Larionov Mikhail Fedorovich

Main article: Culture of Russia

Mikhail Fedorovich Larionov - Russian artist. The first Russian avant-garde artist. The creator of one of the first directions of avant-garde painting - radiation.

Born May 22, 1881 in the fortress of Bender, located near Tiraspol, Kherson province in the family of a military physician and the daughter of a local agronomist. Before marriage, her mother was engaged in painting and all three of her children inherited this passion: the artist was Ivan, who died in the First World War, the brother of Mikhail Larionov, the sister of Ksenia Yevgeny ^[1] well modern painting.

1895: Moving with his family from Tiraspol to Moscow

In 1895, at the age of 14, Mikhail Larionov moved with his family to Moscow - first to Chistye Prudy, then to the house in Vvedensky ^[1]

Mikhail Larionov entered the real school of Voskresensky - one of the most famous educational institutions in Moscow. Unlike the official gymnasium program, focused mainly on the humanities and languages, there was an emphasis on mathematics, physics, chemistry, that is, the school gave a "real" education.

The educational building of the school was located in the house of E. A. Lipgart and Ringel on Myasnitskaya street (house 47) (now Myasnitskaya St., 43). Training was dominated by technical bias. Among the graduates of the school there were many famous personalities in the future. Among others, in 1876 he graduated from Mikhail Nesterov - an outstanding Russian and Soviet artist-painter.

1898: Admission to MUZHVZ

In 1898 Larionov entered the Moscow School of Painting, Sculpture and Architecture in the general educational department.

During this period, changes took place at the school: new teachers came - V.A. Serov, K.A. Korovin, excellent professors taught general subjects, including a history course taught by V.O. Klyuchevsky. Among others, Larionov met Vladimir Mayakovsky at the school.

In 1913, Larionov himself proposed the following periodization of his work:

• from 1900 to 1907 - impressionistic and transitional works to synthesis (including under the influence of Korovin);
• from 1907 to 1912 - synthetic, cubistic, futuristic and primitive;
• since 1912 - radiant and pneumolucent (presented in a separate article "Radiism").

1900: Works impressionistic and transitional to synthesis

From the Moscow School of Painting, Sculpture and Architecture, where Larionov was considered one of the most talented, he was expelled, and twice. According to legend, once, since he continued to go to classes, he was bought a ticket to Tiraspol and made sure that he took the train and no longer appeared at the school. And why was he expelled? For drawings that were considered obscene, even pornographic^[2].

In 1901, Mikhail Larionov met his future wife Natalya Goncharova, who also studied at MUZHVZ.

In 2012, at the MacDougall's auction, Mikhail Larionov's work "Flowers on the Veranda" was sold at the lower bound of the estimate for 1.1 million pounds ($1.9 million)^[3].

In 1903, Larionov and Natalya Goncharova began to live together and in the same year made a kind of "wedding" trip, first to Tiraspol, then to Odessa. This was their only joint summer trip, in subsequent years Larionov and Goncharova will look for inspiration each in the places of their childhood: she is in the Kaluga province, in the former estate of Goncharov Polotnyaniy Zavod, he is in ^[1]

In 1903, Mikhail Larionov met Sergei Diaghilev.

In 1904, collector I.I. Troyanovsky acquired ten Larionov pastels.

In October 1906, at the invitation of Sergei Diaghilev, Larionov went to Paris to participate in the Exhibition of Russian Art at the Autumn Salon. Exposes impressionistic works, awarded the title of "life member" of the Autumn Salon. Attends Paul Gauguin retrospective exhibition. In London, he meets the painting of William ^[1]

1907: Synthesis, Cubism, Futurism and Primitive

In 1907, Mikhail Larionov, together with David Burlyuk, organized the exhibition "Wreath - Stefanos."

In 1908, Larionov and Goncharova settled in Trekhprudny Lane (in a house designed by S.M. Goncharov, the artist's father), where they received their own apartment, consisting of three rooms, one of which was adapted for ^[1]

In 1908-1910, Larionov participated in the organization of the Golden Fleece exhibition series (1908-1910) and in the publication of the magazine of the same name, published articles (No. 2-3, 11-12^[1]

Larionov said: "Everything that has been established in art oppresses me. I feel the breath of stagnation in it and it chokes me. I would like to escape from the walls into limitless space. I want to feel in constant motion. "

1910: Exclusion from MUZHVZ, rest in the south near Burlyukov, graduation from college, "Jack of Diamonds," army, personal exhibition

In the spring of 1910, Larionov was once again expelled from MUZHVZ, this time with a group of young artists (A.V.Kuprin, A.V.Lentulov, I.I.Mashkov) "for excessive fascination with French infection" by modern painting by French masters. Repeatedly submits petitions for restoration among ^[1]

In a 1910 article, Benoit first formulated the concept of "avant-garde," dividing all Russian art into avant-garde, center and rearguard. He ranked himself and the Miriskusniks in the center; the rearguard is the Union of Russian Artists, the Moscow School, Korovin and so on. But the avant-garde is young people: Mikhail Larionov, Georgy Yakulov, Pavel Kuznetsov^[4].

In the summer of 2010, Larionov and Goncharova live on the Burlyukov estate in Chernyanka, Kherson province, where they meet the poet Velimir Khlebnikov.

Returning to Moscow, Larionov invited artists expelled from MUZHVZ to unite and form their own exhibition. He also came up with a name for her - "Jack of Diamonds." In French (this meaning was also known in Russia), the nickname Jack of Diamonds meant "swindler," a tambourine ace marked the clothes of convicts in Russia, and finally, in the popular novel by P. de Terail, a gang of blackmailers called themselves "chervon jacks." The name "Jack of Diamonds" put on the poster caused widespread indignation and, because of its scandalous nature, played into the hands ^[1]

After being expelled from school, the artist was threatened with a three-year stay in the barracks as a soldier. At the end of 1910, he filed a petition with the MUZHVZ Council to award him the title of artist and finally completed his studies. In 1910-1911, Larionov still finds himself in military service, but as an officer.

He served first in the Kremlin, then - near St. Petersburg. The service did not take all the time, so the artist managed not only to visit museums and arrange exhibitions, but also to paint paintings. New impressions resulted in the famous "Soldier Series" ^[1]

On December 8, 1911, Mikhail Larionov organized his one-day art solo exhibition. It showed 124 paintings. There was a lot of interest in the exhibition. Almost all newspapers that were generally interested in art published their responses. The same thought passed through the red thread in all reviews: this is an artist who is developing in a completely unusual way. And almost all reviewers rated this evolution negatively. They even came up with a name for her - "progressive paralysis" (as one of the articles was called). Just as the senses of a sick person are gradually taken away from Larionov, the reviewer believed, the drawing, aesthetic feeling, color, plot are sequentially taken away in his art.

Critics pointed to the artist's transition from poetic high, from beauty - to base, to everyday, to ugly, to what did not fall into art before (and, as people believed in 1911, and should not fall into art).

National Museum of Contemporary Art, Centre Georges Pompidou, Paris]]

1912: Luchism

Main article: Radiation (Rayonism)

Luchist works by Mikhail Larionov are presented in the article "Luchism."

Mikhail Larionov showed the Soldier's Series in Moscow in 1912 at the Donkey Tail exhibition.

In 2007, "Still Life with a Jug and an Icon" became Sotheby's bidding leader. Experts estimated the picture at $2-3 million and predicted that it would become the star of the auction. And so it turned out. During the auction, the struggle broke out between the person in the hall and the participant offering the price by phone. As a result, the canvas was sold for $4.5 million^[3].

1913: Futurism

In 1913, Larionov offers several futuristic projects, including futuristic makeup, fashion, cuisine and theater.

In 1913, Mikhail Larionov participated as an actor and one of the authors of the script in the film "Drama in Cabaret No. 13." The film apparently did not survive, except for a photograph of one frame.

On August 1, 1914, Mikhail Larionov was mobilized in connection with the outbreak of World War I. Participates in hostilities in East Prussia. On August 30 of the same year, he was shell-shocked and returned to Moscow, where he was in the hospital until December. After he was demobilized.

1915: Sets for ballets

1930: After Diaghilev's death

With the entreprise "Michel Benoit's Opera-Ballet," organized by a relative of A.N. Benua - Mikhail Albertovich Benoit - N. Goncharova and M. Larionov collaborated in the late 1920s - early 1930s, designing for her a number of opera and ballet performances^[5]

In 1931, Mikhail Larionov as an artist participated in the production of the one-act ballet "Classical Symphony," to the music of the 1st ("Classical") symphony of S. S. Prokofiev. Michel Benoit Opera Ballet, Pigalle Theater, Paris, choreographer T. Slavinsky.

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