Mikhail Larionov

description

A Russian artist, decorator, graphic artist, one of the bright and active founders of the Russian avant-garde in its several directions. He worked in the styles of late Impressionism and Fauvism, Primitivism and Futurism, Rayonism, Surrealism.

The artist was born into a military paramedic’s family. Mikhail liked to paint from childhood and often returned to Tiraspol for summer sketches.

Larionov was the inventor and theorist of the style of “Rayonism”, which was recognized in the history of the world culture and was a forerunner and an integral part of the non-objective art, but existed mainly in Russia. Bright organizational talent manifested itself in the organization of famous groups “Jack of Diamonds” and “Donkey’s Tail”. As a decorator and costume designer, he worked in many productions of S. Diaghilev’s Russian Ballets.

In Paris, Larionov appeared as a graphic artist and as an outstanding theater artist. His sketches for decorations and costumes became independent works and were included in collections of museums and private collections, like “Lady with a fan”.

Whatever Larionov created, his living art has an amazing ability not to leave the viewer indifferent.

Key Ideas:

All the art of M. Larionov is permeated with the spirit of the experiment. And the frequent change of styles in his work reflects the entire dynamism of the arrival of innovative tendencies in Russia.

The early (until 1906) period is a whole series of impressionistic exquisite landscapes and still lifes that organically developed this picturesque style in line with the traditions of Levitan and Korovin. Among late impressionists, it is difficult to find a master more refined than Larionov. His subtle sense of tonality gradations and color gift were backed up by a direct live impression of nature – the artist spent the summer in Tiraspol, often painted in the open air.

Using the achievements of Post-impressionists and Fauvists, Michael focused on the active picturesque surface, used accent spots, clear lines and the pressure that will be inherent in Expressionism.

Experiencing a passion for naive art, the artist simplified forms to the limit, deprived the composition of the perspective, as in “The Soldier on a Horse.” And soon after this qualitatively new turn in the development of Primitivism, he began to completely destroy the usual ideas about the forms of objects. After the series “New primitive” with its clearly represented objectivity, the series named “Seasons” was created, where the artist came close to the simplification and generalization of the depicted, which was logically followed by Rayonism.

M. Larionov “outlives” almost entirely objective beginning, replacing it, by his definition, the life of nature itself with “the life of painting”. His Rayonism was figurative, where the image could be clearly read, and abstract, as on the cover of a book by A. Kruchenykh.

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1881

1890

1902 - 1909

1910 - 1911

1912

1913 - 1914

1914 - 1917

1920 - 1930

1940 - 1950

1961 - 1962

1964

1980

The birth of the artist

Mikhail Larionov was born on June 3, 1881, Tiraspol (now the capital of Transnistria, before – Kherson province of the Russian Empire).

The family moved to Moscow

The family moved to Moscow, where Mikhail graduated from Voskresensky’s real school, and then studied at the Moscow School of Painting, Sculpture and Architecture (since 1898). The teachers were Levitan, Serov, Korovin. Met artist Natalia Goncharova, who became his soulmate in arts, and a companion of all life (they got married in 1955). Participated in exhibitions MUZHVZ, Union of Russian Artists, “World of Art”, “Golden Fleece”, etc., in several biennials in Venice.

Participated in the Parisian Autumn Salon

Got acquainted with the Moscow private collections of Shchukin and Morozov, in particular, with new French painters and worked in the style of late Impressionism. At the invitation of Diaghilev, participated in the Parisian Autumn Salon (1906), and, falling under Fauvism and under the Naïve art, began to write in a primitivistic manner (the cycle named “New Naive”). He exhibited “The Glass”, the first canvas in the style of Rayonism.

"The Jack of Diamonds"

Became the initiator and author of the title of the exhibition “The Jack of Diamonds”, retaining it for grouping. Together with Goncharova, Le Dantu, the brothers Zdaneviches he outlined a new direction of search, which denies the orientation towards French painting.

"Donkey's Tail"

Became the organizer of the exhibitions of the creative group named “Donkey’s Tail”. Developed his own artistic concept, called “Rayonism”. It became one of the first examples of abstract art in the section of the so-called “non-objective creativity”. The shapes of depicted objects, according to the innovator, were formed due to reflections of the rays from the objects and as a result of their intersection.

Actively participated in the organization of the exhibition "Target"

Actively participated in the organization of the exhibition “Target”, where he collected works of the naivists, including Pirosmani. In the film named “Drama at the Futurist Cabaret No. 13”, in the preserved frame, Mikhail was captured with half-naked Goncharova in his hands. He designed ballet “The Golden Cockerel” at the Bolshoi Theater. Organized exposition “№ 4. Futurists, radiant and primitive”. On the recommendation of Benois, he was invited by Diaghilev to Paris, where he had a successful solo exhibition at the gallery of P. Guillaume.

Was called up for the military service

Was called up for the military service with the outbreak of the First World War, but soon, having got wounded, he was commissioned and participated in the exhibitions of “Youth Union”, “Tram B” (1915), “Blue Rider” in Munich, Post-impressionists in London. After settling in Paris, he continued his cooperation with Diaghilev in Russian Ballets, creating costumes and scenery for such productions as “Midnight Sun” (1915), “Kikimora” (1916), “Russian Fairy Tales” (1917, together with Goncharova). Because of the revolution, he never returned to his homeland.

Acted as a choreographer and designed ballets "The Jester"

Acted as a choreographer and designed ballets “The Jester” (1921, together with T. Slavinsky), “Fox” (1922 and 1929); returned to the figurative early manner of painting and the chamber genre (mostly still life). Collaborated with the Opera-ballet by Michel Benois (“Classical Symphony”, 1931) and with Paris Theater “Pigalle”.

Developed already found ideas in painting and graphics without experimentation

Developed already found ideas in painting and graphics without experimentation. Painting is deprived of sparkling, but refinement appears, as in canvas “Girl”. Partly felt the influence of Surrealism.

The Arts Council of England organized a large-scale exhibition of Larionov and Goncharova in London

The Arts Council of England organized a large-scale exhibition of Larionov and Goncharova in London. A year later (after the death of his wife), no less grand retrospective was devoted to the couple in The Museum of Modern Art in Paris. Soon almost 80-year-old Mikhail married A.K. Tomilina, who was actually his civil wife for 30 years and became his heiress. She fulfilled the artist’s dream: his and Goncharova’s paintings were in his homeland. Tomilina donated most of the work to the Tretyakov Gallery in 1989.