Natalia Goncharova












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Green Forest (1912)

Natalia Goncharova

 

Life: 1881- 1962 (1)

 

Country: Russia

 

Style(s): Cubism; Post-Impressionism

 

Works:

      Green and Yellow Forest (1912)

      Electric Lamps (1912)

      Green Forest (1912)

      The Cyclist (1912-13)       

      Cats (1913)

Fun Fact: She did stage design work for Sergei Diaghilev for the Ballets Russes in Paris (where she lived with her husband Mikhail Larionov) after 1917. Her productions included Rimsky-Korsakov’s opera Le Coq d'or (1914), Liturgie (rehearsed in 1915 but never staged), and Stravinksy’s Les Noces (1923) (3). She experimented with icon-painting, Cubo-futurism, and Rayonism, a style developed by her hsband (4).

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The Cyclist (1912-13)

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Green and Yellow Forest (1912)






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Electric Lamps (1912)

        You finally find Natalia Goncharova, a very prolific Russian painter. You are astounded by the paintings decorating her apartment as they range from cubism to icon-painting to Cubo-futurism to Rayonism, a style developed by her husband which she took and experimented with (4). She also did stage-design work for Sergei Diaghilev for the Ballets Russes in Paris (where she lived with her husband Mikhail Larionov) after 1917. Her productions included Rimsky-Korsakov’s opera Le Coq d'or (1914), Liturgie (rehearsed in 1915 but never staged), and Stravinsky’s Les Noces (1923) (3). As soon as you meet Goncharova, you realize that she is a very dynamic artist who is not afraid to take risks and try new things.

            You end up looking at some of her post-impressionism paintings and again are amazed. Her range of

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Cats (1913)

styles is impressive. Her walls are covered with abstract cubism paintings right next to a post-impressionism forest besides a realistic-looking portrait.

            However, her knowledge of Chucky is disappointing. She knows nothing and is much less helpful than Klinger. All she can tell you is that there is a German expressionist artist named Gabriele Münter who might be able to help you. She beckons you to lean close to her and then she secretively whispers in your ear that she and Münter, both female artists, will die in the same year (2). Then she shoos you out of her house and leaves you standing on her front steps, perplexed.

Gabriele Münter































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