LEGER (born Khodosevich) Nadezhda Petrovna

November 1904 (Osetishchy village, Vitebsk province) — November 8, 1982 (France)

Painter, graphic artist, mosaicist

Nadya Khodosevich was born to large peasant family. She spent her childhood in the village of Osetishchy in Vitebsk province and in Belyov town in Tula province, where her family had moved during the First World War. After the revolution of 1917, Khodosevich was engaged in drawing and ballet in local Palace of arts. In 1919 she moved to Smolensk and entered the State Higher Art Studios. She studied under the guidance of V. M. Strizheminsky and his wife E. N. Kobro, who headed the group The Champions of the New Art (UNOVIS) in Smolensk. Khodosevich met the leader of the group K. S. Malevich when he visited Smolensk; the conversations with Malevich had a profound effect on ideology of young artist. In late 1910s — early 1920s Khodosevich painted both realistic works and abstract suprematist compositions: Paper-weight (1918), Start of motion. Flight I (1922) and others.

In 1922 the painter exercised her right of refugee to return to the villages taken by Poland, and moved to Warsaw. For some time she worked as a servant and milliner at hatshop. At the same time the artist continued her education at Warsaw Academy of Fine Arts, where she studied museum collections. In the Academy Khodosevich met S. Grabovskoy who married her in 1924. They moved to Paris, and she entered the Academy of Modern Art headed by F. Leger and A. Ozenfant.

In 1927 the daughter Wanda was born to the artist. Later Khodosevich parted with her husband and became close friends with F. Leger. In 1920s–1930s she assisted him in monumental and decorative works at the Academy. In 1930s Khodosevich organised publication of the magazine L’Art Contemporain (“Modern Art”) in the French and Polish languages.

In the beginning of the World War II, the artist joined the Society for Front Aid. During occupation of France, Khodosevich was engaged in underground activity, in particular she distributed partisan leaflets. In 1944 she became a member of the Union of Soviet Patriots and the Union for Aid to Former Prisoners of War. Nadya Khodosevich organised exhibition of works by the artists — the participants of the French Resistance, and auction of painting; benefit from the sales was sent to the Red Cross and the Union of Soviet Patriots.

In 1952 Fernand Leger married Khodosevich, and they moved to Gif-sur-Yvette near Paris. After the death of husband in 1955, Nadya Leger established the Museum of Fernand Leger in Biot. In 1950s–1970s she painted portraits and still lifes close to primitive art and to manner of painting of F. Leger. She painted the portraits of the cultural workers of France and Russia, in particular L. N. Tolstoy, P. I. Tchaikovsky, V. V. Mayakovsky, S. S. Prokofiev, D. D. Shostakovich and others. Leger also painted the portraits of the leaders of the International Communist Movement, the Heroes of the Resistance. She was also engaged in monumental art, poster art; in 1960s–1970s she was involved in mosaic art. In 1971 the personal exhibition of the artist was held in the International Art Centre in Paris. She exhibited a series of suprematist works, marked with double date — 1920/1968, in order to connect her name with the Circle of Malevich.

During the last period of her life, the artist often visited the USSR, painted a series of works being under the impression of stay in the Soviet Union (Collective Farmer, Tadjik Musicians and others). Leger gave several works of her husband and her own paintings and mosaics to the USSR museums. In 1972 she was awarded the Order of the Red Banner of Labour for her contribution to French–Soviet Friendship.

Nadezhda Leger played the leading part in the culture of the 20th century; she succeeded in artistic life more as a public figure close to F. Leger and leading masters of European art than as an artist. However her works are of great importance in art. In early period of her life, she was under the influence of the ideas of Malevich. Although she wasn’t a member of his circle, in late 1910s — early 1920s she created paintings which became inseparably linked with history of the Russian avant-garde. The artist’s late works were created under the impact of F. Leger. Works by Nadezhda Leger are in many private and museums collections including the National Art Museum of the Belarus Republic in Minsk.