Lyubov Sergeyevna Popova was a Russian cutting edge artist (Cubist, Suprematist, and Constructivist), painter and architect. Popova was conceived in Ivanovskoe, close to Moscow, to the rich group of Sergei Maximovich Popov, an effective material shipper and vivacious supporter of the arts, and Lyubov Vasilievna Zubova, who originated from an exceptionally refined family. Lyubov Sergeyevna had two siblings and a sister: Sergei was the oldest, at that point Lyubov, Pavel, and Olga. Pavel turned into a rationalist and the gatekeeper of his sister's artistic heritage.
Popova grew up with a solid enthusiasm for art, particularly Italian Renaissance painting. At eleven years of age, she started formal art exercises at home; she first tried out Yaltinskaia's Women's Gymnasium, at that point in Arseneva's Gymnasium in Moscow. By the age of 18 she was concentrating with Stanislav Zhukovsky, and in 1908 entered the private studios of Konstantin Yuon and Ivan Dudin. From 1912 to 1913, she started going to the studios of the Cubist painters Henri Le Fauconnier and Jean Metzinger at Académie de La Palette in Paris. Popova headed out generally to examine and gain from differing styles of painting, however, it was the antiquated Russian symbols, the paintings of Giotto, and the works of the fifteenth and sixteenth-century Italian painters which intrigued her the most.
Popova was one of the main female pioneers in Cubo-Futurism. Through a blend of styles, she worked towards what she named painterly architectonics. After first investigating Impressionism, by 1913, in Composition with Figures, she was exploring different avenues regarding the particularly Russian advancement of Cubo-Futurism: a combination of two equivalent impacts from France and Italy. From 1914–1915 her Moscow home turned into the gathering place for artists and essayists. In 1914–1916 Popova together with other cutting edge artists (Aleksandra Ekster, Nadezhda Udaltsova, Olga Rozanova) added to the two Knave of Diamonds displays, in Petrograd Tramway V and the 0.10, The Store in Moscow. An examination of Popova's cubo-futurist work additionally proposes a liking with the work of Fernand Leger, whose geometry of rounded and funnel-shaped structures in his arrangement of paintings from 1913–1914 is like that in Popova's paintings.
Popova kicked the bucket at the pinnacle of her artistic forces two days after the passing of her child, from whom she had contracted red fever in 1924 in Moscow. An enormous show of her work opened in Moscow from December 21, 1924, to January 1925, at Stroganov Institute, Moscow. The show incorporated Popova's works, for example, seventy-seven paintings, just as books, publications, material plans, and line inscriptions. "Artist-Constructor" was the term applied to Popova by her counterparts in the list of the artist's after death display.