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Natalia Goncharova

Art-Punk in Futurist Moscow

18811962

Art-Punk in Futurist Moscow

“This woman has all Saint Petersburg and all Moscow at her feet…she has imitators not only of her paintings but of her person. She has started a fashion of nightdress-frocks in black and white, blue and orange…She has painted flowers on her face. And soon the nobility and Bohemia will paint on their cheeks, foreheads and necks.” — Sergei Diaghilev 

Natalia Goncharova welcomed a good scandal. A rich girl from the country, she would move to the city, and set up court among the rebels, primitivists and shrieking anarchists. Natalia would become the dismissive queen of Moscow’s avant-garde empire, and at 33 years old she would leave it behind.

Natalia arrived in Moscow in 1898, at age 17. Enrolled at the Institute of Painting, Sculpture and Architecture, Natalia cut a strong line between herself and her peers. Growing up in the country left Natalia outside of the urban expectations — the pervasive language of the city. She painted peasants and rural scenes, borrowing from the fauvist styles of Cezanne and Matisse. Natalia would describe her early years saying “At the beginning of my development, I learned most of all from my French contemporaries.”

At the Moscow Institute Natalia met her lifetime lover, collaborator and co-conspirator, the troublemaker Michael Larionov. Michael had been expelled Institute numerous times, and in 1900 the two artists left together — Natalia having only completed three of the expected ten years of study. The next decade was a whirlwind for Natalia and Michael. Natalia had reduced her style to its simplest primitive forms, seen in Peasants Dancing, and The Evangelists, which was confiscated on grounds of blasphemy after hanging in an exhibition titled The Donkey’s Tail. The duo took their art to the streets, painting each other’s naked torsos with hieroglyphs and profanities and marching through wealthy neighborhoods. In 1910 Natalia was charged with creating pornography after a show of nude works, and in 1913 and 1914 she held her own solo exhibits. Together with Michael, Natalia fronted the ‘Rayonism’ movement of their own invention — further abstracting cubism in to shards of painted light. From 1900-1914 Natalia reigned supreme as Moscow’s aesthetic agitatrix.

And then, in 1914, Natalia and Michael moved to Paris. Invited by gallerist and friend Sergei Diaghilev — the pair were introduced to the world of stage and costume design. With Natalia’s history of body art and transgressive style, she brought the bright colors and moral contrasts of Russian folk art to life for Diaghlev’s Le Coq D’Or, the Ballets Russes, Les Noces, Cinderella and dozens more productions in Paris, Lausanne Switzerland, and London.

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Harvesting

Harvesting

1907
Fishing

Fishing

1909
L'Electricité

L'Electricité

1910

I condemn without hesitation the position of the Knave of Diamonds, which has replaced creative activity with theorizing.

Cubism — a Diatribe

1912
Landscape, 47

Landscape, 47

1912
Peasants Gathering Grapes

Peasants Gathering Grapes

1913
Queen Of Shamakhan from 'Le Coq d'Or'

Queen Of Shamakhan from 'Le Coq d'Or'

1913
The Cyclist

The Cyclist

1913

I shake off the dust of the West, and I consider all those people ridiculous and backward who still imitate Western models in the hope of becoming pure painters and who fear literariness more than death.

The Rise of Russian Art

1913

Art for life and even more—life for art!

Rayonists and Futurists: A Manifesto

1913
Forest

Forest

1913
The Forest

The Forest

1913
Rayonism, Blue-Green Forest

Rayonism, Blue-Green Forest

1911-1913
Designs for the stage wings of ‘Le Coq d'Or’

Designs for the stage wings of ‘Le Coq d'Or’

1914
Curtain for Le Coq d'Or: Third Act

Curtain for Le Coq d'Or: Third Act

1914
Set design for 'Le Coq d'Or'

Set design for 'Le Coq d'Or'

1914
Costume for 'Le Coq d'Or'

Costume for 'Le Coq d'Or'

1914
Study for a Curtain for 'Le Coq d'Or'

Study for a Curtain for 'Le Coq d'Or'

1913-1914
The Nativity, for Liturgy

The Nativity, for Liturgy

1915
Costume for Sadko

Costume for Sadko

1916
The Bridge

The Bridge

1916
Two Russian maidens

Two Russian maidens

1920
Coronation backdrop for ‘The Firebird’

Coronation backdrop for ‘The Firebird’

1926
Stage Design for The Firebird, Act II

Stage Design for The Firebird, Act II

1926
Composition with Blue Rectangle

Composition with Blue Rectangle

1950-1959
1801
"A long struggle lies in store for me in this field of color"
Paul Klee
In the shadow of brighter colors
André Derain
The man who ate the world's art
Pablo Picasso
An argument for consistency
Carlo Carrà
The man who brought cubism to the masses
Albert Gleizes
2000

The artists of Futurism

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