Mikhail Larionov


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Larionov, Mikhail Fedorovich

 

Born May 22 (June 3), 1881, near Tiraspol’, Moldavia; died May 10, 1964, in Fontenay-aux-Roses, France. Russian painter, graphic artist, and stage designer.

Larionov studied at the Moscow School of Painting, Sculpture, and Architecture from 1898 to 1910 under A. Serov and I. I. Levitan. From 1902 to 1906 he worked in the late impressionist style—for example, Lilac Bush in Flower (1904, Tret’iakov Gallery). He visited Paris in 1906, and, influenced by fauvism and naïve art (that is, lubok, or cheap popular prints, and commercial signs), began painting in the primitivist manner in 1907. With a precise line and richly decorative coloring, he painted harshly grotesque scenes from provincial and military life—for example, Soldier at Rest, 1911, and Spring, 1912 (both in the Tret’iakov Gallery).

In the early 20th century, Larionov and N. S. Goncharova began organizing exhibitions by Moscow’s “leftist” artists, including the groups Jack of Diamonds (1910), The Donkey’s Tail (1912), and Target (1913). The contradictions in his art led him to create rayonism (luchizm) in 1911. One of the first examples of abstract art, it proved to be a dead end as an artistic system. In the second decade of this century, Larionov did illustrations for the futurist poets, including Pomade by Kruchenykh, published in 1912.

After 1915, living in Paris, he designed decor and costumes for S. P. Diaghilev’s ballet company: two of his productions were Liadov’s Russian Tales (1916, with Goncharova) and Prokofiev’s Joker (1921). He returned to his earlier painting style, creating intimate genre paintings and still lifes.

WORKS

Luchizm. Moscow, 1913.

REFERENCES

Istoriia russkogo iskusstva, vol. 10, book 2. Moscow, 1969. Pages 38, 104, 125–30.
Sarab’ianov, D. “Primitivistskii period ν tvorchestve Mikhaila Larionova.” Russkaia zhivopis’ kontsa 1900-x - nachala 1910-x godov. Moscow, 1971.
George, W. Larionov. Paris, 1966.

G. G. POSPELOV

References in periodicals archive ?
Mikhail Larionov and the cultural politics of late imperial Russia.
But rarely has attention focused on one of the very greatest 19th-century landscape artists: Isaak Levitan (1860-1900), who almost single-handedly modernised Russian landscape painting and paved the way for artists such as Igor Grabar, Mikhail Larionov, Natalia Goncharova, Marc Chagall and Wassily Kandinsky.
Ever since Camilla Gray's The Great Experiment (1962) Natalia Goncharova has seemed especially icon-attuned, along with her husband Mikhail Larionov, Kazimir Malevich, and rather differently, Vladimir Tatlin.
A fascination with the Russian avant garde led him to purchase the works of Kasimir Malevich and Mikhail Larionov, as well as such female painters as Liubov Popova, Olga Rozova and Natalia Goncharova.
Artists of the Russian avant-garde such as Alexander Archipenko, Mikhail Larionov, Kazimir Malevich, and Liubov Popova combined political and social concerns with their stylistic innovations.
The earliest paintings in his oeuvre describe gaudy primitivist female figures and these make explicit reference to Mikhail Larionov, the Moldovan Modernist who painted gypsy Venuses in folk style, deliberately eschewing Western influence.
Robbins' collection included drawings by Elie Nadelman, oils by Ralph Fasanella, and set and costume designs for the Ballets Russes by Leon Bakst, Mikhail Larionov and Alexander Benois.
has developed his interest in the Russian avant-garde over the past 30 years, and it was initially his interest in Goncharova's partner Mikhail Larionov (about whom he has also written) that brought him to Goncharova.
It included works by Mikhail Larionov (1881-1964) and Natalia Goncharova (1881-1962), a partnership of seminal importance in Muscovite art circles until they were whisked away to Paris by Diaghilev to work for his Ballets Russes in 1914.
Founded in 1909 by Mikhail Larionov and his wife, Natalia Goncharova, it included Malevich, Ilya Mashkov and Pyotr Konchalovsky.