Natalia Sergeyevna Goncharova
|Winter. Gathering Brushwood 1911|
Oil on canvas 132,3х96,7
In 1913 she entered her most productive period, painting dozens of canvases. In her Neo-primitive works she continued to explore the styles of Eastern and traditional art forms, but also experimented with Cubo-futurism (see The Cyclist, painted in 1912-13), and adopted Larionov new style of Rayonism. Her famous Cats (1911-12) and Green and Yellow Forest (1912) show how confidently she was able to work in the Rayonist style, developing her own artistic idiom independently of Larionov. In August 1913, Goncharova attracted international attention exhibiting over 700 paintings in an one-woman show . During this period she was, like Larionov, associated with the literary avant-garde. In 1914 Goncharova visited Paris to make designs for Dyaghilev's production of Le coq d'or. Her designs, based on Eastern and Russian folk art, took Paris by storm. She also held a joint exhibition with Larionov at the Galerie Paul GuGoncharova N.S.illaume. She returned to Moscow after the beginning of the war. At the request of Dyaghilev, Larionov and Goncharova left Russia for Switzerland in June 1915. In 1916 they accompanied Diaghilev to Spain and Italy. Spain left an everlasting impression on Goncharova. She was especially moved by the bearing of Spanish women in their mantillas. From that moment on, Espagnoles became her favorite subject. In 1919 Larionov and Goncharova settled permanently in Paris; they were granted citizenship in 1938. During the Paris period, Goncharova became famous for her theatrical designs. In the 1920s she developed her own idiom for her series Espagnoles and for many paintings with bathers. Following Diaghilev's death in 1929, Goncharova's creative powers declined only to be briefly revitalized by the public rediscovery of Rayonism in 1948. After Larionov's stroke in 1950, Goncharova's health also started to decline, and although the couple married in 1955, their last years were spent in poverty. ...