Natalija Sergejewna Goncharova

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Natalia Sergejewna Goncharova, 1910

Natalja Sergejewna Gončarova ( Russian: Ната́лья Серге́евна Гончаро́ва , scientific transliteration Natal'ja Sergeevna Gončarova ; born  June 16, 1881 in Ladyschino near Tula , Russia ; † October 17, 1962 in Paris ) was a Russian painter who becomes part of the Russian avant-garde . She contributed significantly to the artistic development process in Russia.

Life

Self-Portrait (1907)

Goncharova was born the daughter of an architect and grew up in her grandmother's house. In Moscow she attended high school for girls, from 1898 she studied sculpture at the Moscow School of Painting, Sculpture and Architecture . There she met the painter Mikhail Larionov . Larionow encouraged her to give up the sculpture studies in favor of painting. Both entered into a love affair, Larionov remained Goncharova's companion and colleague throughout her life. In 1906 she showed her work for the first time in western countries at the Paris Salon d'Automne . Together with Mikhail Larionov, she took part in a number of other exhibitions abroad in the years up to the First World War, including at the Blauer Reiter in Munich in 1912 and at the First German Autumn Salon in Berlin in 1913 .

"Natalie Gontscharow" exhibited her pictures at the First German Autumn Salon in 1913: cats ; Lady with hat ; landscape

In Moscow she was meanwhile a participant in avant-garde exhibitions, such as in 1908 and 1909 in the exhibitions organized by the art magazine Das Goldene Vlies . In 1910 she was together with Larionow founder of the artists' association Karo-Bube , but left it again soon. In 1912 the two founded the group Donkey Tail . Here, too, Goncharova quickly distanced himself, as her style and ambitions partly differed from those of the members.

Its most productive phase began in 1913. Goncharova was a connoisseur of icon painting and Russian folk art, in which the Lubki play an important role. She brought the styles of these genres into her pictures and developed the neo-primitivist style of the Russian avant-garde. She distanced herself provocatively from Western art.

"I have learned everything that the West could give me ... now I am shaking off the dust from my feet and leaving the West ... my path is to the source of all art, the East."

- Natalija Sergejewna Goncharova, 1913

Parallel to her work neoprimitivistischer images they experimented with Cubo-Futurism and the Rayonism whose concept it developed jointly with Larionov. Like Larionov, she also kept in close contact with the literary scene of the Russian avant-garde. Goncharova illustrated various books by Russian futurists. At the same time Ilya Schdanewitsch wrote the first monograph on the artist. In 1913, together with Larionov, she organized the exhibition “Target”, in which Rayonist works were shown for the first time . In the same year she was the first woman in Russia to have a solo exhibition, in this retrospective she showed over 800 works.

In 1914 Goncharova traveled to Paris to present stage design proposals for Sergei Diaghilev's Ballets-Russes production “Le Coq d´Or” at the local opera. Their decorations and costumes were characterized by a richness of color and were inspired by folklore. They liked the Parisian audience very much, so that in 1915 Goncharova left Russia together with Larionov to move to Paris. In 1916 she went on a trip to Spain with Sergei Diaghilew and Larionow, during which she developed a fascination for Spanish women in splendid dresses and robes. Spaniards should be your favorite topic for a while after the trip. From 1918 Goncharova and Larionov lived continuously in Paris. Until 1929, the year Diaghilev died, she created sets for the Ballets Russes there with great success. Subsequently, she continued to work worldwide as a set designer, among others. in New York, Lithuania, Latin America, London and Russia.

In 1948, the writer discovered Michel Seuphor the Rayonism again and initiated a major exhibition entitled "The Rayonism" in Paris, Larionov and Goncharova of the leading artists of the Russian avant-garde explained.

It was not until 1955 that the couple married, whose last years of life were marked by pain and poverty. From 1958 Goncharova suffered from severe arthritis and died in 1962.

For Goncharova, research and preparation always played a major role in her work. She visited museums, studied costumes, design and architecture and discussed with the farmers who gave her such important motifs. Together with the brothers David and Wladimir Burliuk , with Michael Larionow and Kasimir Malewitsch , Natalja Goncharova was a staunch advocate of neoprimitivism , a renewal movement of Russian culture, whose source was folk art , and which manifested itself particularly impressively in literature and music, for example with Igor Stravinsky .

In 1989 the Paris estate was transferred to the State Tretyakov Gallery in Moscow in accordance with the will .

miscellaneous

Cyclist (1913)

Natalja Goncharova was a great niece of Natalja Nikolajewna Puschkina-Lanskaja , nee Goncharova, the wife of Alexander Pushkin .

In 2007, her painting Apple Harvest sold for £ 4.948 million, or around $ 10 million, at Christie's auction. In June 2008, another of her paintings, Still Life Flowers from 1912, was also sold at Christie's in London for $ 10.8 million.

Works

The Cologne Museum Ludwig houses the paintings Still Life with Tiger Skin (1908), Rusalka (1908), The Jewish Family (1912), Portrait of Michail Larionow (1913) and Woman Seller (1916).

Exhibitions

gallery

  • Self-portrait, around 1907

  • Ringer, 1808/09

  • The log splitter, 1910

  • Archangel Michael, 1910

  • The blue cow, 1911

  • Peacock under bright sun, 1911

  • Cats. A rayonist perception in pink, black, yellow, 1913

  • Rayon lilies, 1913

literature

  • Chamot, Mary: Goncharova. Stage designs and paintings. London 1979
  • Eli Eganbjuri : Natalija Goncarova. Mikhail Larionov. Moskva 1913
  • Homann, Joachim: Le coq d'or. Natalia Goncharova's Designs for the Ballets Russes. 2003
  • Petrova, Yevgenia (Ed.): Natalia Goncharova. The Russian Years. Bad Breisig
  • Pospelov, Gleb: Jack of Diamonds. From the history of Moscow painting at the beginning of the 20th century. Dresden 1985

Exhibition catalogs

Web links

Commons : Natalija Sergejewna Goncharova  - collection of pictures, videos and audio files

Individual evidence

  1. ↑ Katia Baudin: The Cubofuturism and the Awakening of Modernity in Russia, p. 70 ( Memento of the original from March 5, 2012 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. (PDF; 463 kB) @1@ 2Template: Webachiv / IABot / www.wienand-koeln.de
  2. ↑ Christina Lodder: Natalia Goncharova. The Trailblazer, in: Tate Etc. No. 46: Summer 2019 , accessed March 2, 2020.
  3. ↑ List of solo exhibitions on online project on Natalia Gontcharova , accessed on March 2, 2020.
  4. ↑ Who What Natalia Goncharova? The New York Sun, June 26, 2007; accessed March 7, 2007 .
  5. ↑ newyorktimes.com date 25-06-2008
  6. ↑ Ingrid Pfeiffer, Max Hollein (ed.): Sturm-Frauen: Artists of the Avant-garde in Berlin 1910-1932 . Wienand, Cologne 2015, ISBN 978-3-86832-277-4 .
  7. ^ Tate: Natalia Goncharova - Exhibition at Tate Modern. Retrieved August 5, 2019 (UK English).
  8. ^ Palazzo Strozzi: Natalia Goncharova - Una donna e le avanguardie, tra Gauguin, Matisse e Picasso. Retrieved November 12, 2019 (Italian, English).
  9. ↑ Ateneum: Natalia Goncharova. Accessed March 2, 2020 .
personal data
SURNAME Goncharova, Natalija Sergejewna
ALTERNATIVE NAMES Ната́лья Серге́евна Гончаро́ва
BRIEF DESCRIPTION Russian-French painter
DATE OF BIRTH June 16, 1881
PLACE OF BIRTH Ladyschino , Tula Governorate , Russian Empire
DATE OF DEATH 17th October 1962
PLACE OF DEATH Paris