most closely upholds the ideals of Italian Futurism. During Filippo Tommaso Marinetti's visit to Russia in 1914, he was very impressed with her work. Rozanova later exhibited four works in the First Free International Futurist Exhibition in Rome, which took place from April 13 to May 25, 1914. Other Russian artists featured in the exhibition included Alexander Archipenko, Nikolai Kulbin, and Aleksandra Ekster. She met the poet Aleksei Kruchenykh in 1912; he then introduced her to the Russian Futurist concept of zaum (translated as "beyonsence") poetry, a language with no fixed meanings and constant neologisms, which is probably used by birds. Rozanova would write her own poetry in that style, and also illustrated books of zaum poetry, two examples being A Little Duck's Nest of Bad Words and Explodity (both 1913). With Kruchenykh, she would invent a new kind of Futurist book, the samopismo, where the illustrations and the text would be literally connected. Rozanova joined the avant-garde group Supremus that year, which was led by former fellow Cubo-Futurist Kazimir Malevich. By this time, her paintings have developed from the influences of Cubism and Futurism, and took an original departure into pure abstraction, where the composition is organized by the visual weight and relationship of color. In the same year she exhibited at the 0,10 Exhibition, and, together with other Suprematist artists (Kazimir Malevich, Aleksandra Ekster, Nina Genke, Liubov Popova, Ksenia Boguslavskaya, Nadezhda Udaltsova, Ivan Kliun, Ivan Puni and others) worked at the Verbovka Village Folk Centre. From 1917 to 1918 she created a series of non-objective paintings which she called tsv'etopis'''. Her Non-objective composition, 1918 also known as Green stripe anticipates the flat picture plane and poetic nuancing of color of some Abstract Expressionists. Rozanova also published literary works, which included the essay The Bases of the New Creation and the Reasons Why it is Misunderstood. This was written in response to critics of modern art and held that the world is a raw material - that it is the back of a mirror for the unreceptive soul and a mirror of images for the reflective soul. She maintained that the creation of pictures based on the "Abstract Principle" constitute three stages: the intuitive principle; the individual transformation of the visible; and, abstract creation. In her criticism of photography, Rozanova agreed with Oscar Wilde that photography is for the "servile artist". Death and legacy She died of diphtheria at