After arriving in Moscow, she attended the Bolshakov Art School, where she worked under Nikolai Ulyanov and sculptor Andrey Matveev.
She audited courses at the Stroganov School of Applied Art in 1907 but was not accepted for admission.
After this, she trained in the private studio of Konstantin Yuon.
From 1907 to 1910, fellow drawing and painting students studying in these private studios included Lyubov Popova, Nadezhda Udaltsova, Aleksei Kruchenykh, and Serge Charchoune.

By 1910, she was fairly well-known in Russian art circles.
She moved to St. Petersburg and joined Soyuz Molodyozhi (Union of Youth) in 1911; two of her canvases, Nature-morte and The Cafe debuted at the second Soyuz Molodyozhi exhibition in April 1911.
She would submit her canvases to their group exhibitions until 1913.
Razanova briefly studied at the art school of Elizabeta Zvantseva, which housed many Russian art nouveau artists.
In January 1912, her two works, Portrait and Still-Life, appeared at the next Soyuz Molodyozhi exhibition in January 1912.
This exhibition was the first appearance of the Donkey's Tail, a Moscow-based artistic group led by Mikhail Larionov.
Rozanova later traveled to Moscow to try to establish joint projects between the two groups; these negotiations proved to be unsuccessful.
Soyuz Molodyozhi disbanded in 1914.

From 1913 to 1914, Cubo-Futurist ideas appeared in her work, but she appears to have been especially inspired by Futurism.
Of all of the Russian Cubo-Futurists, Rozanova's work 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 he literally connected.
They were married in 1916.

Rozanova joined the avant-garde group Supremus that year, which was led by former fellow Cubo-Futurist Kazimir Malevich.
By this time, her paintings has 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.
After arriving in Moscow, she attended the Bolshakov Art School, where she worked under Nikolai Ulyanov and sculptor Andrey Matveev. She audited courses at the Stroganov School of Applied Art in 1907 but was not accepted for admission. After this, she trained in the private studio of Konstantin Yuon. From 1907 to 1910, fellow drawing and painting students studying in these private studios included Lyubov Popova, Nadezhda Udaltsova, Aleksei Kruchenykh, and Serge Charchoune.
By 1910, she was fairly well-known in Russian art circles. She moved to St. Petersburg and joined Soyuz Molodyozhi (Union of Youth) in 1911; two of her canvases, Nature-morte and The Cafe debuted at the second Soyuz Molodyozhi exhibition in April 1911. She would submit her canvases to their group exhibitions until 1913. Razanova briefly studied at the art school of Elizabeta Zvantseva, which housed many Russian art nouveau artists. In January 1912, her two works, Portrait and Still-Life, appeared at the next Soyuz Molodyozhi exhibition in January 1912. This exhibition was the first appearance of the Donkey's Tail, a Moscow-based artistic group led by Mikhail Larionov. Rozanova later traveled to Moscow to try to establish joint projects between the two groups; these negotiations proved to be unsuccessful. Soyuz Molodyozhi disbanded in 1914.
From 1913 to 1914, Cubo-Futurist ideas appeared in her work, but she appears to have been especially inspired by Futurism. Of all of the Russian Cubo-Futurists, Rozanova's work 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 he literally connected. They were married in 1916.
Rozanova joined the avant-garde group Supremus that year, which was led by former fellow Cubo-Futurist Kazimir Malevich. By this time, her paintings has 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.
Olga Rozanova