In 1916 Rozanova married Kruchenykh and the same year she joined the

In 1916 Rozanova married Kruchenykh and the same year she joined the

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In 1916 Rozanova married Kruchenykh and the same year she joined the "Supremus" group, headed by Malevich. Perhaps influenced by Malevich's suprematist experiments, Rozanova created some abstract compositions which further developed the dynamic element of her earlier works. They show flat, polygonal regions in bright colors. However, Rozanova's "suprematist" style differed from Malevich's -- it was not only more decorative, but it was not based on the philosophical, mystical ideas (after Sarabianov). In Varvara Stepanova's words, "Malevich constructed his works on the [basis of--A.B.] composition of the square while Rozanova constructed hers on the basis of color"
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Unformatted text preview: In 1917-18, Rozanova created a number of non-objective color compositions, which she called "colorpainting" (tsvetopis'). These compositions were a completely new stage in the development of the Russian avant-garde art; unfortunately, after Rozanova's death, they did not find any continuators in Russia. Only after the WW II, similar color experiments appeared in the American color-field paintings of the 1950s and 1960s, particularly in the works of Barnett Newman. A good example of this type of painting is Rozanova's most famous oil, Untitled (Green Stripe) , which features a rough cream-colored canvas surface cut by broad perpendicular green stripe....
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This note was uploaded on 11/05/2011 for the course ARH ARH2000 taught by Professor Karenroberts during the Fall '10 term at Broward College.

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