Mikhail Larionov: A collection of 159 paintings (HD)
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Mikhail Larionov: A collection of 159 paintings (HD)
7 521 просмотр · 7 лет назад
LearnFromMasters
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7 521 просмотр · 7 лет назад
BOOKS about Mikhail Larionov:
[1] MIKHAIL LARIONOV AND THE CULTURAL POLITICS OF LATE IMPERIAL RUSSIA by Sarah Warren --- https://bit.ly/30kpwof
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Mikhail Larionov: A collection of 159 paintings (HD)
Description: "Mikhail Larionov was born in Tiraspol, a city near Odessa, Ukraine, in 1881. He completed secondary school at the Voskresensky Technical High School in Moscow, and at the age of 17 began studying at the Moscow School of Painting, Sculpture and Architecture. In 1900, he met fellow student Natalia Goncharova, and the two began their long-term collaboration and partnership. His early work included Impressionist landscapes, several of which he exhibited at the Salon d'Automne in Paris in 1906. Exposed to and influenced by contemporary French painting, he began using strategies of Symbolism, and in 1908 co-organized an exhibition of modern French painting in Moscow with the arts journal Zolotoye runo (Golden Fleece), which included work of the Post-Impressionists and Fauves. Larionov's Evening after the Rain (Posle dozhdia, 1909) employs the bright color and coarse brushwork of the latter. In 1910, he cofounded the Bubnovyi valet (Jack of Diamonds) group, composed of several Russian artists with an interest in Primitivism and the appropriation of provincial folk art. In 1911 he cofounded Oslinyi Khvost (Donkey's Tail) with Goncharova, a second and more radical primitivist group that was much more focused on Russian primitivism, to the exclusion of foreign influence. In 1912 the group staged its first exhibition at Moscow's Stroganov Art Institute, and in 1913 published the related journal Oslinyi khvost I mishen (Donkey's Tail and Target).
Later that year, Larionov initiated two highly influential movements: Rayism and Neo-Primitivism. Rayism, the tenets of which were outlined in three 1913 manifestos by Larionov, was inspired by Italian Futurism and was the first emergence of near-abstract art in Russia; Rayonisme (Domination du rouge) (Rayonist Composition: Domination of Red, 1912–13) is an early example of the style's pre-Constructivist mass of slanting lines and painted rays of light. Neo-Primitivism, for which Larionov became known among the European avant-garde, was a fusion of his interests in Fauvism and Expressionism. The style is evident in Boulevard Venus (Promenade [Vénus sur un boulevard], 1913), a cubo-futurist portrait of a dress-and-heels-clad prostitute in motion, which combined broad strokes of red, green, and yellow paint with multiple perspectives. Larionov and Goncharova left Russia in 1915 for Lausanne and Paris, touring with Sergei Diaghilev's Ballets Russes: Larionov's commissions for Diaghilev included designs for the ballets The Midnight Sun (Soleil de nuit) in Switzerland in 1915 and Russian Tales (Contes russes) in Paris in 1917; the latter, sumptuous and based on Russian folktales, solidified his international reputation.
By 1919, he had settled in Paris, where he often collaborated with Cubist and Dada painters and poets, and organized the first major exhibition of modern French art for the Soviet Union in 1928 at Moscow's Tretyakov Gallery. He also began to focus on graphic work: he published in the fourth Bauhaus portfolio, and contributed illustrations to Vladimir Mayakovsky's canonical poem, "The Sun," in 1923. Throughout the 1920s, he continued to work for Diaghilev as a set designer and artistic advisor, returning to painting (primarily figurative oils) only after Diaghilev's death in 1929. However, he continued to study dance and occasionally design for the ballet. After gaining French citizenship in 1938, falling into relative obscurity, and spending the war years confined to his and Goncharova's apartment due to poor health, he suffered a stroke in 1950 and spent his remaining years in poverty, dying in a rest home at Fontenay-aux-Roses near Paris in 1964."
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