MoMA

THE COLLECTION

9,044 Artists and 54,522 Works Online

Choose your search filter(s) from the categories on the right, and then click Search.

You may select multiple filters.

Browse Artist Index »

Browse Art Terms Index »

White Gray Black

Search Results

Showing 1 of 1
Not on view

Olga Rozanova. Utinoe gnezdyshko... durnykh slov  (A Little Duck's Nest... of Bad Words). 1913

  • 1
  • 2
  • 3
  • 4
  • 5
  • 6
  • 7
  • 8
Add to My Collection

Olga Rozanova (Russian, 1886–1918)

Utinoe gnezdyshko... durnykh slov (A Little Duck's Nest... of Bad Words)

Author:
Aleksei Kruchenykh
Date:
1913
Medium:
Book with fifteen lithographs with gouache and watercolor additions
Dimensions:
page (each, irreg.): 7 3/8 x 4 13/16" (18.8 x 12.2 cm)
Publisher:
unknown, St. Petersburg
Printer:
unknown
Edition:
500
Credit Line:
Gift of The Judith Rothschild Foundation
MoMA Number:
17.2001.1-22

Deborah Wye, Artists and Prints: Masterworks from The Museum of Modern Art, New York: The Museum of Modern Art, 2004, p. 78

Olga Rozanova was an important member of the Russian avant-garde group that flourished during the early part of the twentieth century. In fact, she was often referred to as one of the "amazons" of the group. Deeply involved in the artistic community in Saint Petersburg, Rozanova was an active public speaker, a contributor to numerous exhibitions, and a participant in a variety of state-sponsored artistic teaching programs before her untimely death from diphtheria in 1918.

One of the hallmarks of the Russian avant-garde was a particularly close and fertile collaboration between poets and painters, which led to pioneering experiments in the medium of the illustrated book. Rozanova contributed to more than fifteen such projects during her short career. Her interest was in creating an overall design rather than in simply making accompanying illustrations. In this respect she rejected traditional book production. Collaborations with her companion, Russian Futurist poet Aleksei Kruchenykh, including A Little Duck's Nest . . . of Bad Words, demonstrate her success at achieving a new unity and syncopation of text and imagery.

Rozanova considered the portfolio War to be her crowning achievement in printmaking, especially since she printed the linoleum cuts herself. She included colors and incorporated collage elements in some of her designs. Her imagery is influenced both by the abstracted forms of Cubism and Futurism, as well as by traditional Russian motifs such as those found in the lubok (popular, centuries-old illustrated Russian broadsides). Short verses by Kruchenykh provided some text, but Rozanova also added actual items from newspapers reporting on the war, which she integrated into her compositions, as in Excerpt from a Newspaper Bulletin.

Sarah Suzuki

Share by E-mail
Share by Text Message