Vystavka Kartin Natalii Sergeeveny Goncharovoi. 1900 - 1913. (Exhibition of Paintings by Natalia Sergeevna Goncharova. 1900 - 1913.)
Goncharova, Natalia
St. Petersburg. N. E. Dobychina Art Salon. 1914
The scarce catalogue of Natalia Goncharova's major retrospective - her second solo exhibition - at Nadezhda Dobychina's salon in St. Petersburg, 1914.
The catalogue lists an impressive 249 works produced between 1900 - 1913. The current exhibition, together with her solo show of 1913 in Moscow (which exhibited over 700 works!), were the first in Russia to promote a 'new' artist by an independent gallery, and significantly the first to hold a public one-woman show. Goncharova took her inspiration from primitivist art, icon painting and Cubist and Futurist styles, in 1911 developing 'Rayonism' with her partner Mikhail Larionov. In the context of pre-revolutionary Russian attitudes, namely strict reverence towards religious imagery, Goncharova's depiction of icons was transgressive and problematic. 16 of the religious works in the present exhibition were confiscated and then returned after defence in the local press by Mstislav Dobuzhinsky and others.
Natalia Gonchorova (1881 - 1962), was a founding member of the 'Jack of Diamonds' (1909- 1911), Moscow's first group of avant-garde artists, an offshoot of which became the even more radical 'Donkey's Tail' in 1912. In 1913 Ilia Zdanevich published a monograph about her and Larionov, under the pseudonym Eli Eganbiuri. Her artistic influence in Russian avant-garde circles carried over to Paris when she moved there with Larionov.
‘Modern French painters opened my eyes, and I grasped the great importance and value of the art of my native land, and through it, the value of the art of the East.’ (N. Goncharova, From the 1913 Moscow catalogue).
Contemporary annotations in pencil to the list of works; bookseller's stamp with manuscript pricing to rear cover.
OCLC reports examples of this very scarce catalogue the Tate and the V & A in London and at the Getty in Los Angeles.
Some inoffensive damp staining to cover edges, however, even with these in mind, this copy is remarkably fresh.
[Not in Rowell & Rye].
The catalogue lists an impressive 249 works produced between 1900 - 1913. The current exhibition, together with her solo show of 1913 in Moscow (which exhibited over 700 works!), were the first in Russia to promote a 'new' artist by an independent gallery, and significantly the first to hold a public one-woman show. Goncharova took her inspiration from primitivist art, icon painting and Cubist and Futurist styles, in 1911 developing 'Rayonism' with her partner Mikhail Larionov. In the context of pre-revolutionary Russian attitudes, namely strict reverence towards religious imagery, Goncharova's depiction of icons was transgressive and problematic. 16 of the religious works in the present exhibition were confiscated and then returned after defence in the local press by Mstislav Dobuzhinsky and others.
Natalia Gonchorova (1881 - 1962), was a founding member of the 'Jack of Diamonds' (1909- 1911), Moscow's first group of avant-garde artists, an offshoot of which became the even more radical 'Donkey's Tail' in 1912. In 1913 Ilia Zdanevich published a monograph about her and Larionov, under the pseudonym Eli Eganbiuri. Her artistic influence in Russian avant-garde circles carried over to Paris when she moved there with Larionov.
‘Modern French painters opened my eyes, and I grasped the great importance and value of the art of my native land, and through it, the value of the art of the East.’ (N. Goncharova, From the 1913 Moscow catalogue).
Contemporary annotations in pencil to the list of works; bookseller's stamp with manuscript pricing to rear cover.
OCLC reports examples of this very scarce catalogue the Tate and the V & A in London and at the Getty in Los Angeles.
Some inoffensive damp staining to cover edges, however, even with these in mind, this copy is remarkably fresh.
[Not in Rowell & Rye].
[20 leaves; pp. 40]. Oblong 8vo. (165 x 185 mm). Title page with printer's credit verso, 4 leaves with the list of paintings followed by 15 leaves of monochrome images printed recto only. Original publisher's cream stapled wrappers, titles in black to front cover.
#47894
