros.
Key works such as "Worldbackwards" (1912), by Khlebnikov and Kruchenykh, Natalia Goncharova, Larionov Rogovin and Tatlin, "Transrational Boog" (1915) by Aliagrov and Kruchenykh & Olga Rozanova and "Universal War" (1916) by Kruchenykh used hand-written text, integrated with expressive lithographs and collage elements, creating small editions with dramatic differences between individual copies. Other titles experimented with materials such as wallpaper, printing methods including carbon copying and hectographs, and binding methods including the random sequencing of pages, ensuring no two books would have the same contextual meaning.
In 1899, Zvantseva returned to Moscow and opened an art school where painters like Konstantin Korovin, Valentin Serov and Nikolai Ulyanov taught students including Nina Simonovich-Efimova who studied there in 1900. She closed the school in Moscow in 1906. That same year, she opened drawing and painting studio in St. Petersburg, known as both the Zvantseva School of Drawing and Painting and The School of Bakst and Dobuzhinsky, until 1910. Léon Bakst taught painting at the school and Mstislav Dobuzhinsky was the drawing instructor. Among their students were Marc Chagall, Sergey Gorodetsky, Elena Guro, Mikhail Matyushin, Heorhiy Narbut, Anna Ostroumova-Lebedeva, Ivan Puni, Olga Rozanova, and Margarita Sabashnikova (later Woloschin).
In the 1920s the museum got a significant collection of the contemporary painting. In spring 1921 Alexander Romm wrote about 120 paintings "representing all the movements of the contemporary art from the Academic Realism to Impressionism to Suprematism. Almost all contemporary painters are represented in the collection by their serious characteristic works". Today 90 paintings of the museum are known (some may belong to the School Museum. The painters included Nathan Altman, Abram Brazer, David Burliuk, Marc Chagall, Aleksandra Ekster, Robert Falk, Sergei Gerasimov, Natalia Goncharova, Alexander Ivanovich Ivanov, Wassily Kandinsky, Ivan Klyun, Pyotr Konchalovsky, Konstantin Korovin, Nikolai Krymov, Pavel Kuznetsov, Alexander V. Kuprin, Mikhail Larionov, Aristarkh Lentulov, Kazimir Malevich, Ilya Mashkov, Vassily Millioti, Alexey Morgunov, Alexander Osmerkin, Yakov Pain, Vera Pestel, Lyubov Popova, Yehuda Pen, Alexander Rodchenko, Vassily Rozhdestvensky, Olga Rozanova, Alexander Romm, Nikolay Sinezubov, Konstantin Somov, Varvara Stepanova, Władysław Strzemiński, Aleksandr Shevchenko, David Shterenberg, Solomon Yudovin, Nicolay Paskevich.
The Supremus group, which in addition to Malevich included Aleksandra Ekster, Olga Rozanova, Nadezhda Udaltsova, Ivan Kliun, Lyubov Popova, Lazar Khidekel, Nikolai Suetin, Ilya Chashnik, Nina Genke-Meller, Ivan Puni and Ksenia Boguslavskaya, met from 1915 onwards to discuss the philosophy of Suprematism and its development into other areas of intellectual life. The products of these discussions were to be documented in a monthly publication called "Supremus", titled to reflect the art movement it championed, that would include painting, music, decorative art, and literature. Malevich conceived of the journal as the contextual foundation in which he could base his art, and originally planned to call the journal "Nul". In a letter to a colleague, he explained:
Russian Futurism may be said to have been born in December 1912, when the Moscow-based literary group Hylaea ( [Gileya]) (initiated in 1910 by David Burlyuk and his brothers at their estate near Kherson, and quickly joined by Vasily Kamensky and Velimir Khlebnikov, with Aleksey Kruchenykh and Vladimir Mayakovsky joining in 1911) issued a manifesto entitled "A Slap in the Face of Public Taste (Russian:" Пощёчина общественному вкусу). Other members included artists Mikhail Larionov, Natalia Goncharova, Kazimir Malevich, and Olga Rozanova. Although Hylaea is generally considered to be the most influential group of Russian Futurism, other groups were formed in St. Petersburg (Igor Severyanin's Ego-Futurists), Moscow (Tsentrifuga, with Boris Pasternak among its members), Kiev, Kharkov, and Odessa.
Puni received his formal training in Paris in 1910-11 at the Académie Julien and other schools, where he painted in a derivative "fauviste" style. Upon his return to Russia in 1912, he met, and exhibited with, members of the St Petersburg avant-garde, including Kazimir Malevich and Vladimir Tatlin. He made a second trip to Paris in 1914, returning to St. Petersburg in 1915. At this point, he began painting in a Cubist style reminiscent of Juan Gris. In 1915, Puni, (Aleksandra Ekster, Liubov Popova, Ivan Kliun, Ksenia Boguslavskaya, Olga Rozanova, Nadezhda Udaltsova, Nina Genke and others) formed Supremus, a group of artists dedicated to the promulgation of Suprematism, the abstract art movement founded by Malevich. Malevich and Puni co-authored the "Suprematist Manifesto", published in 1916, which proclaimed a new, abstract art for a new historical era. Puni also organized the exhibitions "Tramway 5" and "0.10," both held in St Petersburg in 1915, in which Malevich, Tatlin, Popova and others participated, and to which Puni contributed constructions and paintings. In 1915-1916 Puni, together with other Suprematist artists, worked at Verbovka Village Folk Centre. In 1919, he taught at the Vitebsk Art School under Marc Chagall.
Verbovka Village Folk Centre was an artisan cooperative in the village of Verbovka founded by Natalia Davidova in the Ukrainian province of Kiev. Natalia Davidova, one of the founders and the head of the Kiev Folk Center, was an Avant-garde artist descended from the ancient Ukrainian Hudim-Levkovichis family (Russian philosopher Nikolai Berdyaev was her cousin and artist Nina Genke-Meller was his sister-in-law). The beginning of the cooperation of Natalia Davidova and Nina Genke-Meller originated not just from their family relations. They both were keen on folk art and were devoted to the idea of implementation of Avant-garde artistic principles into practice of amateur goods. In 1915 Nina Genke became a head and chief artist of Natalia's Davidova Folk Center in Verbovka village. N.Davidova involved Nina Genke in "promoting " folk thing's production in accordance with the sketchers of famous Avant-garde artists. The members of the "Supremus" group started to cooperate very actively. Between 1915 and 1916 many Suprematist artists such as Kazimir Malevich, Aleksandra Ekster, Nina Genke-Meller, Nadezhda Udaltsova, Liubov Popova, Olga Rozanova, Ivan Puni, Ksenia Boguslavskaya, Ivan Kliun and others worked with peasant artisans at the cooperative. In November 1915 N.Davidova, together with A.Ekster and N.Genke, arranged an "Exhibition of Modern Decorative Art of the South of Russia" in Lamersie Moscow Gallery. There they represented the village ladies' works who studied decorative art in Verbovka and Skoptsi's schools, as well as carpets, pillows, shawls and belts made in accordance with sketches of Popova, Malevich, Davidova, Genke, Ekster, Puni, Kliun, Pribilskaya, Yakulov, Rozanova, Vasilieva, Boguslavskaya and others. The exhibition received broad publicity in the press. In 1917 Davidova and Genke arranged the "Second Exhibition of Modern Decorative Art" in Moscow in Mikhailava's Saloon.