Udaltsov Nadezhda (1886-1961)

Creativity N. Udaltsova is as if the moderate wing of the radical avant-garde 1910s. Having experienced the impact of B. Tatlin and K. Malevich , she became adept draw faith attention to the purely pictorial problems to easel form as such has helped her later organically and dignity out of the dissolution of the avant-garde of the situation in the sphere of application, saving, and full-scale canvases of color and texture energy.

Udaltsov was visiting Moscow Studio K. Juon (1906 is its first authoritative teacher was N. Ulyanov), and K. Kish (1909-11), worked in the studio of Vladimir Tatlin, and then continued her education at the Academy of Paris "La Palette" in A. Le Fauconnier and Metsenzhe J. (1912).

Hence its addiction to Cubism: Variations textbook Cubist motifs ("Violin", "musical instruments", "Kitchen", "bottle and glass", all 1910-15) show the absolute ownership of the method, constructive pressure and intensity of color.
Even fascinated Suprematism ( Udaltsov has been a member of the society "Supremus" Malevich and an assistant in the Higher Art), she continues to create parallel Cubist composition, valuing them hidden in the early paintings and colorful sense of living material ("Picturesque building", 1916, "Red figure" 1919, and others .).

It is attached to the painting predetermined care Udaltsova and her husband, the painter A. D. Drevins of INKhuK (1921) in protest against the domination of producers, essentially, it was their departure from the avant-garde. But care in this case was not the end of the road. Long-term full-scale period - still lifes, landscapes of Altai, Kazakhstan and Armenia - the maximum revealed a striking tsvetovidenie Udaltsova. "I am accused of formalism, but in fact I'm working on color," - she wrote in the diary. Such charges are naturally crowded out "accused" of artistic life.

Since 1934 the work Udaltsova been exhibited (except chamber show in the theater "Romen" in 1945). However, doomed to loneliness, survived the arrest and death of her husband, the artist has not lost confidence in the correctness of his way, and by eating this consciousness, her paintings never lost the inner depths.