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Museo Nacional Thyssen-Bornemisza, Madrid
Liubov Popova

Painterly Architectonic

1918
Oil on canvas.
45 x 53 cm
Museo Nacional Thyssen-Bornemisza, Madrid
Inv. no.
714
(
1976.17
)
ROOM 43
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 Recovering the ligth. Restoration of Waterloo Bridge, by André Derain 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Postpop rooms 54 Postpop rooms 55 Postpop rooms 56 Postpop rooms Rodin Exhibition room
When Malevich established the Supremus group in 1916, which was joined by Popova and other artists such as Rozanova, Kliun, Udaltsova and Puni, none of its members was a genuine Suprematist. As Tatiana Goriacheva has pointed out, to them “Suprematism was more an impulse to seek out their own individual direction within the new art than a direct guide to action.” Furthermore, most of these artists judged Malevich’s Suprematism and Tatlin’s Constructivism to be complementary, and strove to find a language that was a synthesis of both. Indeed, the present Painterly Architectonic shows that, in practice, both trends were perfectly compatible as they shared the same roots — Cubism and Futurism — and were underpinned by geometry as the basis of their plastic thought.

The series of Painterly Architectonics — or Architectonic Compositions — represented in the Museo Thyssen-Bornemisza collection by Painter Architectonic (Still Life: Instruments) and these two smaller canvases, is a perfect example of Popova’s particular blend of Malevich’s Suprematism and Tatlin’s proto-Constructivism. In these geometric constructions, the painter concentrates on creating a “painterly architectonic” in order to lay bare the rhythmic order of the elements, the harmony of their proportions and their colour combinations. Her pursuit of a formula for achieving the ideal compositional structure led her to experiment with the interaction of various planes of colour that would become the expressive medium of her compositions. Magdalena Dabrowski wrote of these constructions of colour, light and space that occupy the entire surface of the canvas, that “the forms vibrate with color and texture, creating a dynamic whole.” It is precisely this interaction between the various planes that infuses her abstract compositions with dynamism.

Paloma Alarcó
20th Century20th Century - European painting. Russian avant-gardePaintingOilcanvas
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Man on the Street (Analysis of Volumes). Hombre en la calle (Análisis de volúmenes), 1913
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"Pioneers". Women Artists of the Russian Avant-Garde

A survey of the work of seven women artists of Russian origin who made a decisive contribution to the development of the avant-garde movements of the early 20th century.

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La máquina Magritte: Exhibition catalog (Spanish w. English texts)

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Spanish & Sisters x Lacroix crochet earrings

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Gabriele Münter. Exhibition catalogue. Hardback. (Spanish + English bilingual edition)

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More from the collection

Liubov Popova
Liubov Popova
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1915
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Liubov Popova
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Ivan Kliun
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El Lissitzky
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Proun 5 A
1920
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Painterly Architectonic. Arquitectura pictórica, 1918
Painterly Architectonic
Liubov Popova

©

Museo Nacional Thyssen-Bornemisza, Madrid

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Painterly Architectonic. Arquitectura pictórica, 1918
Painterly Architectonic
Liubov Popova

©

Museo Nacional Thyssen-Bornemisza, Madrid

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