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Mikhail
Larionov
Russia 
1881−1964
Biography and information
 

What Larionov was a pioneer who laid the groundwork for the emergence of the Russian avant-garde. It luchism was not particularly popular, but it all started with him. Mikhail Larionov encouraged to take absurd make for great, required to learn from children and livesocial, denying academics. He is perhaps the only artists lived a long life with a woman equal to him in talent, and in the same field. But Natalia Goncharova common grave in Paris lie the remains of another woman.

How it all began

Mikhail Larionov (22 may (3 June) 1881 — may 10, 1964)born in Tiraspol, the family soon moved in Zamoskvorechye. He studied painting at the Moscow school of painting, sculpture and architecture from artists such as Isaac Levitan, Valentin Serov and Konstantin Korovin. He entered the school in 1898 and almost immediately became acquainted with the main woman of his life Natalia Goncharova (granddaughter of a cousin of the "same" Natalie Goncharova, Pushkin’s wife).

As an artist Larionov started very successfully, with impressionistic landscapes and still lifes. This period lasted until 1906. Larionov was fascinated Claude Monetespecially like the student came to the idea of a Frenchman to portray the Rouen Cathedral at different times of day and under different lighting conditions. Larionov decided to keep up with Monet and wrote a set of variations on the theme rickety shed. And Nude women, that looked from the paintings of Larionov, forced the leadership of the school to exclude him with the words "for corrupting influence on the comrades."

In the summer Larionov went to his native Tiraspol, where he wrote his impressionist landscapes: "Acacia in the spring","The garden",The "flowers".In some paintings of that period have already felt the impending passion of Larionov’s neo-primitivism ("Bathers at sunset"). These paintings Larionov exhibited in the Society of Russian watercolors and "art World". Collectors happy to buy them, and Sergei Diaghilev had even invited him to participate in the exhibition in Paris.

The era of neo-primitivism in the works of Mikhail Fedorovich

In 1906, in the Russian exhibition of the Salon d’automne in Paris, paintings Larionov made a splash. And he was shocked by the Paris. It turns out that Monet yesterday, and the characters of the present time — Van Gon, Cezanne, Gauguin. From morning till night Larionov wandered around the museums and exhibitions. Surprisingly, a close acquaintance with European painting made him not a follower, but an innovator. He returned to Russia and began the era of neo-primitivism Larionov.

Larionov proclaims the best teachers of the creators of signs. Indeed, "Hairdressing" clearly focused on the viewer, they deliberately demonstrative. Larionov flirts with splint and not smile, as a polite man, "nation", referring to the invisible but distinct "well, we all know". He is immersed in this world. Actually, this is one of the features of neo-primitivism — it is in any case not styling, he is displaying a vulgar Outlook on life. Not "let's imagine for a moment the point of view of a soldier, sitting comfortably in our secular living" and are near the soldier, be him. Some pictures of the master acquires the Tretyakov gallery, which was considered the undisputed indicator of success.

"Radiant paintings" Larionov and body art on a woman’s breast

French innovators for Mikhail Fedorovich springboard. It creates a drastic new direction — luchism. Criticism only svechina with his paintings in the genre of neo-primitivism, in trouble again. "Which depicted nature? Where moments of life? Where the beautiful women at the end of it all!?", to no avail they ask, but Larionov says that to do this, mankind has invented a camera, and writes "radiant paintings".

The artist is sure that everyone (even fool), experiencing any feelings, emits radiant energy. A partner perceives these rays and generate a response. He encourages them to draw. And this is the revolutionary influence of Larionov. All the rest somehow repelled by objectivity and Larinov flick of the wrist sent her to the scrap. "Perception is not the object itself, and the sum of rays from it" calls to portray Larionov and thus breaks a barrier: you can not just depict objects strange and different, and you need to portray at all not items!

The new direction was not immediately accepted and not all. Most effective "PR campaign" Larionov and his faithful companion Natalia Goncharova acknowledged the scandal, what to do, there is nothing new under the sun. They organize exhibitions and shocking as today we would say, performances. In parallel Larionov scribbles one after the other manifestos, in addition to the software "Luisma".

In the "Manifesto to the woman," the master encourages ladies to bare Breasts, you want to paint or tattooing. The law of men’s fashion in the "Manifesto to the men," says the asymmetry. Vulgarity and obscurantism, is to wear a mustache: you need one of us! And half beards should shave and men’s feet should be bare, tattooed and sandals (no socks).

Soon the exhibition "distinguished audience" a new service — you can colour the famous Larionov. Women Larionov offered to paint articulated in the Manifesto part of the body, and the ladies stood in line for such a juicy body art…

Emigration, ballet and "friends family"

At the invitation of Sergei Diaghilev in 1914, the most outrageous pair of Russian avant-garde (registered their relationship much later) went to Paris to cooperate with the "Russian seasons". Forever, but they don’t know it yet. It was supposed to be to draw the scenery, but suddenly Larionov begins to show interest in other sides of the process — it is involved in productions as a set designer and sometimes writer (writing manifests not in vain), and eventually as co-Director and choreographer. Often argues with Diaghilev, who already knows the talent Larionov and entrusted him with the education of young dancers. The result? From the "pen" Larionov were such world-famous dancers Leonid Massine and Sergei Lifar.

In October 1917 at Larionov and Goncharova planned to return to Russia. And in Russia at this time too much planned… For the 18th year, Larionov understands that France will have to stay. He continues to work and passion for ballet and, to be honest, ballerinas, sometimes pushes the painting.

Larionov was a great addition to the world of Bohemian Paris. He will become friends with the poet Guillaume Apollinaire, writer Jean Cocteau, painters Pablo Picasso and Fernand Leger. The Bohemian environment was not surprised strange family schemes, so the fact that the house Larionov settled a close friend of Natalia Goncharova Orestes Rosenfeld, and after a while — more than a close friend Larionov, Alexandra Tomilina, no one of shokiruet. Rosenfeld — emigrated Russian Menshevik, and Shurochka as she was known Larionov, the daughter of a Moscow banker, also emigrated to Paris.

Another woman Mikhail Larionov

Alexandra Tomilina for 30 years was the mistress Larionov, in fact, the civil wife. Her apartment was in the same building, one floor below, its existence to Natalia Goncharova was no secret. Vacation went or four "friends of the family", or Larionov and Goncharova together.

Mikhail Larionov married his main Muse Natalia Goncharova in 1955. Primarily this was due to concern about the inheritance in case of death of one of them the second one inherits all the property. In 1962, Natalia Goncharova died, and Larionov married faithful Tomilina. It warmed a big dream — he wanted his and Goncharova’s paintings hit home. In the artist’s life this happened.

In 1962 Mikhail Larionov died, and only in 1978 Alexander Tomilin wrote his will on the Soviet government. Transfer huge files Larionov and Goncharova took place only in 1989, when it was settled regulatory matters, and in the Tretyakov gallery has a dedicated space for the archive Larionov. Alexandra Tomilina bequeathed to be buried in the tomb of Larionov and Goncharova, and it was done.

Author: Alain Esaulova

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The ‘Knave of Diamonds’! No prominent Russian avant-garde artist was able to give that society the go-by. Moreover, it was nothing else, but the ‘Knave of Diamonds’ that gave rise to them all. Now they are recognised as the pioneers and the gold standard of avant-garde. All artists, now classical, once were rebels, and the Diamond-Knavers were not an exception. Mikhail Larionov , Natalia…
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Mikhail Larionov. Fish
Fish
Mikhail Larionov
1906, 93.5×104 cm
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Whole feed
Artworks by the artist
355 artworks total
Mikhail Larionov. Spring
16
Spring
1920-th , 81×65 cm
Mikhail Larionov. Fishes at the setting sun
12
Fishes at the setting sun
1904, 100×95.5 cm
Mikhail Larionov. Officer hairdresser
7
Officer hairdresser
1909, 117×89 cm
Mikhail Larionov. Venus and Michael
11
Venus and Michael
1912, 68×85.5 cm
Mikhail Larionov. Soldier on horseback
3
Soldier on horseback
1911, 99.1×87 cm
Mikhail Larionov. Radiant landscape
2
Radiant landscape
1912, 71×94.5 cm
Mikhail Larionov. Province Street
1
Province Street
1910, 48×65 cm
Mikhail Larionov. Portrait of the poet Velimir Khlebnikov
3
Portrait of the poet Velimir Khlebnikov
1910, 136×106 cm
Mikhail Larionov. Girl at the hairdresser (Lady Hairdresser)
7
Girl at the hairdresser (Lady Hairdresser)
1920-th , 159×152 cm
View 356 artworks by the artist