“Of course, I could do without flowers, but they help me maintain respect for myself, for they prove that I am not shackled hand and foot by everyday worries. They are evidence of my freedom. "(Rabindranath Tagore)

What an interesting and deep thought: flowers - and personal freedom! It is even more striking what the man says about it. Writer, poet, composer, artist, public figure, Nobel Prize winner in literature ... He found time to enjoy the beauty of flowers and feel free!

Six months of cold weather in Russia is a lot! Snow-covered gardens, fields and forests, gray skies ... The need for a sense of the fullness of being has always prompted people to create analogues of the beautiful creations of nature, capable of pleasing the heart and soul all year round.

That is why Russian folk art is so bright and festive. And it is no coincidence that in the 19th century, in the center of Russia, another wonderful craft was born, which was named, as is often the case in such cases, according to its "place of residence" - Zhostovo! It is unlikely that in our country there is a person whose memory does not immediately appear bright, almost fabulous, bouquets of flowers, if he hears this word! Flower arrangements - on a metal tray. And I must say that the freedom that Tagore's genius noted when communicating with flowers is manifested in the brightest way when creating the famous Zhostovo bouquets.

Representative of one of the famous dynasties of Zhostov artists - Larisa Goncharova (examples of the master's works). A dynasty in any field of activity is the history of this case. Turning to one family, you will learn the centuries-old history of the development of a whole craft. So, speaking about the secrets of mastery, Larisa said that painting is an improvisation: the author himself does not know what will turn out, the hand goes “on the machine”!

What kind of a Master you need to be so that these mesmerizing flowers glowing from the depths of the buds with magical light, quiveringly "sounded" on the varnished surface, like notes of virtuoso musical improvisation! The refined beauty of the flowers created by the Goncharovs is filled with a special meaning, conveying to us the mood of either a jubilant holiday or impartial contemplation.

Admiring the perfection of the embodiment of the conceived, enjoying the freedom and airy lightness in the depiction of bouquets, you begin to understand that once a utilitarian object has long become a symbol of art, and that Zhostovo painting is its independent form.

The village of Zhostovo, which is very close to the capital, has been a symbol of the unique Russian craft for several centuries. In the last decades of the 20th century, the new Russians, tired of the bustle of the city and the deteriorating ecology, chose the village. By the way, Gerda from the "Snow Queen" familiar to us from childhood, or rather, Elena Proklova, who played her popular theater and film actress, has also lived in this village next to the forest for many years, enjoying landscape design, growing organic fruits and vegetables. She did not escape the temptation to learn how to paint trays!

Against the background of the ever-expanding "city of mansions", the houses of the old-timers became lower and lower, "grew" into their native land, clinging deeper and tighter, as if afraid of being uprooted. And there were reasons for this.

At first there were rumors, but I didn't want to believe. Could the ancient folk craft, which the state was so proud of, become private property? A little time passed and the rumors became a fait accompli. The Bank became the owner of the legendary Zhostovo field (we will not do additional advertising for it, especially as the owner of the bank can sell it!). And everything went according to the usual pattern. The bank promised to preserve the folk craft and the famous Museum of Zhostovo Trays, but the territory and areas of the factory began to be leased out. There are now about thirty enterprises not related to the tray industry. The thirty young masters remaining at the factory are huddled in four small rooms set aside for painting workshops. Now they work for the owner. All great artists, old masters, real creators left the craft and work at home. Recently, they have practically stopped working with the factory.

A tray as a household item has been known for a long time, but precisely from the beginning of the 19th century, due to the growth of cities, the appearance of numerous hotels, taverns, restaurants, trays began to be required in large quantities and were used not only for their intended purpose, but also for decorating interiors. Bright bouquets, still lifes, scenes of tea drinking or riding in a troika are traditional plots of tray paintings that adorned the walls of such establishments.

Zhostovo trays belong to the direction that has the general name "Russian varnishes". First, at the end of the 18th century, lacquer miniature painting on papier-mâché appeared. The village of Danilkovo near Fedoskino, the villages of Zhostovo and Ostashkovo were famous for the production of boxes, snuff boxes, boxes, glasses for pencils, cigarette cases, albums, rusks, purses - items decorated with miniature paintings. Artists at that time turned to famous works of easel painting, engravings, freely interpreting which, they created their works. Having originated in the mainstream of lacquer miniatures, the production of trays gradually developed into an independent craft. The starting point is 1807, when the workshop of Philip Nikitich Vishnyakov began to work in Zhostovo. Although the foundation of the fishery is associated with the name of another Vishnyakov - Osip Filippovich. By the middle of the 19th century, there were already twelve workshops in the district: Belyaev, Mitrofanov, Zaitsev, Leontyev and others. The craft developed, and trays began to be made not only of papier-mâché, but also of iron. Undoubtedly, in this respect, the influence of the center for the production of trays in Nizhny Tagil, famous since the 18th century.

If at first the owners worked on a par with the workers, then by the 1870-1880s they were increasingly turning into entrepreneurs. During these years, there were more than 240 hired workers in the suburban trade near Moscow. Three people usually worked on one tray: a forge who made the mold, a puttyler who primed the surface, and a painter who painted the tray. After drying, the primer varnished it.

By the beginning of the 20th century, having mastered all the most interesting that was in the tray production of St. Petersburg, Nizhny Tagil, in the Moscow region lacquer miniature, easel painting, painting on porcelain and other types of art, Zhostov's artists formed their own style, based nevertheless, first of all , on the development of their local traditions. A system was developed, a professional painting canon, which is inherent in Zhostov's art today. In the sequence of techniques of multilayer Zhostovo writing, a peculiar alphabet is recorded, which is absorbed by the masters, which is called "with milk." Shading, shadow shading, laying, glare, drawing, binding - these are the “steps” that, from generalized silhouettes of flowers and leaves of painting, led to the creation of complex compositions with the finest details of binding, combining flowers into bouquets and connecting it to the background. And only having mastered this alphabet "perfectly well", having learned to "speak the most difficult words cleanly", the artist receives the long-awaited Freedom. Now the hand of the Master has the right to lead him along his own paths of magical gardens in which birds of paradise live, and masterfully improvising, create new bouquets of fabulous beauty.

Communicating with famous masters of various Russian crafts, I noticed that they are all talented not only in their main profession, but often in many other areas of activity. Several years ago, Nikolay Gushchin, People's Artist of Russia, chief artist of the Nizhny Novgorod craft, "Khokhloma Artist", took part in the Buyan-Ostrov festival in Sochi. He amazed the participants not only with the works brought to the exhibition, talented painting, which he demonstrated at the master class, but also ... with the wonderful gift of a dancer! How he danced at the banquet! Not many men can boast of such abilities. And one more thing: the artist's eyes constantly snatch from the surrounding reality the elements necessary for creativity, and each creator has his own. I remember how, having come to visit me, Gushchin immediately found new ideas for his paintings: in the first minute of walking in the garden he picked an inconspicuous flower. Delightingly examining the curls of the "weed", he said that in the middle lane he had not seen such and must use them in his paintings. He carefully wrapped the flower-blade and put it in his pocket. Flowers are the most popular motive for murals in Russian art crafts.

This is how traditions develop. Each artist contributes to the established canons his own, seen and experienced by him. Each author has his own individual style. Professionals, by the nature of their strokes, easily distinguish between the "hands" of the masters, and, noting the individuality brought up by labor and talent, they often give definitions, by no means in terms of art history. "Dancing" they enthusiastically call the smear of the Honored Artist of Russia Larisa Goncharova, the master of Zhostovo painting. Larisa sings like she writes her famous flowers (or writes how she sings!).

The diploma work of Larisa Goncharova at the Art School named after Kalinina was highly appreciated by the commission and sent to VDNKh, and Larisa received an award from the Central Committee of the Komsomol.

As a child, Larisa was engaged in choreography, but having received the profession of an artist, for many years she sang in the folklore ensemble "Rus", toured. She is also a born clothing designer, who can make herself a beautiful outfit overnight. Try to repeat: a taffeta dress with "rabbit" trim, painted with Zhostovo flowers - exclusive!

A positive character, bright artistic inclinations found a natural reflection in the painting. Hence the "dancing" stroke!

An artist in the fourth generation, from childhood, Larisa could observe all the stages of the creation of the famous Zhostovo trays, running to her mother to work (fortunately, the Zhostovo Factory of Decorative Painting was located next to her house!), Although she was not at all going to follow in her footsteps. But my mother was a wise woman and was able to gradually direct her along the right path. This is where genes obviously played a role. After all, the same Timofey Maksimovich Belyaev, who in the 1830s had his workshop for making trays in Zhostovo, was the great-grandfather of Larisa Goncharova's mother - Nina Nikolaevna, People's Artist of Russia, Laureate of the State Prize named after I. I. E. Repin.

The pre-war history of the trade left us only male names. But 1941 turned the life of the country upside down and began to write its history in all areas and spheres of life. The men were taken to the front. And for the first time, so as not to perish the Zhostovo trade, which was already more than 100 years old, six girls 13-14 years old were taken to the factory. Among them was Nina Belyaeva (later married to Goncharov). Wartime childhood in production is a separate article. You can write novels and make films of fiction! Nina Nikolaevna told how they, little girls, dragged logs from the forest on themselves to heat production, and painted cans from canned food, since there was no iron (all metal was used for defense). It is unlikely that in those years Nina could present her works in museum collections and the best exhibition halls in the world! Obviously, it doesn't matter what walls, floors, pots and jars your child's hand is painting. It is important who "puts" this hand. The girls were taught by the oldest master Andrei Pavlovich Gogin, who played an outstanding role in the history of Zhostov. It was Gogin who in the 20s of the last century became an active organizer of the artel, on the basis of which he created many outstanding works and taught the traditional skills of numerous students. He was one of those whose activities helped to survive the crisis that disrupted the work of literally all folk crafts at the beginning of the 20th century. In 1928, the artels merged into one - "Metallopodnos", which in 1960 was renamed into the Zhostovo factory of decorative painting. All these stages were the life of Andrei Pavlovich, and after the war, from 1948 to 1961, he headed the craft as artistic director and chief artist. At that time, Zhostov's collective of artists still had to overcome the attempts of Soviet state bodies, which began in the 1920s and 1930s, to change the established direction of the development of the craft by introducing a straightforward statement of realism. Such innovations could destroy an entire trend in Russian art. But the leading masters were able to resist this, directing the implementation of new ideas to deepen traditional craftsmanship.

In his work, Gogin experimented with the shape of trays and with compositional schemes, used mother-of-pearl inlay, colored and gold backgrounds. His lyrical gift remained unchanged, which he passed on to his student, Nina Goncharova. For more than half a century she has been creating works that delight us with their perfection.

It has long been proven that a person who does not live in the area where the craft originated and developed will never become its representative, will not be able to develop traditions. The art of Russian folk crafts is truly alive only on the native land and is inspired by it. Despite this, in different parts of our country and in many countries of the world there are people who are passionately drawn to the beauty of Russian art and dream of mastering at least the basics of art. Therefore, our artists are invited to different countries, organize schools, conduct master classes. Larisa often travels abroad, teaches foreigners. Everyone can learn the basics of Zhostovo painting, but not everyone can be an artist of this painting. Foreigners study because it is new to them. For many years, acquaintance with Russian art was limited to nesting dolls. For some it is now entertainment, for others it is business. Taught L. Goncharova in Australia, Taiwan. She had a chance to visit America several times: art studios of 8 states organized her master classes. And once such a master class on painting trays turned into a real and unique show: it was held against the backdrop of a performance by a folklore ensemble, whose participants were dressed in chic colorful Russian costumes. Larisa also sang, alternating her performances with training. In a luxurious suit, she was sitting at a tray against the background of the ensemble! The American women ran to watch the singer-artist change clothes and outfit in one minute: it was an exciting sight!

“Abroad will help us” is such a familiar phrase for everyone. Classic. The frequent trips of our artists abroad for long periods of time in recent years confirm it without humor. Working and living conditions, wages - there are immeasurably higher! Although no, you can just "measure", but you don't want to! Money is good: a master gets satisfaction not only from what he can buy bread and butter. Money is a "yardstick", an assessment of the creator: "I get paid well, which means they appreciate my talent, my works. So I have achieved something! It was not in vain that he studied and worked a lot! " It turns out that money is an incentive to work further! And here is the phrase: "An artist must be hungry" ... Hungry yourself, gentlemen!

Time is changing, Zhostovo painting, responding to fashion trends, adorns not only traditional trays in our time, but also other interior items: cabinets, tables, chests, boxes ... and even buckets! There would be orders: you can paint both shoes and a dress. And it is really beautiful. Several years ago, the exhibition "Everything about the structure of the world" was held in Moscow. The organizers ordered a computer painting for Larisa Goncharova. The result is a wonderful and unusual artifact!

And yet, talented artisans are doing everything to preserve the Zhostovo tray as a phenomenon of Russian culture. And "Flowers of the Goncharovs", with their subtle lyricism and exquisite beauty of painting, tear the everyday fetters from our hands and feet and give us a feeling of freedom and joy!

Natalia Tsygikalo

M .: Lithography V. Tityaev,. 39 l. The circulation is 220 copies. On the cover, made using the collage technique, there are two stickers: text: Mirskontsa / A. Kruchenykh / V. Khlebnikov and in the center: collage made of colored paper by N. Goncharova [flower]. 18.7x15 cm. All lithographs (ink) are printed on one side of the sheet. Lithographed collective collection of Russian futurists. Here Natalya Sergeevna Goncharova (1881-1962) acted as the creator of the world's first book collage. This is precisely the value of this lithographed edition.

Cover, top - bottom text:

Mirskonets / A. Kruchenykh / V. Khlebnikov;

center: collage of colored paper by N. Goncharova [flower].

The most interesting thing about this collection is that a collage was placed on the cover for the first time. Natalia Goncharova used such an extraordinary technique in the design of the book. A flower-shaped colored paper sticker dominates the cover space. Today there are about 12 different versions of the cover of this edition. On all copies of the book, the collages are significantly different. In their design, paper of several types is used, most often black, green or golden, with an embossed pattern and a marbled pattern. The flower itself also changes shape and is located either at the bottom or at the top of the leaf. Collage is a technical technique in art, gluing materials that differ from it in color and texture on any base. Collage is also called a work performed by this technique. It is used mainly in graphics and posters for the sake of enhancing the emotional expressiveness of the texture of the work, the unexpected combination of dissimilar materials. As a formal experiment, collage was introduced into painting by representatives of Cubism, Futurism and Dadaism. And later, already in the 20s-40s, he clearly showed himself as an artistic method of photomontage in a poster.

M. Larionov. Above text: How difficult it is to raise the dead ...;

ending: fig. [rayonist composition];

bottom: left: Lithography / V. Tityaeva Moscow, right: M. Larionov

M. Larionov. [Lady at the table], top right: Larionov

M. Larionov. [Akhmet], to the left of the image: AX / ME;

bottom: left: lit. V. Tityaeva / Moscow; right: Larionov

Text: AHMET / CHASHU DERZHET ...

M. Larionov. [Street noise], top right: Larionov. M.

M. Larionov. Text: Black swords are forged by hwachi ...

M. Larionov. [Person profile and sounds], top right: Larionov;

in img. included letters: 033

N. Goncharova. The text of the poem “with the undertaker” (rat ta tat ...);

on the right and below the text: fig. [flowers]; bottom right monogram: НГ

N. Goncharova. The text of the poem "sleep" (T-shirts are sitting ...);

on the right and below the text: fig. [flowers].

N. Goncharova. [City landscape], under the image on the right: Natalia Goncharova.

N. Rogovin. [Cow, boat with rowers, dog and human face].

N. Rogovin. [Figures], right: N Rogovin.

N. Goncharova. [Seated woman with disheveled hair], bottom left: Goncharova.

A. Kruchenykh. Text: they know they are doing goodbye, I would put it on my shoulder ...;

center: fig. N. Goncharova [deer].

N. Goncharova. [Skeleton under a tree], bottom right: Natalia Goncharova.

N. Goncharova. [Growling beast], bottom left: N Goncharova

A. Kruchenykh. Text: but then the earth turned dead and shriveled ...;

center: fig. N. Goncharova [sailing boats].

N. Goncharova. [Animals under the tree], bottom left: N. Goncharova.

N. Goncharova. Text: save the scissors laugh ...;

center: ending [flower], right: Goncharova;

under the picture: good / good.

N. Rogovin. Text: O Dostoevsky / mo; to the left of the text and to the bottom right:

rice. [human figures].

M. Larionov. [Rooster and knife], to the left of fig. along the edge of the sheet: Op. No. 8v;

Top left: Larionov, under fig. text (mirrored):

Our cochet is very concerned ...

M. Larionov. [Human Figures],

To the left of the image. along the edge of the sheet: Larionov,

under fig. text: Vselenochka's name is mip her half ...

M. Larionov. Text: From psen haidamaks ...;

ending [flying bird with a twig in its beak], bottom right: Larionov

N. Goncharova. [Soldiers], bottom right: Natalia Goncharova.

N. Goncharova. [Vila and Leshy].

N. Goncharova. Text: From "Vila and Lshago" ...;

on the right in the margins and below the image: fig. [flowers]; top right: NG.

N. Rogovin. Text: A shooter whose stature was narrow ...; on the right in the margins: fig. [Diana].

M. Larionov. Text: Be formidable as Ostranitsa ...;

ending [rayonist drawing], bottom right: ML

M. Larionov. Text: MIP FROM THE END ...;

The back of the cover, at the bottom left of the typographer, method: price 70 kopecks.

Bibliographic sources:

1. Polyakov, No. 16;

2. The Russian avant-garde book / 1910-1934 (Judith Rothschild foundation, No. 14),R. 88-89;

3. Markov. with. 41-42;

4. Khachaturov. with. 88;

5. Kovtun, 2;

7. Compton. R. 12, 19, 72-74; 90-92, col. pi. 2-3;

8. Rozanov, no. 4881;

9. Zheverzheev, 1230;

10. Book. l., No. 33950;

11. Rat, 59;

12. Tarasenkov. with. 197;

The first collective lithographic collection of Russian futurists. In addition to the drawings, poetic and prose excerpts from Khlebnikov and Kruchenykh were reproduced in a lithographed manner (in the description, the author of the artistic solution of the page is indicated). Some of them were printed by A. Kruchenykh using the children's typesetting alphabet (marked with an asterisk in the description). Thick paper back covers, text sheets and illustrations are printed on thin, glossy paper.

N. Rogovin (Nikolay Efimovich). Painter and graphic artist.

Lived in Moscowon Ostozhenka, in his house.

Was close to the circle of M.F. Larionov.

Participated in exhibitions "Jack of Diamonds" (1910-1911),

"Union of Youth" (1911), "Donkey's Tail" (1912), "Target" (1913).

In Soviet times, his area of ​​interest shifted to architecture.

Drawings by Larionov and Rogovin are sustained in a primitivist manner, especially the attempt to use the expressive possibilities of primitive and children's art (folios 5, 28, 30) attracts attention. Larionov, along with primitivist sheets, gives examples of the “Luchist” style (folios I, 3, 7, etc.). Tatlin's first experience in illustrating a book is also interesting. The depiction of a circus act with a head chopping off, entirely built on impetuous "menacing" lines, turned out to be a very successful equivalent to the famous lines of Khlebnikov "Be menacing like Ostranitsa ...". Larionov sheet No. 9 is perceived as an illustration to the lines from a poem by the poet Lotov, cited by Larionov in the collection “Donkey's Tail and the Target” (“Oz z z z z z o”, p. 140). The largest number of drawings belonged to N. Goncharova. In addition to page-by-page illustrations for Kruchenykh's “A Journey Around the World”, she created a number of ornamental drawings (for example, folios 10 and 11), “decorating” a page with text. The collection was published, most likely, at the end of November, since it was noted in the Book Chronicle in the first decade of December. The first “review” of the book also came out in December [Blue Journal]. Cover of each copy. instead of drawings, it was decorated with a colored paper sticker made by N. Goncharova. There are three types of paper: most often black (as in the described specimen), green (col. Cl. Leclanche-Boule, Paris) and gold, with an embossed pattern. The collection of the Museum of Modern Art in New York contains 5 copies. collection with a differently designed cover, in one case the collage is made of paper with the so-called marble pattern. The sticker itself is shaped like a flower. It clearly shows the calyx, stem and leaves pointing in different directions. In our case, the “flower” is located diagonally and its silhouette resembles a children's paper boat (symmetrically located “leaves” are given in a single mass), it is placed under a sticker with a heading printed on it. Another option [Kovtun, Compton] suggests a different solution: the “flower” is located at the top of the cover, above the title, and its shape is emphasized vertical. Known three preparatory drawings by N. Goncharova for lithographs No. 22, 24 and 34, are in a private collection in Moscow. The copy, which belonged to V. Bart, is in the National Library of Russia. Some of the lithographs of Goncharova and Larionov from this collection were printed on thick paper and included in the collection “16 Drawings by Natalia Goncharova and Mikhail Larionov”.

The dissimilarity of the creative principles of Larionov and Goncharova did not prevent both artists from performing together. The first experiment of this kind was carried out by them in the collection of A. Kruchenykh and V. Khlebnikov “Mirskonets”. N. Rogovin and V. Tatlin also took part in it, but the bulk of the drawings belonged to Larionov and Goncharova. Larionov's drawings were distinguished by the greatest stylistic variety. Next to the Luchist “Street Noise” and “The Lady at the Table”, with the famous “Akhmet” sustained in the spirit of “infantile” primitivism, two compositions were placed, testifying to the artist's maximum approach to the world of primitive images. Both of them arouse keen interest on the part of researchers and are often interpreted by them as indisputable evidence of the artist's intensified archaeological studies. According to E. Parton, it is precisely the archaeological interests that Larionov's primitivism owes its development. The first picture is a primitively interpreted profile of a singing person with an extended lower jaw and marked - in the form of letters “033” - sounds flying out of the mouth. Parton reads it as an image of a primitive shaman, under the influence of the spirit that has entered into him, changing his appearance. The second figure consists of schematically interpreted figures representing running people. The stripes, which are drawn in disorder throughout the entire page margin, are perceived by both E. Parton and S. Compton as an imitation of notches characteristic of rock art. The reliance on primitive “iconography” in these works by Larionov is indisputable - it is enough to look at the silhouette of a female figure with “chopped off” limbs typical of Paleolithic art, placed in the second figure. But on the other hand, it is impossible to completely ignore, as both researchers do, and the fact that the drawings are illustrations associated with specific poems. So, in the first case - the drawing is associatively correlated with the lines of Kruchenykh:

Pokers knock from inside the Old Believers with fire - from his excerpt "They forge black swords ...".

The second composition is associated with a small fragment of Khlebnikov, the beginning of which:

Vselenochka is called the world, half-children, and they swear at peace -

placed on the sheet itself to the side of the image. Encrypted in these lines, the vision of impending death finds its continuation in Larionov's drawing - in the stars falling from the sky, in the “rumble of swords” depicted on the left side of the composition, in the whistle of bullets, the flight of which is indicated by intersecting lines, etc. N. Goncharova took the second place in terms of the number of drawings in the collection. The artist illustrated the Kruchenykh prosaic excerpt “Traveling Around the World”. In addition to the page drawings, united in the traditional "series" for her, two pages of text should also be noted, which include: in the first case - the image of a deer, in the second - sailing boats sailing along the river. Unlike "Games in Hell", where the image and text, meeting on the same page, entered into conflict with each other, here we find an example of a more harmonious solution. One of the reasons for this is that the figures placed in the text were deprived of a dark background, their lines were thus in the same plane with the lines of the text. The fact that the drawings, like the entire collection as a whole, were filled with ink, which predetermined their line character, also played a role.

S. Krasitsky. About Kruchenykh. At the beginning of glorious deeds.

Slurry of foul language

my screams are self-styled

no prefaces to them

I'm all good, even abusive!

A. Kruchenykh about himself

You are the most stubborn of us, to take an example from you.

B. Pasternak

"Buka of Russian literature", "enfant terrible" of Russian futurism, "futuristic Jesuit of the word", Aleksey Kruchenykh is one of the key figures and, perhaps, the most consistent figure of the Russian avant-garde in his radical aspirations. It is safe to say that none of the Russian writers of the 20th century met such a stable misunderstanding among his contemporaries, was not subjected to such derogatory criticism and, ultimately, such an unfair assessment as Kruchenykh. Moreover, this misunderstanding (or demonstrative non-recognition), with an obvious interest in the poet's activities, was not just a momentary, quickly passed reaction, but stretched out over several long decades and, in fact, spanned several literary eras. However, this kind of "reaction of rejection" can hardly be explained only by ideological reasons (as was the case in the Soviet period), but it is also due to many immanent properties of the Kruchenykh's work, that fundamentally "extreme" position, which he adhered to throughout his more than half a century of creative path ... The reputation of a hopeless marginal, a tireless graphomaniac, an irresistible experimenter, a frenzied polemicist who, it seemed, could not imagine his stay in art outside the state of permanent dispute and the overthrow of authorities (which often gave the impression of the absolute self-sufficiency of this dispute, so to speak, a dispute "as such") all this made the position of the Kruchenykhs very vulnerable and, as it were, intended for condemnation, ridicule, and rejection. Without an intense desire to understand, grasp the essence, meaning, pathos of the poet's work, without "methodological trust" (in the words of P. Florensky) in the author's activities, which is so necessary when referring to the Kruchenykh's literary heritage (due to the exceptional specificity of the material), without realizing that that it is impossible to approach his poetry as "just poetry", since when reading it is necessary to take into account many additional conditions, thereby developing a special reading technique - without all this, a more or less adequate perception of the Kruchenykh phenomenon is really impossible. And in this sense, the reaction of the majority of critics to the work of the "wildest" (by self-determination) of the poets seems to be on the whole natural and logical. However, now, with the possibility of a more holistic consideration of the path of Russian literature (or some, very significant, part of it) in the XX century, up to the latest trends, it becomes obvious not only the self-sufficient nature of the Kruchenykh's poetic experiments as a historical and cultural phenomenon of a certain period, period classical Russian avant-garde, but also certainly promising, and in some ways the visionary nature of his activities. This also applies to the influence, direct or indirect, on the work of poets of subsequent generations, and the fact that Kruchenykh was one of the first to pose and in his own way tried to resolve the issue of completely new principles of the existence of literature as the art of the word in the context of the realities that arose precisely in the 20th century. , on the relationship of literature with other types of art and other areas of human existence.

Twisted, Alexey Eliseevich was born in 1886 into a peasant family in the village of Olivskoye in the Vavilov volost of the Kherson province. After graduating from the Odessa Art School, in 1906 he received a diploma as a teacher of graphic art. Art education and professional painting for the future literary practice of the Kruchenykhs will be extremely important; for the Russian futurism that emerged a few years later as a close-knit group of Russian futurism, this will generally become the most important phenomenon, since one of the basic principles of literary practice "willlyan" (the Russian synonym for the word "futurists" proposed by V. Khlebnikov) will be the orientation of literature towards the methodological principles of modern painting, expressed in Khlebnikov's appeal: "We want the word to go boldly after painting." Apparently, the acquaintance in Odessa (about 1904-1905) with David Burliuk became important for the creative fate of the Kruchenykhs (to the extent that subsequent acquaintances with the future "father of Russian futurism" Vladimir Mayakovsky, Benedict Livshits and some other participants in the futuristic movement). In the meantime, before the actual formation of a noisy futuristic company, which took place in the spring of 1912, Kruchenykh participates in art exhibitions "Impressionists" (St. Petersburg) and "Wreath" (Kherson), acts as an artist in print, publishes a number of works on painting, and also fiction. The first poetic work of the Kruchenykhs appeared in the Kherson Vestnik newspaper in early 1910. The poem "Kherson Theater Encyclopedia" is not much different from many other poetic feuilletons typical of periodicals. But knowing the further creative fate of its author, already in it one can see some outlines of the Kruchenykh's literary position: awareness and assertion of oneself in polemics, the fight against stereotypes, a look at life phenomena and phenomena of art, directed, as it were, from the side, from the edge, from the side, to special, unexpected, unusual perspective. This position, he will always remain true (while constantly changing the angle of observation). A decade and a half later, B. Pasternak, characterizing this “extreme”, “borderline” of the Kruchenykh's aesthetic credo, will write, addressing him: “Your role in it (in art) is curious and instructive. You're on the edge. Step aside, and you are out of it, that is, in the raw philistine, which has more quirks than people usually think. You are a living piece of his conceivable border. " It is rather difficult to talk about the literary "teachers" Kruchenykh, about the authors who most strongly influenced his work. He himself did not openly speak about his literary passions either in theoretical or in his memoirs, and this could hardly have been expected from one of those who threw practically all previous and modern literature "from the Steamer of Modernity". However, as you know, the development of existing tendencies and traditions can be dialectically manifested in their denial, repulsion from them, and attempts to overcome them. Yes, and one thing - the peremptory demands of manifestos and declarations, another literary practice (after all, B. Livshits admitted in his memoirs that at that time he “slept with Pushkin under the pillow”: “... am I alone? and in a dream disturb those who declared it more incomprehensible than hieroglyphs? "). Kruchenykh, like none of the Russian futurists, was distinguished by constant intense attention to Russian literature. Another thing is that he again chooses a special, specific approach to it (for example, from the point of view of the struggle of Russian writers with the "devil", in the aspects of "shiftology" or anal eroticism): on the one hand, this suggested a new, fresh look at seemingly well-known to everyone for a long time, but on the other hand, it should have contributed to discrediting the classics or the most prominent contemporary writers (first of all - the Symbolists) and the approval of the latest art, including in the person of himself willlians "). In the case of Kruchenykh, his literary sympathies, apparently, can be judged by which of the writers more often became the object of his attacks in poetic and theoretical works. Particular interest, of course, in "the beginning of all beginnings." And already in the first book of poetry by the Kruchenykhs, co-authored with V. Khlebnikov, the poem "A Game in Hell" (1912), which the author himself described as "an ironic mockery of an archaic devil made under popular prints", the authors' appeal to the Pushkin tradition is obvious ( R. Jacobson also wrote about this later). Later, in Abstruse Gnig, Kruchenykh will offer his own version of Eugene Onegin, set out in two lines; still later, Pushkin would become an ally of the Kruchenykhs in his development of the theory of "shiftology". The interest of Russian futurists in the irrational, illogical, absurd world of Gogol's works is well known. It is repeatedly mentioned in the works of the Kruchenykh Lermonts. Of the contemporaries, Fyodor Sologub gets the most from the Kruchenykh (according to Kruchenykh - “Sologubeshka”): “the awakened locust (evil spirits) sleepily grabbed Salogub and chewing his lips spat at him and he came out of her mouth wrinkled, loose and shaved”; “It’s not for nothing that in some provinces to kill and it means to engage in masturbation! "At the" First Russian Evening of Speakers ", held in Moscow in October 1913, Kruchenykh (it can be assumed that it is quite sincere) called Ardalyon Peredonov from the novel" The Little Devil "the only positive type in Russian literature, because he" saw different worlds he's out of his mind. " And, perhaps, the influence of Sologub (intonation, motives, language - such a characteristic inarticulateness) is perceptible in the Kruchenykh's poems included in the books "Old Love" (M.,) and "Bukh Lesiny" (St. Petersburg,). However, he himself later admitted that in his first poetic experiments he was engaged in “oil-fired swamps of Sologubovshchina”. For Russian futurism, especially for the most radical and militant of its groups - the cubo-futurists, in general, it was typical to realize and assert oneself primarily through denial. Nihilistic, outwardly destructive tendencies, especially at first, dominated in painting, in literature, in theoretical works, in the behavioral practice of the "budelyan". So the main symbolist images are replaced in the poetry of futurists with the “dead sky”, the stars-“worms”, the moon-“louse” of David Burliuk, the defeated sun and the dying world of Alexei Kruchenykh, the stars-“spitters” and the “cloud in the pants” of Vladimir Mayakovsky. Instead of the ideal "eternal femininity" - "simple glorious" Inca or "masha with a red face" (or, in general, the proclamation of "despicable contempt for women and children"). And also - an apology for "pig-filing", books published on wallpaper or wrapping paper, scandalous, provoking speeches, often ending in scandals and the intervention of a policeman, causing an appearance (painted faces, carrots in a buttonhole, Mayakovsky's "yellow jacket", etc.). ). Thus, art overcame the line that traditionally separates it from life, it intruded into life in the most decisive way, influenced life, became a part of life. Creativity, a decisive, revolutionary transformation of reality — that was the super task of futurism — an end, of course, as the "Bulyans" themselves believed, justifying the means. And no matter what the reaction of the contemptible man in the street was (laughter, irritation, indignation, arrogant disgust, the desire to bring the "knights of the green donkey" to restraint with the help of the law) - the main thing was that this reaction was. “I like the horror of Messrs. Chukovskikh, Redko and Filosofovykh in front of the "pig-philists", - wrote Kruchenykh. - Yes, your beauty and mind, woman and life, we pushed out, call us robbers, boring, hooligans! "And" Nate! " hence, anthropocentrism, clearly hypertrophied among many futurists (another principle is “I!”), and although this “principle” is usually rightly associated with the personality of V. Mayakovsky, no doubt it was also represented in the work of his associates, including and among the Kruchenykhs, albeit in a very peculiar form, determined by personal qualities and the tasks to be solved. In general, in the aggregate, the group "Budelyan" was, apparently, a very impressive ensemble, consisting of colorful figures, each of which - both in art and, so to speak, in life - was assigned an individual, contrasting role in relation to others. ... And now it is difficult to determine with confidence what in the position, in the behavior of this or that futurist was a true, sincere manifestation of personal qualities, and what was the result of conscious and purposeful work to create an image, a thoughtful or spontaneous game for the audience, bravado, harassment - in principle , it does not matter, and this very public was least of all worried about the question of the "sincerity" of the futurists. In numerous reporters' reports, in their photographs, in memoirs, they have remained forever: imposing, one-eyed, with a lorgnette in his hands, cynical and unbreakable David Burliuk; powerful, ready, it seems, to crush everything in its path, loud, "handsome twenty-two-year-old" Vladimir Mayakovsky; a quiet genius, detached, apparently, from everything worldly, constantly residing in his inner world and tensely struggling over mysteries of a universal scale Velimir Khlebnikov. And next to it (again - next to it, to the side, not in the center) - a nimble, agile, restless, a kind of cunning "laughing" from the famous Khlebnikov's poem, and even with such an expressive name - Kruchenykh. They call him a "pig-phile" - and he agrees. They call him a madman, they urge him to send him to an insane asylum, - he himself gladly goes "to Udelnaya" and forbids reading his books "in his right mind." But if Kruchenykh caused laughter, it was often tense, nervous, bordering on a sense of danger, even fear. In addition, he was seen as one of the indicative personifications of futurism, one of the faces of "The Coming Ham" (in the words of D. Merezhkovsky). And then they took him quite seriously.

Goncharova N.S. "Women with a rake" 1907 Oil on canvas

"Peacock in the bright sun" 1911 Oil on canvas. 129 x 144 cm.
State Tretyakov Gallery

Description of the picture

The artist depicted the same peacock in 10 styles (in the "Egyptian" style, in the form of "Russian embroidery", futuristic, cubist, etc.). A whole series was created called "Artistic Possibilities about the Peacock". He was her symbol, the symbol of her art.

The peacock was close to Goncharova, since it is a deep, holistic symbol. For example, in Roman art, it could mean the triumph of the emperor's daughters. In the East, the peacock was an expression of the soul, which drew its strength from the principles of unity. In Christianity, the peacock was considered an image of faith in immortality and resurrection, and its plumage of "a thousand eyes" indicated omniscience. The multicolor plumage hinted at the beauty of the world (in China) and the very act of creation in Islam is a symbol of the Universe).

The peacock can be perceived as a sign of the unity of Being. Its symbolism is associated with those ancient syncretic cultures that the artist loved so much. In the Egyptian version, the head and neck of the peacock are shown in profile, and the tail, according to the canons of Egyptian art, is frontally deployed. At the same time, it seems to be spread over the plane of a dark background, standing out with its unique plumage. He seems to be covered not with feathers, but with bright colors, acting on the viewer more physiologically.

A truly primordial energy is embodied in bright colors, reminiscent of similar incarnations of human emotions in Russian folk art. Presumably, this picture reflected the young artist's passion for paintings by Gauguin with their colorful exoticism and freedom of natural life.

Goncharova N.S. Sheep Shearing 1907 Oil on canvas

"Cyclist" 1913 Oil on canvas. 78x105 cm.
State Russian Museum, St. Petersburg, Russia

Description of the picture

The picture accurately conveys the rapid speed of movement. Street signs flicker past the speeding cyclist and merge into one whole. The rapid movement of the wheels is conveyed through their repeated repetition near each other.

And the man himself, bent over the steering wheel, stratifies, becomes subordinate to the general idea - speed. These are the main signs of futurism - displacement of contours, repetition of details and interspersing unfinished fragments. Decomposing the forms of the visible world, Goncharova, nevertheless, managed to create a holistic image of dynamics in the life of an individual.

This picture embodies the aesthetics of the twentieth century - a century of technological progress and an accelerated pace of life.

The 1 Russian Revolution of 1905 has already taken place. On the eve of the First World War, which began in 1914, the turbulent situation in society was subtly captured by the artist and expressed in an innocent plot - a conventional figure of a man on a bicycle.

This is one of the artist's best cubo-futuristic paintings. Subsequent creativity Goncharova went in the spirit of the new style invented by M. Larionov "rayonism".

"Round dance" 1910 Oil on canvas Historical and Art Museum, Serpukhov, Russia

"Archangel Michael" 1910 Oil on canvas 129.5 x 101.6 cm

Goncharova N.S. “Liturgy, St. Andrew "1914

Goncharova N.S. "The Virgin and Child". Description of the painting

The painting is made in the spirit of Russian iconography. The artist used traditional schemes and techniques, and at the same time she was not constrained by any framework.

The Mother of God is depicted in yellow robes with brown folds. A baby sits on her left hand, which she holds with her right. Contrary to Orthodox traditions, the child looks neither at her nor at the viewer. The plain blue background is filled with primitive green plants and angelic figures. The conventional interpretation of the face of the Mother of God is complemented by its unconventional coloring, which is characteristic of Rayonism.

The free plastic transformation of the figures of angels and the child of Christ is complemented by the sonority of bright colors, which removes the picture from icon-painting canons and puts it in its rightful place among the achievements of like-minded people.

Goncharova N.S. "Pokos" 1910

Goncharova N.S. "Harvest" 1911

Goncharova N.S. "Little Station" 1911

"Airplane over the train" 1913 Oil on canvas. 55 x 83 cm
State Museum of Fine Arts of the Republic of Tatarstan, Kazan, Russia

Goncharova N.S. "Cats" 1913

Goncharova N.S. "Peasant Dances" 1911

Goncharova N.S. "Flowers" 1912

Goncharova N.S. "Laundresses" 1911

Goncharova N.S. Dynamo Machine 1913

"Portrait of Larionov" 1913 Oil on canvas. Museum Ludwig, Cologne, Germany

Goncharova N.S. "Nutbumort with a tiger" 1915

Goncharova N.S. "Planting potatoes" 1908-1909

Goncharova N.S. "Flax" 1908

Goncharova N.S. "Pillars of Salt" 1908 Description of the painting

The picture is characterized by great architectonicity, complication and multi-figured composition, a variety of angles, freedom in the construction of forms.

Using the technique of "picturesque story", Goncharov's composition is based on the biblical legend of Lot, but retolds it with a digression.

The point of attraction for the cubist interpretation is the moment when a human figure turns into a salt crystal against the background of a plunged city.

In Goncharov's interpretation, all the participants in the scene turned into pillars - Lot, and his wife, and daughters, even their future children.

Many pictorial and plastic techniques flow from the previous painting "The God of Fertility", namely, the interpretation of the face, especially the double outline of the eyes, the eyebrow line passing into the nose, the head set on the shoulders, thin arms and legs, rigid deformations of proportions, the dominance of 4- coal forms.

A new element in the form of a “dovetail” in Lot's depiction is also outlined in the painterly development of the surface. Here it has not yet been sufficiently identified either functionally or picturesquely, but in subsequent works it will find its place.

Goncharova N.S. "Stone Maiden" 1908

Goncharova N.S. "Peasant women" 1910

Goncharova N.S. "Nude black woman". Description of the picture

This picture is an illustrative example of Goncharova's primitivism. She breathes with the super-energy of the movement of nature and the dynamism of the painting itself. At the same time, she is close to both Picasso and Matisse.

In the interpretation of the feet, hands, and especially in the shape and positioning of the head, one can feel the plastic affinity of Picasso's Dryad and Friendship. The streaking smear on the face evokes associations with the "Dance with the Veils".

The influence of Matisse is noticeable in the grouping of the figure depicted in a rapid dance, which allows one to show it simultaneously in different angles, color contrasts (a black figure on a crimson-pink background), in the expression of movement, the compactness of the figure in a minimal space and super-relief of contours, in the optimism of images.

Goncharova softens the cubist cut and achieves a greater plasticity of the image, in comparison with the emotional fractures of the figures on the canvases of her idols. The popularity of the picture was facilitated by the cultural expansion of the population from the conquered countries, which covered the countries of Europe. Passion for new forms was picked up by Russian artists following their European colleagues.

Goncharova N.S. "Emptiness" . Description of the picture

This picture is an exception and at the same time an innovation. In the work of Goncharova, for the first time in almost all of Russian avant-garde painting, an abstract structure appears in the form of multicolored concentric rings of irregular shape.

This structure, which has a biological, proteinaceous form, is unstable in its outlines, shrinking and expanding in breadth and depth, looks like an unknown material substance, like a burst of energy. She is filled, as always with Goncharova, with the breath of life, however, life of a different level - the life of thinking matter.

The rhythm and alternation of blue and white rings of decreasing sizes with a changing width of a tape of dense smooth texture creates its own space, flowing inside these forms, streamlined by another space, formed by a picturesque mass of black-green-lilac color with a matte texture. The surrounding space becomes permeable, despite the property of the dark matte structure to absorb all the light.

Goncharova violates the physics of color and the physics of matter, destroying the unity and material density created by coloring pigments, the introduction of whitewash pictorial elements that resemble mirror reflections. The flatness of the entire pictorial field of the picture seems to be losing its material boundaries. And the composition is ready to overcome them, becoming, as it were, an illustration of the position of 4 dimensions: "The picture is sliding, it gives the feeling of what can be called the 4th dimension - timeless and extra-spatial ...".

Material volume - paints, their texture, i.e. “Complete” - depicts “empty”: “full” gives rise to “empty”, volume becomes a category of space. The picture may seem purely abstract. If you think about theosophical knowledge, you can imagine that the central white spot is, as it were, the designation of a tunnel that leads to another world, to an imaginary "emptiness". It is an otherworldly color. The blue rings are a kind of stepping stone through this tunnel to another world.

This is not the first time that the theme of transition to another world has been raised in the works of artists. Similar tunnels have been featured in the work of other visionary artists. A striking example is the "Birth of the Human Soul" in 1808 by the German romantic F.O. Runge.

Goncharova N.S. "Angels Throwing Stones at the City." Description of the picture

One of 9 expressive paintings of the general cycle called "The Harvest".

In this picture, Goncharova builds her own religious picture of the world. The top of this world is the divine heavenly world. Everything on earth is done under his patronage, and the warrior angels intervene directly in earthly life, opposing technology and urbanism, and at the same time protecting arable land and gardens. Thus, the oppositions "city-village" and "natural-technical" are being built.

In addition, the idea of ​​retribution, heavenly punishment, fate, fate, in general, apocalyptic moods correlated with Christian symbolism is strong. The picture was created by the artist during the period of creative searches: rayonism, futurism - all this was ahead. Only primitivism and participation in Jack of Diamonds have so far constituted Goncharova's creative experience. So this neo-primitivist painting is considered one of the best.

Like many others, this painting has outstanding decorative qualities. In particular, the rhythmic movements of the lines and spots are noticeable, the accentuated gravitation towards the plane - the earth - is clearly manifested. All this emphasized Goncharova's striving for monumental forms.

Goncharova N.S. "Yellow and Green Forest". Description of the picture

One of a series of "radiant landscapes". Everything in this picture is blurred by the glimpses of intersecting rays, behind them the outlines of trees are barely guessed. In the center of the composition there are 2 tree trunks that go up into the sky, deep blue and brown tones. An intense patch of yellow in the crown of the tree, from which rays erupt, thick green and dark blue tones reach the absolute depth of color.

Tall crowns of trees - all in intersecting rays. Even in the dense brown tone of the earth, glimpses of rays of light flare up. It brings an agitated and uplifting yet unreal, almost mystical sound to the landscape.

It is believed that this landscape is a simple illustration of the philosophical constructions of P.D. Uspensky “Tertium Organum. Key to the riddles of the world. " Mysticism and esotericism were intertwined in his life path with occultism and healing. The philosopher's innovative model of the Universe, in which there are not 3, but 4 dimensions, including time. He also called for the creation of the world based on the idea of ​​a synthesis of Psychology and Esotericism, which led to the highest level of comprehension and awareness of human life.

Born on August 16, 1881 in the village of Ladyzhino, Tula region. Natalia was brought up in the family of an architect. This family belonged to the old family of the Goncharovs.

Carried away by art, Goncharova began her studies at the Moscow School of Painting, Sculpture and Architecture, which lasted from 1901 to 1909. At first, Natalya was mainly engaged in sculpture, and later became interested in painting. The first mentor of the aspiring artist was K.A. Korovin. At the same time, the sculptural works of the artist were also highly appreciated.

Goncharova's early works were paintings in the spirit of impressionism. These canvases were successfully exhibited at the World of Art and Moscow Art Theater exhibitions. Later she received an invitation from S.P. Diaghilev. He invited the aspiring artist to participate in the Autumn Salon in Paris.

During this period, Goncharova painted mainly streets with old buildings, city parks in pastel technique. The peculiarities of the perception of the world, traced in these canvases, clearly indicate the influence on the artist of the work of the masters of the "Nabis" group. However, the gentle lyricism that characterized the work of the early period soon gave way to a consistent neo-primitivism.

Even while studying at the Goncharov school, he met M.F. Larionov. Soon this acquaintance will lead to a warm relationship, and Larionov will become the artist's husband. Together with him, Goncharova participated in various Russian and European exhibitions. The creative upsurge of the young artist was associated with 1906, when Goncharova came to grips with paintings in the spirit of primitivism. The artist is attracted by the theme of peasant art. She seeks to know the essence of the people's creativity in all its depths.

Later, Goncharova would work in other styles, actively using the traditions of different eras. At this time, the paintings "Mother", "Round Dance", "Cleaning of Bread", "Evangelists" appeared.

In 1913, Goncharova worked a lot on illustrations for literary works, including the publications of S.P. Bobrova, A.E. Kruchenykh, V.V. Khlebnikov. Since 1914, the artist has designed theatrical performances such as The Golden Cockerel. In the late period of creativity Goncharova creates many works that support the idea of ​​non-objective art. At this time, the paintings "Radiant Lilies", "Orchids" appeared.

In 1915, Goncharova and her husband left for France. Here the artist's life will end on October 17, 1962.

Natalia Goncharova- Russian artist, painter, graphic artist, theater artist, book illustrator. A representative of the Russian avant-garde of the early 1910s, one of the brightest set designers of the 20th century.

Natalya Sergeevna Goncharova was born on July 3, 1881 in the village of Ladyzhino, Tula Region. Belonged to the old noble family of the Goncharovs, was a great-uncle's wife Alexander Sergeevich Pushkin.

Sergey Mikhailovich, Natalia's father, was an architect, a representative of Moscow Art Nouveau. Mama Ekaterina Ilyinichna- the daughter of a Moscow professor of the Theological Academy. The artist's childhood was spent in the Tula province, where her father owned several villages and estates, which instilled in her a love of rural life. It is with this that art historians associate the decorativeness of her mature work.

In 1891, when the girl was 10 years old, the family moved to Moscow.

Education

In Moscow, Natalia Goncharova entered the women's gymnasium, which she graduated in 1898 with a silver medal.

Despite her penchant for drawing, in her youth, Goncharova did not seriously consider the opportunity to become an artist.

She entered medical courses in 1900, but dropped out after three days. In the same year, she studied at the Faculty of History of the Higher Courses for Women for six months.

Then she became very interested in art and a year later entered the Moscow School of Painting, Sculpture and Architecture, in the sculpture class of S. Volnukhin and P. Trubetskoy.

In 1904 she received a small silver medal for her work, but soon left her studies.

Natalia Sergeevna Goncharova Photo: Commons.wikimedia.org

Meeting with her husband

While studying at the Moscow School of Painting, Sculpture and Architecture, Goncharova met her future husband: a painter Mikhail Larionov... Meeting with him changed the life and intentions of the girl: she begins to write a lot and look for her own style. It was Larionov who advised her not to waste time on sculpture and take up painting. “Open your eyes to your eyes. You have a talent for color, and you are engaged in the form, ”he said.

In 1904, Goncharova returned to her studies, but moved to the painting studio to Konstantin Korovin... Goncharova's early works were paintings in the spirit of impressionism. The girl did not abandon the sculpture and in 1907 she received another medal.

In 1909, Natalya finally decides to leave her studies. She stops paying tuition fees and is expelled from school.

Having connected her life with Mikhail Larionov, she shared his aspirations and artistic views. Goncharova tries herself in many areas of painting: cubism ("Portrait of M. Larionov", 1913) and primitivism ("Washing the canvas", 1910).

At this time, the artist was attracted by the theme of peasant art. She seeks to know the essence of the creativity of the people. Goncharova returns to decorative and applied art: she writes drawings for wallpaper, decorates the friezes of houses.

Reproduction of painting by Natalia Goncharova "Canvas Washing". 1910 year. Photo: « RIA News »

From 1908 to 1911 she gave private lessons at the painter's art studio Ilya Mashkov.

Illustrating

The artist participated in the activities of the society of futurists, collaborating with Velimir Khlebnikov and Alexei Kruchenykh... Friendship with the futurists led her to book graphics. In 1912, Goncharova designed the books of the Kruchenykh and Khlebnikov "Mirskonts", "The Game in Hell". She was one of the first book graphic artists in Europe to use the collage technique.

Exhibitions

On March 24, 1910, in the premises of the literary and artistic circle of the Society of Free Aesthetics, Goncharova organized her first solo exhibition, at which 22 paintings were presented. The exhibition lasted only one day: because of the presented painting "The Model (against a blue background)" Goncharova was accused of pornography, several works were confiscated. The court soon acquitted her.

In 1911, together with Larionov, she organized the Jack of Diamonds exhibition, in 1912 - The Donkey's Tail. Further - "Targets", "No. 4". The artist was a member of the Munich Blue Rider Society. Goncharova actively supported numerous actions and initiatives of that time.

In 1912, at the famous exhibition "Donkey's Tail" Natalia Goncharova exhibited a cycle of 4 paintings "Evangelists". This work infuriated the censors with its non-trivial portrayal of the saints.

In 1914, a large personal exhibition of Goncharova's works took place, 762 canvases were exhibited. But also not without a scandal: 22 works were removed, after which the censors went to court, accusing Goncharova of blasphemy.

In 1915, the last exhibition of Goncharova's works in Russia took place. In June Diaghilev invites Goncharova and Larionov for permanent work in his "Russian Seasons", they leave Russia.

Emigration

Goncharova and Larionov arrived in France, where the couple stayed until the end of their lives. The revolution prevented them from returning to Russia.

They settled in the Latin Quarter of Paris, where the whole bloom of the Russian emigration loved to be. Goncharova and Larionov organized charity balls for aspiring painters. Their house was often visited Nikolay Gumilyov and Marina Tsvetaeva.

Goncharova worked a lot in Paris, her cycles "Peacocks", "Magnolias", "Thorny Flowers" speak of her as a mature painter. Marina Tsvetaeva wrote: “How does Natalia Goncharova work? Firstly, always, secondly, everywhere, thirdly, everything. All themes, all sizes, all methods of implementation (oil, watercolor, tempera, pastel, pencil, colored pencils, charcoal - what else?), All areas of painting, everything is taken and gives every time. The same phenomenon of painting as a phenomenon of nature. "

Natalia Goncharova. Peacock in the bright sun, 1911 Photo: Commons.wikimedia.org

However, Goncharova devoted most of her strength to work in the theater. Until Diaghilev's death in 1929, she was one of the leading artists of his enterprise. She designed the ballets "Spanish Rhapsody" (to music M. Ravel), "Firebird" (to music I. Stravinsky), "Bogatyrs" (to music A. Borodina), the opera "Koschey the Immortal" (to music N. Rimsky-Korsakov).

In the fifties, Natalya Sergeevna painted numerous still lifes and canvases of the "space cycle".

In the sixties, there was a revival of wide interest in the art of Larionov and Goncharova, their exhibitions were held in many countries and cities of Europe and America. In 1961, in London, the Arts Council of Great Britain organized a large retrospective of the works of Larionov and Goncharova.

Natalia Goncharova died in Paris on October 17, 1962. Buried in the cemetery in Ivry-sur-Seine.

After her death, the Museum of Modern Art in Paris dedicated a major retrospective to her and Larionov.