Neoprimitivism
Neoprimitivism describes a movement of the Russian avant-garde that a large number of Russian artists joined.
Neoprimitivism arose out of an enthusiasm for the naive art of the "primitives" at the beginning of the 20th century. The name comes from the title of a brochure by Alexander Shevchenko Der Neoprimitivismus. His theory. Its possibilities. His successes. from 1913. Vladimir Markov, one of the Russian artists and theorists, published a description of oceanic art and, after a delay due to his early death, also published a description of African art. The aim of neoprimitivism was to give the art of folklore a different meaning and to unite it with the forms of expressionism .
One of the most important representatives of neo-primitivism is Natalija Goncharova with her influence on Larionov. But artists such as Kasimir Malewitsch and Olga Rosanowa also joined this art direction for a while. She was a constant source for Pavel Filonov .
Objects of rural and urban folk art, from playing cards to shop signs, were later added to the primary inspiration from the intensive engagement with Ikone and Lubok . In 1913 a group exhibition Target was organized by Mikhail Larionov , which can be seen as a summary of the ideas and ideals of this movement. Not only primitive works by well-known artists such as Seasons by Larionov, the Caucasian cycle by Niko Pirosmani and Michail Le Dantju or Morning in the Country After the Snowfall by Malevich were shown, but also drawings by children (from the Shevchenko collection), signs by local artisans and anonymous pictures of amateurs .
literature
- Jewgenija Petrowa and Jochen Poetter (eds.): Russian avant-garde and folk art publishing house Gerd Hatje, Stuttgart 1993, ISBN 3-7757-0440-X
Web links
Individual evidence
- ↑ Iskusstvo Ostrova Paskhi (Russian Искусство острова Пасхи ), St. Petersburg, Sojus molodeshy (Russian Союз молодежи ), 1914
- ↑ Iskusstvo negrov (Russian Искусство негров ), St. Petersburg, NKP, 1919
- ↑ Nicoletta Misler and John E. Bowlt The primitivism and the Russian avant-garde in Petrowa and Poetter, pp. 23–24