SHE TOOK DRAWING LESSONS FROM A VERY YOUNG AGE.
IN 1909: 1910, SHE WAS INTERESTED IN RUSSIAN ICONS. SHE LEFT TO KIEV PSKOV, NOVGOROD AND ST. PETERSBURG. IN 1912 AND 1913, STUDIED WITH THE FALCONER AND METZINGER, LIKE MANY OF HER COMPATRIOTS, CHAGALL, PUNI, ALTMAN BOGASLAVSKAYA. SHE RETURNED TO RUSSIA AT THE ANNOUNCEMENT OF WAR IN 1914.
POPOVA'S DEVELOPMENT BETWEEN 1912:1916 IS CHARACTERIZED BY THE ASSIMILATION OF SEVERAL DIFFERENT
INFLUENCES ,HERDRAWINGS DATABLE TO 1912-1913 CLEARLT BETRAY THE INFLUENCE OF LE FAUCONNIER BUT BY THE MIDDLE OF1914 POPOVA HAD EMBARKED UPON A MORE COMPLEX PATH UN WHICH THE COMBINED INFLUENCES OT TATLIN AND BOCCIONI ARE DOMINANT.
POPOVA USE OF DIFFERENT STRUCTURAL PLANES HINGED TOGETHER TO FORMULATE THE FIGURE IS CLEARLY DEPENDENT UPON A CUBIST FORMULATION OF SPACE AND FORMS FOUND IN THE WORK OF TATLIN AND BOCCIONI.
THE DRAWING IS MONOGRAMMED LP IN CYRILLIC LETTERS
PRESENTED IN A CARVED GUILDED WOOD FRAME
PROVENANCE: PRIVATE COLLECTIOIN