Lyubov Popova, born on May 6, 1889, in Ivanovskoye village, Moscow region, was a talented artist whose artistic journey encompassed various styles and movements. Initially guided by family friend K. Orlov, Popova received her first painting lessons. In 1906, she relocated to Moscow and continued her artistic education, studying under renowned artists such as Vladimir Tatlin, Henri Le Fauconnier, Konstantin Yuon, and Stanislav Zhukovsky. Her artistic pursuits took her on numerous travels within Russia and Europe, including a stay in Italy in 1910 and a subsequent visit to Paris.

Popova's artistic evolution led her from Cezannism to Cubism and Futurism. She became fascinated with suprematism and joined Kazimir Malevich's Supremus group, collaborating with other suprematist artists in Verbovka and Skoptsy. The artist actively participated in exhibitions, showcasing her early works in the traditions of analytical Cubism and Fauvism before transitioning to more dynamic cubo-futurism and synthetic Cubism.

In the 1920s, Popova ventured into scenography, contributing to the design of theatrical performances such as "The Tale of the priest and his employee Balda" and "The Chancellor and the locksmith" in the Art Deco style, blending avant-garde and modern influences. She also engaged in teaching, working at Vkhutemas and the Institute of Artistic Culture from 1920. Throughout her artistic endeavors, Popova skillfully interwove various motifs, blending Cubism, Renaissance, and Russian iconography. Even in her non-objective works and fabric productions, she retained a touch of classical influence, evident in her "space-force constructions" and "picturesque constructions."