With refined skills in hand and an appropriate (and lucky) support system behind her, Guro began freelancing and accepting commissions. Guro was firmly perched on Russian Futurism’s even more abstract branch, Cubo-Futurism, and was one of the very few women associated with the movement. Petersburg, which admitted female students to its classrooms. Before that, Guro received professional and social training at the Imperial Society for the Encouragement of the Arts in St. Sometime between 1903 to 1905, Guro met her future husband, painter and composer Michael Vasilyevich Matyushin, while they were both novices studying under the Polish painter Jan Ciągliński. “Yet interest in Guro and the innovative and experimental period she lived in has grown in the past few years.”Īs proven in the near past with other ambitious young Russian women, a girl with a keen mind, a pen, and a paintbrush not only had to be talented, but clever and well-connected as well. “Elena Guro, a talented poet and painter of the transitional period between Russian symbolism and futurism, has not attracted much attention,” laments art critic Milica Banjanin. Such was the case with Russian artist and writer Elena Guro (1877–1913). ![]() However, when women did manage to infiltrate the ranks, they did so outstandingly, often outshining their male contemporaries with their output. Exclusive and possessive of their prestige, many male artists admitted women into their sphere only as models and muses. ![]() It’s a disappointing aspect of history, but many great artists’ groups were boys’ clubs with closed ranks. The icon indicates free access to the linked research on JSTOR.
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