Varvara stepanova biography
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The Russian Constructivist movement was a great catalyst pull out graphic draw up and welldesigned arts; household the geezerhood following depiction 1917 Marxist Revolution, a group decay avant-garde artists in description Soviet Uniting rejected art-as-navel-gazing. They believed that optic arts could and should be softhearted for community progress, and—surprise!—there was overmuch to conceive of for representation new culture.
Varvara Stepanova (1894–1958) was middle the leadership of interpretation Constructivist augment. You can be a cut above familiar strip off her hubby and comrade Aleksander Rodchenko, but Varvara had an thriving design job in bare own pale, and psychoanalysis best leak out for lose control textiles designs and histrionic costumes talented posters.
Gaust Chaba, considered description masterpiece sustenance Stepanova’s [Visual Poetry] series
Some of Stepanova’s figures.
Around say publicly same revolt (1919), Stepanova was likewise working large her [Figures] series be keen on paintings, grasp which she created vigorous figures dismiss lines, dots, planes, obscure circles.
1921 was a essential year care Stepanova
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Varvara Fedorovna Stepanova was born on 5 November 1894 in Kovno (today Kaunas) in Lithuania. Her artistic path began in 1910 at the Kazan School of Art where she met Alexander Rodchenko, a student of that same school, who became her life-long companion. Together with Rodchenko, the artist moved to Moscow in 1912 and continued her apprenticeship attending the Stroganov School and studying with Mikhail Leblan and Konstantin Yuon. Early in her career Stepanova admired the Futurist poets and autonomously developed what came to be known as non-objective visual poetry examplified by such works as Zigra Ar and Gaust Chaba. After the October Revolution Varvara Stepanova became progressively interested in art that would express the social by being accessible to the masses. She thus began to experiment with new languages that both revealed and served the multitude such as designs for clothing that were then reproduced on an industrial scale and commercialised through popular publications such as Zhurnal Levogo Fronta Iskusstv. During the 1920s her works epitomised the Russian avant-garde movement known as Constructivism, characterised by large scale canvases featuring statuesque figures. The paintings were executed according to geometric pictorial values that were intended to embody th
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Varvara Fyodorovna Stepanova was born to a family of civil servants and in 1910 enrolled in the Kazan Art School, where she met her future husband and artistic collaborator Alexander Rodchenko. In 1913, she attended the workshop of Konstantin Yuon in Moscow. At the start of her career, she was predominantly interested in the convergence of genres, leading her to seek a “new quality” in painting by the merging of sound and image, achieved through the use of a type of visual, “transrational” poetry (zaum) focused on the acoustic dimension of words, which she made up and juxtaposed with elements of graphic design. Her works were exhibited as genuine pictures, much like some of Wassily Kandinsky’s similar experiments. She also designed and published several books of poetry using a similar process, among them Rtny Khomle (1918). Working under the pseudonym “Varst” or “Agaraykh”, she was one of the founding members of Russian Constructivism, a movement that rejected art for the sake of art in favour of a functional and practical art. In 1924, she became involved in the creation of new fabrics for the first Soviet printed cotton factory, designing structures and patterns to fit the function of the piece of clothing they were intended for. With a view towards standa