Lyubov Popova

Lyubov Sergeyevna Popova, born in Ivanovskoye, not far from Moscow (May 6, 1889 - died May 25, 1924 in Moscow), was a Russian Constructivist, Suprematist, and Cubo-Futurist designer and painter. A member of the Russian avant-garde, she was distinguished by her futuristic and architectonic compositions, in the wake of Malevich, and a few other women artists, Natalia Goncharova, Olga Rozanova, Varvara Stepanova and Alexandra Exter.

Lyubov Popova.
Lyubov Popova.


Born into a family of "wealthy and cultured merchants" , Popova began drawing lessons at the age of 11 before studying with Stanislav Zhukovsky at 18. In 1908, she joined the studio of Constantin Youon and Ivan Dudin. She was particularly interested in ancient Russian icons, Giotto, and more generally in Italian painters of the 15th and 16th centuries.

In 1909, she went to Kiev, then in 1910, to Pskov and Novgorod. The following year, she went to Saint Petersburg to study icons. In 1912, she worked in the Moscow studio known as The Tower with Ivan Aksenov and Vladimir Tatlin.

In 1912-1913, she studied with Nadejda Oudaltsova in Paris. She studied painting at the Académie de la Palette with Jean Metzinger and Henri Le Fauconnier1. She also became familiar with Futurism1 and met Alexander Archipenko and Ossip Zadkine. Back in Russia in 1913, she worked with Tatline1, Udaltsova and the Vesnine brothers. In 1914, she travelled again to France and Italy to meet Cubism and Futurism.

Sick with scarlet fever, Lyubov Popova died at the age of 35 on 25 May 1924.


Her first works were landscapes and drawings of men and women (1908-1912). From 1913 onwards, she painted cubo-futurist nudes and portraits (Cubist Nude, 1913), and produced a series of still lifes in relief with collages, painted letters and various materials (1914-1915) [Italian Still Life, 1914]. In 1915 she participated with Malevitch, Jean Pougny, Ivan Klioune, and ten other artists in the Exposition 0.10, which presented futurist and suprematist works.

In 1916, she began to reflect on the presence or rather the absence of the object, which led directly and logically to non-objectivity.

She composed Suprematist canvases in which she mixed colour, volume and line (the "Pictorial Architectonics" series, 1916, 1921), in which geometric forms interlocked and created an organisation of elements, not as a means of figuration, but as autonomous constructions. In this series, called Architectoniques picturales, her painting is abstract, but is still influenced by her interest in painting icons on wood and her exchanges with Vladimir Tatlin1.

In 1921, she signed a proclamation for the abandonment of easel painting2, and declared that "The organisation of the elements of artistic production must turn towards the shaping of the material elements of life, that is to say towards industry, towards what is called production". As such, she took part in the 5x5=25 exhibition in Moscow in September-October 1921, in the company of Alexander Rodchenko. In 1923, she became a supporter of the Bolshevik theses and produced a poster project proclaiming: "Long live the dictatorship of the proletariat".

Lyubov Popova - Senza Titolo
Lyubov Popova - Senza Titolo
Lyubov Popova - Untitled. 1917 | MoMA.
Lyubov Popova - Untitled. 1917 | MoMA.


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Digital Suprematism
El Lissitzky
Kazimir Malevich
Ljoebov Popova
Lyubov Popova
Lyubov Sergeyevna Popova
Russian Constructivism


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This page was last changed on 2021-09-21.