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Alexandra Exter (1882-1949) A painter of unquestionable originality and equally great constancy of creativity, Alexandra Exter is the artist to whom we owe the birth of constructivist painting in Russia. After a Cubist period in Paris between 1910 and 1912, Exter rapidly moved on to incorporate the principles of the Futurist dynamic into her work. Inspired by Malewicz’s revolutionary Suprematist work, with which she had been actively involved in the Fall of 1915, and this before all her “non-objectivist” comrades (the term was used in Moscow for the first time in relation to paintings by Exter exhibited in 1915), she nonetheless went on in 1916-1918 to develop a language of abstract forms and a logic of compositional structures free of allegiance to the unconditionally autonomous aesthetic of Suprematism.
Attracted during her first period in Paris (1910-1914) to the prospect of a new decorative art based on Cubo-Futurist principles, she was at the origin of the first exhibitions of modern decorative art (Moscow 1915 and 1917). Thereafter she was to develop her extraordinary talent in the field of stage design.
After having lived through the disasters of the civil war, in both human and material terms, Exter sought to leave South Russia as early as 1919. Finally in June 1924, on the pretext of mounting her works at the Venice Biennale, she escaped the Soviet Union. After a brief stay in Italy, she arrived in Paris at the end of the year and lived there until her death in 1949.
Throughout the nineteen twenties and thirties, Exter divided her time between painting works of the “purist” type, designing stage decors, teaching, and book illustration where her talent flourished phenomenally but which has yet to attract the attention it deserves. The same is true of for her abstract painting, the originality of which has still not been thoroughly perceived. Her “constructive” originality and the variety of her pictorial inventions are such that art critics accustomed to classifying works based on clichés of “geometric styles” remain disoriented. Thus, at a recent “constructivist” exhibition at the Tate Gallery in London, Exter’s work was included “hors catalogue” alongside Rodchenko’s and Popova’s, artists that for decades have set the tone of formalist classifications, if not already “post-modernists”...
毋庸置疑的原創性和創造力同樣偉大堅貞的畫家，亞歷山德拉埃克斯特是藝術家對誰我們欠俄羅斯油畫建構的誕生。經過1910年至1912年之間的立體派時期在巴黎，埃克斯特迅速轉移到納入未來主義動態的原則納入她的工作。通過Malewicz的革命至上主義的工作，與她曾積極參與1915年的秋天，而在此之前她所有的“不客觀”的同志們（這個詞是在莫斯科埃克斯特用於在第一時間就繪畫靈感展出1915年），她仍然在1916-1918繼續發展的抽象形式的語言和至上主義的無條件自主審美免費效忠成分結構的邏輯。
在巴黎她的第一階段（1910至1914年）的基礎上立方未來主義原則的新裝飾藝術的前景所吸引，她在現代的裝飾藝術（莫斯科1915年，1917）的第一個展覽的由來。此後她發展她過人的天賦在舞台設計領域。
在已經通過內戰的災難，在人力和物力方面生活，埃克斯特力求早在1919年離開南俄羅斯終於在1924年6月，在安裝的藉口，她的作品在威尼斯雙年展，她逃脫蘇聯聯盟。短暫逗留在意大利之後，她抵達巴黎在今年年底和生活在那裡，直到她1949年去世。
在整個二十世紀二三十年代，埃克斯特把自己的時間了“純粹主義者”類型的國畫作品之間，設計階段的花色，教學和書籍插圖，她的天賦驚人，但蓬勃發展至今尚未引起應有的重視。同樣是對她的抽象繪畫真，其中原創仍未徹底察覺。她的“建設性”的獨創性和各種畫報她的發明是這樣的，習慣了基於“幾何風格”的陳詞濫調作品分類藝術評論家仍然迷失方向。因此，在最近的“建構”展在泰特美術館在倫敦，埃克斯特的工作被列入“開胃目錄”除了羅得前柯的和波波娃的，這幾十年來設定形式主義分類的語氣藝術家，如果沒有“後現代主義”。
