Ekster, Nadezhda Udaltsova, Olga Rozanova) contributed to the two Knave of Diamonds exhibitions, in Petrograd Tramway V and the 0.10, The Store in Moscow. An analysis of Popova's cubo-futurist work also suggests an affinity with the work of Fernand Leger, whose geometry of tubular and conical forms in his series of paintings from 1913 to 1914 is similar to that in Popova's paintings. Suprematism Her painting The Violin of 1914 suggests the development from Cubism towards the "painterly architectonics" series of 1916–1918. This series defined her distinct artistic trajectory in abstract form. The canvas surface is an energy field of overlapping and intersecting angular planes in a constant state of potential release of energy. At the same time the elements are held in a balanced and proportioned whole as if linking the compositions of the classical past to the future. Color is used as the iconic focus; the strong primary color at the center drawing the outer shapes together. In 1916 she joined the Supremus group with Kazimir Malevich, the founder of Suprematism, Aleksandra Ekster, Ivan Kliun, Nadezhda Udaltsova, Olga Rozanova, Ivan Puni, Nina Genke, Ksenia Boguslavskaya and others who at this time worked in Verbovka Village Folk Centre. The creation of a new kind of painting was part of the revolutionary urge of the Russian avant-garde to remake the world. The term 'supreme' refers to a 'non-objective' or abstract world beyond that of everyday reality. However, there was a tension between those who, like Malevich, saw art as a spiritual quest, and others who responded to the need for the artist to create a new physical world. Popova embraced both of these ideals but eventually identified herself entirely with the aims of the Revolution working in poster, book design, fabric and theatre design, as well as teaching. At 0.10 she had exhibited a number of figurative painted cardboard reliefs in a cubist derived style. In 1916 she began to paint completely abstract Suprematist compositions, but the title "Painterly Architectonics" (which she gave to many of her paintings) suggests that, even as a Suprematist, Popova was more interested in painting as a projection of material reality than as the personal expression of a metaphysical reality. Popova's superimposed planes and strong color have the objective presence of actual space and materials. In 1918 Popova married the art historian Boris von Eding, and gave birth to a son. Von Eding died the