<\/p>\n
Udaltsova, Nadezhda Andreyevna<\/p>\n
(b. 1886 Oryol \u2013 d. 1961 Moscow)<\/p>\n
Painter and graphic artist<\/p>\n
<\/p>\n
1905\u20131908<\/span> – Took drawing and painting classes from K. Yuon and I. Dudin (N. UIyanov also taught there).<\/p>\n 1909\u20131911<\/span> – Studied at private studios, including the studio of K. Kish in Moscow.<\/p>\n 1912\u20131913<\/span> – Continued her artistic education at La Palette Academy in Paris under Jean Metzinger, Henri Le Fauconnier and Dunoyer de Segonzac.<\/p>\n 1913<\/span> – Worked in V. Tatlin\u2019s Tower Studio in Moscow.<\/p>\n Took part in exhibitions beginning in 1914<\/span>, including: 1914 \u2013 Jack of Diamonds; 1915 \u2013 Tram V and Left Trends; 1915\u20131916 \u2013 Exhibition 0.10; 1916 \u2013 The Shop; 1921\u20131922 \u2013 World of Art; 1925 \u2013 Moscow Painters; 1931 \u2013 Thirteen group.<\/p>\n 1916<\/span> – A member of the Supremus Artists\u2019 group.<\/p>\n 1918<\/span> – Assistant to K. Malevich.<\/p>\n 1918\u20131920<\/span> – Taught at the First State Free Art Studios.<\/p>\n 1920\u20131930<\/span> – Taught at Vkhutemas-Vkhutein [Higher Art and Technical Studios and Institute].<\/p>\n 1930\u20131932<\/span> – Worked at the Moscow Textile Institute.<\/p>\n 1932\u20131934<\/span> – Worked at the Moscow Polygraphic Institute.<\/p>\n Our critics are like stockbrokers who speculate on a rise or a fall. Critics play with our names in the same way, and in reality give nothing to the art, to the public or to the artists themselves. People who have compromised themselves, who have been proven ignorant in questions of art time and again, hold senior positions in magazines and affect the minds of the reading public. Muscovites can understand matters of art without the input of these articles, but people in the province are completely in the critics\u2019 power and the harm they do is irreversible. <…> \u00a0The conditions must be created in which artists under attack could defend their work.<\/p>\n Our critics are incapable of raising a single question dealing with modern art because most of them are old specialists, raised on Mir Iskusstva <\/em>[World of Art] style, and Peredvizhniki (The Itinerants group); they can\u2019t understand modern art and are only able to talk about \u201cexact form.\u201d Critics love to play hide-and-seek and for years on end ignore dozens of paintings that are on exhibition. Now, it was possible to do this in bourgeois society, where financial speculation was involved, but in our Soviet state such games are inadmissible. <…><\/p>\n The goal of \u201ca new realism\u201d is right, and proletarian art is possible. It is dictated by life itself. Art in its essence is the People\u2019s art; but the ruling classes made it serve themselves.<\/p>\n Real art is always close to the people and takes its images from the people and from nature.<\/p>\n Many critics have now come to the conclusion that modern art should be precise and graphic, without any nature at all. In reality, however, art can progress and abandon the old standards of AKhRR [The Association of Artists of Revolutionary Russia] and false styles of OST [The Society of Easel Painters] only by studying nature and life.<\/p>\n Nadezhda Udaltsova, \u201cResponse to \u2018Our questionnaire among artists\u201d<\/p>\n N.A. Udaitsova. Zhizn russkoy kubistiki. Dnevniki, statii, vospominaniya: <\/em>Arkhiv russkogo avangarda [Life of Russian cubism. Diaries, articles, memoirs: Archive of the Russian avant-garde]. M.: Literaturno-hudozhestvennoye agentstvo RA, 1994. Pp. 69\u201470.<\/p>\n<\/div>\n <\/p>","protected":false},"excerpt":{"rendered":" (1886 Oryol \u2013 1961 Moscow)
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