Working Casketオリガ・ローザノヴァ · 1915

Identification of the Artwork and Artist

Working Casket is a 1915 work by Olga Rozanova. The artist was born in Melenki, Russia, and was a significant figure within the Russian avant-garde. Her career was cut short when she died in Moscow in 1918.

Rozanova’s practice during this period was characterized by an engagement with the radical shifts occurring in Russian art. Moving from the folkloric influences of Neo-Primitivism toward the dynamism of Cubo-Futurism, she developed a unique visual language. This specific piece, created during a time of intense experimentation, reflects her movement through the evolving styles of the early 20th century.

Visual Composition and Subject Matter

This Cubist-style still life presents a fragmented and deconstructed arrangement of sewing implements. The composition utilizes overlapping geometric planes and tilted perspectives to create a sense of shallow depth. Sharp, angular lines define the edges of the various objects, breaking the domestic scene into a series of intersecting shapes. Through this non-traditional structure, the spatial logic of the objects is disrupted, favoring a multi-perspective effect over realistic representation.

The subject matter focuses on the tools of craftsmanship, including scissors, a thimble, and thread, alongside various wooden or leather-like fragments. These elements are organized into a complex, non-traditional layout. The color palette is dominated by earthy tones, specifically ochre, sienna, and deep browns. These muted shades contrast against stark whites, cool blues, and patches of red, emphasizing the structural geometry of the sewing tools.

Technical Details and Physical Support

Executed in oil on canvas, this work measures 58.0 x 33.0cm. The physical dimensions reflect a horizontal orientation, providing a narrow field for the fragmented arrangement of objects. The piece was created about 1915.

The application of paint relies on visible brushstrokes to establish surface qualities. These marks are used to suggest specific textures, including the grain of wood and the metallic sheen of scissors. Such tactile qualities provide a sense of materiality within the flattened, multi-perspective composition.