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©
Museo Nacional Thyssen-Bornemisza, Madrid
Olga Rozanova

Man on the Street (Analysis of Volumes)

1913
Oil on canvas.
83 x 61.5 cm
Museo Nacional Thyssen-Bornemisza, Madrid
Inv. no.
730
(
1976.89
)
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
Unlike her fellow Russian avant-garde artists, Olga Rozanova did not travel around Europe, but she was connected with the successive modern movements. When she went to live in Saint Petersburg in 1911, she became involved in the activities of the Union of Youth group and published her first theoretical writings in its almanac, such as the essay on “The Bases of the New Creation and the Reasons why it is Misunderstood” proclaiming the beginning of “a new era for creativity.” Rozanova was also one of the first to strike up a friendship with Marinetti and the Futurists, whose influence was a key factor in the work she produced prior to embracing Suprematism. In April 1914 she was invited to take part in the Prima esposizione libera futurista at the Galleria Sprovieri in Rome, which included, among other works, the painting now in the Thyssen-Bornemisza collection.

Man on the Street, subtitled Analysis of Volumes, attests to the artist’s interest in urban themes and technological progress, while the marked geometry of the composition is combined with a carefully studied palette, which was always an essential element in her art. As with most Russian avant-garde artists, Olga Rozanova’s painting is a perfect blend of the guidelines of French Cubism and Italian Futurism and images drawn from Russian Primitivism.

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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César Paternosto. Towards painting as object. Exhibition Catalogue

César Paternosto. Towards painting as object. Exhibition Catalogue

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German Expressionism from the Baron Thyssen-Bornemisza Collection exhibition catalogue (Spanish with English booklet)

German Expressionism from the Baron Thyssen-Bornemisza Collection exhibition catalogue (Spanish with English booklet)

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De Palacio Villahermosa a Museo Thyssen-Bornemisza. Historia de un edificio

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The Impressionists and Photography. Exhibition catalogue. English Hard Cover

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Man on the Street (Analysis of Volumes). Hombre en la calle (Análisis de volúmenes), 1913
Man on the Street (Analysis of Volumes)
Olga Rozanova

©

Museo Nacional Thyssen-Bornemisza, Madrid

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Man on the Street (Analysis of Volumes). Hombre en la calle (Análisis de volúmenes), 1913
Man on the Street (Analysis of Volumes)
Olga Rozanova

©

Museo Nacional Thyssen-Bornemisza, Madrid

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