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Natalia Goncharova (1881-1962)

Natalia Goncharova belonged to an ancient noble family, wife, granddaughter of a cousin of Alexander Pushkin. Before the start of the arts, Goncharova attended classes at the University of Moscow. In 1901 entered the Moscow School of Painting, where she studied at the sculpture department at St. Volnukhin and PP Trubeckogo. in 1904 for his sculptural work, she received a silver medal and soon left school.

In the 1900s. Goncharova traveled a lot, but then began to paint. Her early impressionistic work successfully demonstrated at exhibitions MTX "World of Art", etc. In 1906 she was invited by SP Diaghilev to participate in the Russian section of the Salon d'Automne in Paris.

Even in college Goncharova met M. Larionov , who soon became the acknowledged leader of the Russian avant-garde artists. Goncharova tied it with his personal and creative life, has been a regular participant of all of his artistic endeavors. Their names are inseparable in the history of Russian art. Just like Larionov, the artist had an interest in Cubism and Futurism, and in 1906 became involved primitive.

Goncharova neo-primitivism - a huge contribution to the art of her early XX century. Artist drew inspiration from a Russian icon, folk popular prints, in the pagan idols of stone "broads." Folk art and religious paintings are inspired by her painting "Harvest" (1908), "Fishing" (1909). Primitive power emanates from the "Idols" (1908-09). The peculiarity of her painting was the use of flat color patches outlined a clear outline, reminiscent of Gauguin techniques, the impact of which have experienced many Russian artists.

In 1911-12. Goncharova began to practice the principles of Rayonism developed Larionov. Among the most famous works of this time it is "cyclist." But again and again back to the primitive artist. Goncharova participated in all exhibitions of the "left" of artists. Contemporaries called it A. Exter and O. V. Rozanov "Amazons Russian avant-garde." Goncharova's work is not always met with understanding. In 1911, with the exhibition "Jack of Diamonds" police demanded to remove the picture of the "God of Fertility." In 1912, the church censorship opposed four-part series "Evangelicals" shown at the "Donkey's Tail."

Separate page biography of Goncharova is her work on the futuristic publications. In 1912, there were issued on the initiative of the poet AE twisted lithographed postcards with pictures Goncharova. The plot of "Peacock" showed a relationship with a young avangardistki traditional art. In 1913, she illustrated editions of poets Vladimir Khlebnikov, A. Kruchenykh, KA Bolshakov, SP Bobrov in this case was almost the only one of the Futurists, who was not afraid of narrative, "literary" their works.

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