|
Udal’tsova [née Prudkovskaya], Nadezhda (Andreyevna)
(b Oryol, 1886; d Moscow, 1961). Russian painter. She received her initial artistic education in Moscow at the School of Painting, Sculpture and Architecture (1905–9), Konstantin Yuon’s Art School (1906–9), where she may have met Lyubov’ Popova, and in 1909 at the Art School of Istvan Kiss where she met Vladimir Favorsky and Konstantin Istomin (1887–1942). In November 1912 she went to Paris with Popova to see Matisse’s work but was influenced by Cubism and studied at the Académie de La Palette under Jean Metzinger, Henri Le Fauconnier and André Dunoyer de Segonzac. From them she assimilated the principles of Cubism, as in the monochrome canvas Guitar: Fugue (1914; Moscow, Tret’yakov Gal.), where the instrument is fragmented into broadly defined interpenetrating planes intersected by sheet music and the picture surface is flattened by lettering and numbers. In late 1913 Udal’tsova returned to Russia and worked in Vladimir Tatlin’s studio, known as the Tower, in Moscow, together with Aleksandr Vesnin and Popova. Udal’tsova continued working in a Cubist idiom producing such works as Cubist Composition (c. 1914–15; Cologne, Mus. Ludwig), in which the forms are evoked by interlocking planes within a linear framework. She exhibited at the Jack of Diamonds exhibition in 1914, and at Tramvay V: Pervaya futuristicheskaya vystavka kartin (‘Tram V: the first Futurist exhibition of paintings’) and Poslednyaya futuristicheskaya vystavka kartin: 0.10 (‘The last Futurist exhibition of paintings: 0.10’), both held in Petrograd in 1915. By the end of 1915 she was producing such works as At the Piano (1915; New Haven, CT, Yale U., A.G.), in which Cubist lettering and planar fragmentation is combined with a Futurist interest in movement conveyed in the repeated elements of the hands and feet. At this point Udal’tsova may have experimented briefly with Mikhail Larionov’s Rayism, but by the end of November 1916 her affiliation to Kazimir Malevich and SUPREMATISM was firmly established and she was one of his collaborators in 1916–17 on the projected Suprematist magazine Supremus. Udal’tsova produced abstract Suprematist paintings such as Untitled (c. 1918; Athens, George Costakis priv. col., see Rudenstine, no. 1128), where the use of overlapping coloured planes is close to Popova, and she also applied Suprematism’s geometric vocabulary to designs for handbags, fabrics and dresses. In 1917 Udal’tsova participated in the decoration of the Café Pittoresque in Moscow with Georgy Yakulov and Tatlin.
|
|
There are more than 45,000 articles in The Grove Dictionary of Art.
To access the rest of this article, including the bibliography, subscribe to
www.groveart.com.
To find out more about this subject, click on a related article below and
subscribe to www.groveart.com
|
