Kozintsova Lyubov
(Українська) Автопортрет в червоній сукні був написаний для виставки в Амстердамі. Він є квінтесенцією художньої еволюції художниці, її знань міжнародних художніх процесів і значущих зустрічей 1920-х років.
Перед глядачем постає молода, пристрасна і впевнена в собі жінка. В даний період радянське мистецтво створювало ідеальний образ жінок, позбавлених будь-яких окремих етнічних або навіть гендерних рис, в даному ж портреті художниця романтично натякає на свій темпераментний характер і внутрішню силу. Написана сміливими і широкими мазками фігура в яскраво-червоній сукні на контрастному світло-блакитному тлі, з темним волоссям і великими чорними очима ніби свідомо відкидає типову жіночу чутливість, створюючи образ сильної жінки. Картина являє собою одну з найяскравіших і значних робіт Козинцевої, створених на піку її художнього таланту.
Lyubov Kozyntseva (December 13, 1899, Kyiv – June 6, 1970, Moscow) was a Soviet painter and graphic artist.
Education
Lyubov Kozyntseva grew up in Kyiv and studied painting in the ‘Amazon’ studio of the Russian avant-garde – Alexandra Exter. There Kozyntseva discovered the works of O. Tishler, N. Shifrin and I. Rabinovych. During the same period, the young artist gained a deeper understanding of the development of European contemporary art. All this knowledge allowed the artist to form her own unique style, which combines elements of romanticism and expressionism.
Creative path
In the 1920s, Kozyntseva, like many other women artists, spent a long time in Western Europe. Together with her husband Ilya Ehrenburg, a famous Russian writer, poet, and journalist who promoted avant-garde art, she often traveled, met famous people and artists, such as Pablo Picasso, who defined her creative path.
In 1921, the young Kozyntseva, together with Kurt Schwitters, took part in an exhibition at the Der Sturm Gallery in Berlin; its neighbors in the exhibition were O. Arkhipenko, O. Kokoshka, F. Leger and others.
In the following years it was exhibited extensively in Europe and Paris. In February 1929, the series “Brittany” and “Slovakia” were worthy galleries of Leopold Zborivsky, which hosted an exhibition of two series of gouache, made over several years. Among the many influential critics who praised these works. Pierre Mac Orlan, a popular writer and close friend of Ehrenburg, found in Kozyntseva’s works a reflection of “some beginning that is easy to replace, but difficult to understand, what is in the characters of miniatures of the XV century, and in ancient icons” (Anna Chudetskaya, ” Love, it is a rose “, Our Heritage, N. 120, 2016, p. 150).
Indeed, Kozyntseva’s work was distinguished not only by its picturesque qualities, but also by its romantic mood, attention to the traditions and peculiarities of communities. The exhibition at the Kunstzaal Van Lier, which opened in Amsterdam shortly before Christmas 1929, may have repeated the exposition in the Zborowski Gallery with only a few variations. As a mandatory requirement for the exhibition in the gallery, Kozyntseva was asked to paint a self-portrait.
In 1940, after leaving occupied Paris, the artist returned with her husband to the USSR and lived in Moscow, where she worked as an editor at the Mosfilm film studio.