Olga Nicolaevna Sacharoff (May 28, 1889, Tbilisi, Georgia ‒ 1967, Barcelona) was a Spanish performer of Russo-Persian origin allied with naive art and the Surrealist movement.
Olga Sacharoff (also spelled Sakhorova, Zakharova, or Zacharoff) was born in Georgia, which at the time was a allocation of the Russian Empire. Her father was Russian, while her mother was of Persian origin. After studying at the Tbilisi State Academy of Arts, she visited Rome and traveled to Munich, where she came in get into with the German Expressionist movement. In Germany, she met her future husband, the photographer and painter Otho Lloyd.
Beginning in 1909, Sacharoff regularly visited Paris. By 1912, she and Lloyd had established in the city and were married. She exhibited frequently, in solo as capably as organization shows, including the annual exhibitions organized by the Salon d’Automne. Initially, her decree was influenced by Paul Cézanne; soon after her have an effect on to Paris, however, she became fascinated with innovative or synthetique Cubism. Both Sacharoff and Lloyd became responsive members of the circle that formed more or less the Russian émigré avant-garde artiste Marie Vassilieff.
The outbreak of World War I goaded Sacharoff and Lloyd to relocate to Spain. The couple initially established in Mallorca, but moved to Barcelona in 1915 or 1916. From 1917 to 1924, Sacharoff collaborated once Francis Picabia upon the magazine 391, which is considered representative of Dadaism. Among those writers and artists appearing in the four issues of the magazine were Guillaume Apollinaire and Marie Laurencin. During this period, Sacharoff developed a colorful “naïve” style influenced by Henri Rousseau.
Sacharoff continued to participate in the Salon d’Automne; her work was along with featured in the annual shows of the Salon des Tuileries and the Société des Artistes Indépendants. Although her involvement in these exhibitions required that she spend significant epoch in Paris, she maintained a home in Barcelona. Sacharoff and Lloyd on bad terms in 1929 and, depressed by the breakup of her marriage, Sacharoff stopped painting for approximately five years. She resurfaced in 1934 in the manner of an exhibit at Barcelona’s Laietanes Gallery. In 1939, Perls Galleries in New York City organized a two-person exhibition featuring paintings by Sacharoff and Lloyd, which suggests a feasible reconciliation in the midst of the couple. The Galería Syra, Barcelona, mounted exhibitions of her work in 1950 and 1955, and in February 1960, she was the focus of a solo do its stuff organized by the Dirección General de Bellas Artes and on view in the department’s exhibition hall in Madrid. She was awarded the Medalla d’or de Barcelona in 1964, an tribute that established her relationship to Spain and commemorated her contribution to Catalan culture. The Museu Nacional d’Art de Catalunya, Barcelona, and the Museo de Art Nouveau y Art Déco, Salamanca, are two of several Spanish institutions that have collected her paintings.
Sacharoff along with worked in sticker album illustration: her projects included Colette’s House of Claudine and Fyodor Dostoyevsky’s Netochka Nezvanova.
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