Transcript שקופית 1

Biography
Natalya Sergeevna Goncharova was born
in Negaevo village Central Russia on June
16th 1881.She grew up on her
grandparents estate at Ladyzhino in the
province of Tula,the countryside and
peasant culture by which she was
surrounded had a profound effect on her
which was to stay with her until adulthood
and affect her art in later life. She came
from a family with distinguished
connections , as the great niece of
Pushkin’s wife, also Natalya Goncharova,
and the daughter of an architect she grew
up in an environment where artistic culture
was embraced and creativity welcomed
.During her younger years she studied a
wide variety of subjects including history,
zoology and botany , after her schooling
she even enrolled on a medical course but
only lasted a week before realising her
talents lay in the arts.
Mikhail Larionov
Portrait of Natalia Goncharova 1915
It was then, in 1898, that she enrolled at the Moscow School of Painting ,
Sculpture and Architecture to study sculpture under the tutelage of Prince
Pavel Trubetskoi , a disciple of Rodin. It was here that she met the young
painter Mikhail Larionov (1881 - 1964), he was to become from that moment ,
her lifelong partner personally and artistically .
Mikhail Larionov )1881-1964( and Natalia Goncharova )1881-1962( were lifelong
partners in romance and in art. The two were considered to be at the forefront of
Russian art in the early 1900s. Although Larionov and Goncharova experimented
with the same styles and were active in the same circles, Goncharova is
generally accepted to be the better artist.
It was under the influence of Larionov
that Goncharova was truly able to
develop as an artist , he had a major
impact encouraging her to convert to
painting in 1901. Apparently he told
her" You have eyes for colour but you
occupy yourself with form. Open your
eyes to your own eyes ".Goncharova
said " I suddenly realised that painting
could do everything that sculpture could
not".
Natalia Goncharova: Between Russian
Tradition and European Modernism
After her formal art training in 1903
from which she graduated with a
gold/silver medal , painting became
her main priority and along with
Larionov she started to make her
presence felt within the art world.
During the early years of her career
Goncharova’s work was influenced
by contemporary French art , to the
extent that initially she painted in an
impressionist style .
Gauguin , Matisse and Cezanne were also significant figures for Goncharova
at this time but she soon used these elements , along with many others , to
develop her own distinctive art .
White tablecloth
There are examples of work in the
fauvist and cubist manner which
illustrates the degree to which she was
prepared to experiment and how
western art sowed the seeds for her
own artistic development.
Shearing Sheep. 1907.
'Pillars of Salt,' 1908
Fishmonger. 1909
Fishing. 1909
Fishing, 1909
Museo Thyssen-Bornemisza
Madrid
Flowers and Peppers. 1909
Picking Apples 1909
!!! )9,801,988$(
The tradition of Russian icon art also greatly interested her with its flat inexpressive
forms and stylish use of colour. Later on she was to strongly renounce the art of
western Europe , she harshly criticised it while exalting the art of the east claiming
that it was the east which set the precedent for the advances of western art. From
there on she would look to eastern art , particularly that of her native country.
Planting Potatoes 1909
The boy with a cock, 1900-1913
National Gallery of Armenia, Yerevan, Armenia
Les lutteurs, 1910
Centre Georges Pompidou
Peasants dancing 1910-11
National Gallery of Australia, Canberra
The Weaver, 1910
National Museums and Galleries of Wales
However, Goncharova also recognised the beauty in
established Russian traditions and was able to take
elements of these and breath new life into them .
Goncharova was particularly enamoured by the art of
her own country , she revelled in various aspects of
Russian folk art such as the lubok (an old woodcut
print), peasant costumes and folk decoration of trays ,
signs etc. The primitive , naive forms , the vivid
juxtapositions of colour, the simple peasant subject
matter and its lack of theoretical pretences all appealed
to her and left an indelible mark.
Goncharova drew inspiration for
some of her works from Russian
folk art and Russian icons. She
is the author of a series of
religious works and icon-like
paintings. Goncharova was also
involved with graphic design writing and illustrating a book in
Futurist style
Illustration for "The Song of Igor's Campaign"
(An Old Russian legend(
Frost, 1910-11
Autumn. 1910
Haycutting, 1910
Moscow Winter. 1910
Goncharova though was still the first to recognise that contemporary western
art; Impressionism , Post - Impressionism , Fauvism , Cubism and Futurism did have a
great significance on her own work. They opened her eyes to things that she would not
have previously been open to, for example she was intrigued by Gauguin’s return to
naive , primitive forms . It was in fact the west which made her appreciate Russian
vernacular art.
Gauguin
Goncharova
Here the influence of Gauguin on Natalya is clear ; as Gauguin uses his own image as
that of Christ Goncharova uses the figure of Larionov , while Gauguin portrays Breton
peasants surrounding Christ Goncharova depicts the Russian peasantry . Both
Gauguin and Goncharova idealise the peasantry as pious and humble , proclaiming
that to be the typical.
It was with Goncharova’s emphatic declaration
of her adherence to Russian art forms of the
past and their characteristics that she
developed the type of art with which she was
most successful in , Neo-primitivism. Realising
the significance and value of the artistic
traditions of her native country , she brought
those elements into a specifically modern
context, whilst retaining its inherent Russianness , this is what she wanted. It would
however be wrong to think that Goncharova
completely discarded her interest in western
art, a significant talent of hers was recognise
the potential of certain aspects and then
combine them into an eclectic mix. Her
willingness to do this and not to discount any
other art forms is shown in her use of every
kind of visual device which was available,
hence the fact that she produced work in a
multitude of forms; sculpture, painting, set
designs, costume designs , book illustrations
and prints she even illustrated musical scores.
Scene in an Orchard
1908
The Bread Seller. 1911
Lion. 1911. From the series "Vintage ."
Feasting Peasants. 1911. From the series "Vintage ."
Drying the Laundry. 1911
Portrait of M.Larionov and His Platoon Commander.
1911
Jews. The Shabbat. 1912
Rabbi with Cat, about 1912
Jewish Family 1912
Jews on a Street 1913
After contributing to various exhibitions
such as "The Golden Fleece",
Goncharova and Larionov formed "The
Knave of Diamonds Group" in 1910. His
was a group of young avant-garde artists
who were influenced by the early cubism
of Picasso and Braque and the bright
colours used by the fauvists. However, it
was during this time that Goncharova and
Larionov became disenchanted with
contemporary western art and resented
the reliance of the rest of the group on
western models , therefore they broke
away to organise an opposed group "The
Donkey’s Tail". The one and only
exhibition they held under this title
illustrates Goncharova’s interest in icon
art , the religious subject matter she
adopted within a modern context was
seen as scandalous and caused uproar.
Goncharova and Larionov played an important role in the Russian avant- garde and
were extremely important in organising exhibitions and groups according to their ideas.
In 1913 Goncharova held her enormous one-woman exhibition in Moscow displaying a
portfolio of 736 works despite the infancy of her career.
The Cyclist, 1912-1913
Russian State Museum, St. Petersburg
Electric Lamps, 1912
Centre Georges Pompidou, Paris
The green and yellow forest.
A Rayonism Construction. 1912.
The State Russian Museum
Mikhail Larionov Red Rayonism 1913
Rayonism (or Rayonnism) is a style
of abstract art that developed in
Russia in 1911.
Mikhail Larionov and Natalia
Goncharova developed rayonism
after hearing a series of lectures
about Futurism by Marinetti in
Moscow. The Futurists took speed,
technology and modernity as their
inspiration, depicting the dynamic
character of early 20th century life.
They glorified war and the machine
age, and favoured the growth of
Fascism.
The Rayonists sought an art that floated beyond abstraction, outside of time and
space, and to break the barriers between the artist and the public. They derived the
name from the use of dynamic rays of contrasting color, representing lines of reflected
light — crossing of reflected rays from various objects.
At the 1913 Target exhibition they introduced the style to the public. In their literature
they described Rayonism as naturally encompassing all existing styles and forms of
the art of the past, as they, like life, are simply points of departure for a Rayonist
perception and construction of a picture.
Cats in rose, black, and yellow 1913
Guggenheim Museum, New York City
Together they pioneered two key movements: Neo-primitivism and Rayonism. Neoprimitivism incorporated Russian primitive folk art with elements of cubism and
futurism, while Rayonism was a style beyond abstraction, time and space, heavily
.relying on the use of rays of light reflected from objects
The Forest, 1913
Rayonist Landscape 1913
Portrait of Larionov, 1913
Factory. 1912
The State Russian Museum,
St.Petersburg
The Plane over the Train. 1913
Spanish Woman. 1916
Still Life with a Marble Boy
The State Russian Museum,
St.Petersburg
A Woman with a Cigarette
A Christ-Loving Host. 1914 .
From the series "Mystical Images of
War ."
The Doomed Town. 1914 .
From the series "Mystical Images of
War ."
Angels and Airplanes. 1914 .
From the series "Mystical Images of War ."
Then in 1914 Serge Diaghilev commisioned Goncharova to design his operaballet "Le Coq d’Or". It was the beginning of a close relationship between
Goncharova and Larionov with the exiled ballet company The Ballets Russes .
She designed a number of productions for him including "Triana", "Rhapsodie
Espagnole", "Liturgie" and "Les Noces" , but "Le Coq d’Or" was her most
successful and notable foray into the world of theatrical design. Through the
travel of Diaghilev’s company Goncharova and Larionov encountered various
cultures and artistic stimulation, the culture of Spain in particular was to have
a long lasting effect on Natalya.
"Les Noces"
Stage backcloth for the Wedding Scene in The Firebird, After Natalia Goncharova
1926from Diaghilev and the Golden Age of the Ballets Russes 1909-1929
Goncharova was a member of the Der Blaue Reiter avant-garde group
from its founding in 1911. In 1915, she began to design ballet costumes
and sets in Geneva. Her designs for the ballet Liturgy: Six Winged
Seraph,Angel, St. Andrew, St. Mark, Nativity etc. were started in 1915. The
Liturgy was commissioned by Diaghilev with Goncharova, Léonide
Massine and Igor Stravinsky. She moved to Paris in 1921 where she
designed a number of stage sets of Sergei Diaghilev's Ballets Russes. She
also shows at the Salon d'Automne in 1921, and participates regularly at
the Salon des Tuileries and the Salon des Indépendants. She became a
French citizen in 1939.
Goncharova died in Paris, in 1962.
Her work is held in the Museum of Modern Art.
Curtain for the Opera-Ballet "The Golden Cock". 1914. Music by N.Rimsky-Korsakov.
Choreography by M.Fokin, performed by S.Diagilev's Ballets Russes
.)Theatre National de l'Opera, Paris, May 1914(
Costume design for a bride in Diaghilev "Les Noces"
Design for Act 1 of Le Coq d'Or , c.1914. Diaghilev's Ballet Russes
Cherub. 1915. Costume design for
ballet "Lithurgy ."
Spiritual music
Zuleika with Servants. 1924. Drawing for program of stage Shadow
Theatre "Karaguez" ("Theatre des Petites Comediants des Boix de
Julie Sazonova"), Paris
Finally though they settled in Paris both
producing a huge body of work in varying media.
Goncharova did in fact produce theatre sets for
productions independent of Diaghilev , for
example "Cinderella" 1938 for Colonel de Basil,
"The Barber of Seville" etc, but they were not to
have the same significance as her previous
designs. Goncharova’s neo-primitivist works are
widely regarded as the highlight of her career ,
and its theory was that which was to touch her
most. However, this did not prevent her from
experimenting , at the end of her life for example
she produced work influenced by the recent
space explorations by her native country men.
She died in Paris in 1962.
Space 1957
:‫מקורות‬
http://www.hatii.arts.gla.ac.t/gonch.
http://bjws.blogspot.com/2011/06/women-artists-russian-artist-natalia.html
http://en.wikipedia.org/wiki/Natalia_Goncharova
http://nataliagoncharova.herobo.com/nataliagoncharova
http://web.grinnell.edu/courses/tut/F01/TUT100-04
http://www.artcyclopedia.com/artists/goncharova
http://oseculoprodigioso.blogspot.com/2007/07
http://www.russianavantgard.com/artists_j
http://en.wikipedia.org/wiki/Rayonism
Music: Schoenberg, piano suite Op 25, Maurizio Pollini
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