Nadezhda Udaltsova (1885-1961) - Viool

Dit betreft een zeer intressant werk van de Russische kunstenares Nadezhda Udaltsova 1885-1961 ( omgeving van)
Prachtige aquarel met viool.
Linksonder getiteld ( viool)
Rechtsonder gesigneerd en gedateerd '16 wat een zeer belangrijk jaar was voor deze kunstenares van de Russische avantgarde.
Samen met de bladzilveren gallerylijst een juweel aan de muur dat in ieder interieur uitblinkt.

Udaltsova's professional debut was as a participant in a Jack of Diamonds exhibition in Moscow in the winter of 1914.[3] But it was in 1915 that she really made her name as a Cubist artist, participating in three major exhibitions in that single year, including "Tramway V" (February), "Exhibition of Leftist Tendencies" (April), and "The Last Futurist Exhibition: 0.10" (December).[1] Her paintings were subsequently collected and exhibited in the 1920s by the Tretiakov Gallery, the Russian Museum, and other venues as examples of Cubo-Futurism.[3]

Suprematism
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Under the influence of Tatlin, Udaltsova experimented with Constructivism, but eventually embraced the more painterly approach of the Suprematist movement.[1] 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.[4]

Revolution
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Like many of her avant-garde contemporaries, Udaltsova embraced the October Revolution. In 1917, she was elected to the Club of the Young Leftist Federation of the Professional Union of Artists and Painters and began work in various state cultural institutions, including the Moscow Proletkult. In 1918, she joined the Free State Studios, first working as Malevich's assistant, and then heading up her own studio. She also collaborated with Aleksei Gan, Aleksei Morgunov, Aleksandr Rodchenko and Malevich on a newspaper entitled Anarkhiia (Anarchy).[3] In 1919, Udaltsova contributed eleven works from the time she was working in Tatlin's studio to the "Fifth State Exhibition." When Vkhutemas, the Russian state art and technical school, was established in 1920, she was appointed professor and senior lecturer and would remain on staff until 1934.[1] In 1920 she also became a member of the Institute of Artistic Culture (InKhuK) and actively participated in discussions there on the fate of easel art. However, when the Institute endorsed Constructivism and declared the end of easel painting, she resigned her membership in protest in 1921.[1] In 1922 she participated in the First Russian Art Exhibition in Berlin.[5]

Fauvism and a return to the figurative
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In the early 1920s, Udaltsova's work began to show a turn away from the radical avant-garde and a sensibility more aligned with artists associated with the Jack of Diamonds, among them Ilya Mashkov, Petr Konchalovsky and Aristarkh Lentulov, exhibiting her Fauvist portraits and landscapes alongside them at the Vkhutemas "Exhibition of Paintings" of 1923 and also at the Venice "Biennale" of 1924.[1] She also continued to teach, including instruction in textile design at Vhkutemas and the Textile Institute in Moscow from 1920 until 1930.

Under the influence of Drevin, Udaltsova returned to nature and began painting landscapes. Between 1926 and 1934 they traveled widely, painting the Ural and Altai Mountains, as well as landscapes in Armenia and Central Asia.[1] From 1927 to 1935, she contributed to national and international exhibitions and participated with Drevin in joint exhibitions at the Russian Museum (1928) and in Erevan, Armenia (1934).[3]

In 1933, Udaltsova's contributions to the exhibition of "Artists of the RSFSR Over the Last Fifteen Years" was publicly criticized for so-called "formalist tendencies."[3]