Moscow
What was the residence of Olga Rozanova from 1896 to 1910?
Olga Rozanova Olga Vladimirovna Rozanova ( also spelled Rosanova , Russian : Ольга Владимировна Розанова ) ( 22 June , 1886 – 7 November , 1918 , Moscow ) was a Russian avant-garde artist painting in the styles of Suprematism , Neo-Primitivism , and Cubo-Futurism . Biography . Early life . 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 familys fifth child ; she had two sisters , Anna and Alevtina , and two brothers , Anatolii and Vladimir . Rozanovas father died in 1903 , and her mother became the head of the household . She graduated from the Vladimir Womens Gymnasium in 1904 . Due to her interest in the avant-garde movement , she moved to Moscow to study painting . Artistic career . After arriving in Moscow , she attended the Bolshakov Art School , where she worked under Nikolai Ulyanov and sculptor Andrey Matveev . She audited courses at the Stroganov School of Applied Art in 1907 but was not accepted for admission . After this , she trained in the private studio of Konstantin Yuon . From 1907 to 1910 , fellow drawing and painting students studying in these private studios included Lyubov Popova , Nadezhda Udaltsova , Aleksei Kruchenykh , and Serge Charchoune . Unlike most of the other female avant-garde artists , Rozanova was the only one who did not study abroad to learn about European art . By 1910 , she was fairly well-known in Russian art circles . She moved to St . Petersburg and joined Soyuz Molodyozhi ( Union of Youth ) in 1911 . She became one of the most active members of this organization , which organized art exhibitions , lectures , and discussions . Two of her canvases , Nature-morte and The Cafe debuted at the second Soyuz Molodyozhi exhibition in April 1911 . She would submit her canvases to their group exhibitions until 1913 . Razanova briefly studied at the art school of Elizabeta Zvantseva , which housed many Russian art nouveau artists . In January 1912 , her two works , Portrait and Still-Life , appeared at the next Soyuz Molodyozhi exhibition in January 1912 . This exhibition was the first appearance of the Donkeys Tail , a Moscow-based artistic group led by Mikhail Larionov . Rozanova later traveled to Moscow to try to establish joint projects between the two groups ; these negotiations proved to be unsuccessful . Soyuz Molodyozhi disbanded in 1914 . From 1913 to 1914 , Cubo-Futurist ideas appeared in her work , but she appears to have been especially inspired by Futurism . Of all of the Russian Cubo-Futurists , Rozanovas work most closely upholds the ideals of Italian Futurism . During Filippo Tommaso Marinettis visit to Russia in 1914 , he was very impressed with her work . Rozanova later exhibited four works in the First Free International Futurist Exhibition in Rome , which took place from April 13 to May 25 , 1914 . Other Russian artists featured in the exhibition included Alexander Archipenko , Nikolai Kulbin , and Aleksandra Ekster . She met the poet Aleksei Kruchenykh in 1912 ; he then introduced her to the Russian Futurist concept of zaum ( translated as beyonsence ) poetry , a language with no fixed meanings and constant neologisms , which is probably used by birds . Rozanova would write her own poetry in that style , and also illustrated books of zaum poetry , two examples being A Little Ducks Nest of Bad Words and Explodity ( both 1913 ) . With Kruchenykh , she would invent a new kind of Futurist book , the samopismo , where the illustrations and the text would he literally connected . Rozanova joined the avant-garde group Supremus that year , which was led by former fellow Cubo-Futurist Kazimir Malevich . By this time , her paintings has developed from the influences of Cubism and Futurism , and took an original departure into pure abstraction , where the composition is organized by the visual weight and relationship of color . In the same year she exhibited at the 0,10 Exhibition , and , together with other Suprematist artists ( Kazimir Malevich , Aleksandra Ekster , Nina Genke , Liubov Popova , Ksenia Boguslavskaya , Nadezhda Udaltsova , Ivan Kliun , Ivan Puni and others ) worked at the Verbovka Village Folk Centre . From 1917 to 1918 she created a series of non-objective paintings which she called tsvetopis . Her Non-objective composition , 1918 also known as Green stripe anticipates the flat picture plane and poetic nuancing of color of some Abstract Expressionists . Rozanova also published literary works , which included the essay The Bases of the New Creation and the Reasons Why it is Misunderstood . This was written in response to critics of modern art and held that the world is a raw material - that it is the back of a mirror for the unreceptive soul and a mirror of images for the reflective soul . She maintained that the creation of pictures based on the Abstract Principle constitute three stages : the intuitive principle ; the individual transformation of the visible ; and , abstract creation . In her criticism of photography , Rozanova agreed with Oscar Wilde that photography is for the servile artist . Death and legacy . She died of diphtheria at the age of 32 in Moscow in 1918 , following a cold she contracted while working on preparations for the first anniversary of the October Revolution . Her work is now in the collections of the Museum of Modern Art , the Philadelphia Museum of Art , the Carnegie Museum of Art , and the Harvard Art Museums . Major Works . - ( c.1911-1912 ) - One of Rozanovas earlier pieces , In a Cafe , depicts a man and a woman on opposing sides of a table , the man with his head in his hand and the women with a drink in hers . Rozanova makes use of vibrant colors and thick lines to create a piece with aspects of French avant-garde and Russian Neo-Primitivistic art . - ( c . 1913 ) - The Factory and the Bridge was included in the First Free International Futurist Exhibition in 1914 . This piece had inspiration from the Italian Futurism movement , and its bright colors gives it an expressionist tone . - ( c . 1914 ) - A piece from the middle of her career , Metronome was displayed at the Last Futurist Exhibition 0,10 in Petrograd in 1915 . - ( 1915 ) - One of her most famous works , the series represents the height of her artistic career . It consists of portraits of her peers set as designs for playing cards . References . Sources . - Russian avant-garde , Andrei Nakov , Art Data , 1986 - Abstract Art , Mel Gooding , Tate Publishing , 2001 - Shishanov V.A . Vitebsk Museum of Modern Art history of creation and collection . 1918–1941 . – Minsk : Medisont , 2007 . – 144 p . Russian Books Catalog . Vitebskii muzei sovremennogo iskusstva : istoriia sozdaniia i kollektsii , ( 1918--1941 ) , Visual Arts , Belarus , Минск , Belarus , Russian , - Further Reading Olga Rozanova Paintings , Bio , Ideas Rozanova , Olga - Tedman , Gary . Soviet Avant Garde Aesthetics , chapter from Aesthetics & Alienation . pp 203–229 . Zero Books . 2012 . External links . - 50 pictures of art-works by Olga Rozanova , on Wikiart