Olga Rozanova’s City is a brilliant look at all that is inherent in the city: people, buildings, movement, transportation, streets, setting, and light.
However, in the case of Cubism, it is not the movement of human perception that depicted in the painting but rather the movement and energy inherent in the subject itself across time and space, which is both compressed and captured in the representation. This, in itself, builds on the earlier Impressionist technique, which included movement as a crucial element of human perception and experience in the painting. Her painting builds on the Cubist tendency to compress time and space into a single glance at a subject, which conveys a plenitude of information to the viewer. Her city is all kinetic energy, the canvas almost ‘alive’ with movement. Olga Rozanova’s City (1916) is a wonderful abstract painting, which takes the city as its subject. Because of this, her contemporaries have largely overshadowed Rozanova. However, the quality and quantity of her work ultimately – and sadly – indicates her unfulfilled promise as an artist. The number of works she completed is impressive both in terms of the quality, many of her abstracts are intricately beautiful, and quantity, given her untimely death at such a young age (see this Pinterest page). Olga Rozanova has been labeled a Futurist, a Cubo-Futurist, and Suprematist (focused on geometric forms and a limited range of colors, see Piet Mondrian’s Neo-Plasticism), all of which places her in the middle of the early 20th century Russian Avant Garde Movement.
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