"The era that humanity has entered is an era of industrial development and therefore the organisation of artistic elements must be applied to the design of the material elements of everyday life, i.e. to industry or to so-called production. The new industrial production, in which artistic creativity must participate, will differ radically from the traditional aesthetic approach to the object, in that primarily attention will be focused not on the artistic decoration of the object (applied art), but on the artistic organisation of the object in accordance with the principles of creating the most utilitarian object.. ..If any of the different types of fine art (i.e., easel painting, drawing, engraving, sculpture, etc.) can still retain some purpose, they will do so only * 1. while they remain as the laboratory phase in our search for essential new forms * 2. insofar as they serve as supportive projects and schemes for constructions and utilitarian and industrially manufactured objects that have yet to be realised"
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Liubov Popova, untitled manuscript, signed and dated December 1921, Manuscript Department, State Tretjakov Gallery, Moscow, (fond 148, op.17, l. 3–4); transl. John Bowlt; the same text is reproduced in Women Artists of the Russian Avant-Garde 1910–1930, Cologne 1979, p. 68
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Lyubov Popova
Lyubov Sergeyevna Popova (24 April, 1889 – 25 May, 1924) was a Russian avant-garde woman-artist (Cubist, Suprematist and Constructivist), painter and designer. She joined the group of Russian avant-garde artists Supremus, led by Kazimir Malevich.
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