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Born in the village Nechaeva Tula region in 1881 and Died in Paris in 1962

Goncharova started my studies at the Moscow school of painting, sculpture and architecture at the sculpture Department, and only about 1905 began to paint. In 1900 Goncharova met with Mikhail Larionov, who became her husband and artistic associate. Together with him the artist was one of the originators of the most avant-garde artistic associations, for example, "Jack of diamonds". Goncharova and Larionov were organizers of the exhibitions "Jack of diamonds", "Donkey's tail", "Target". Together they participated in many exhibitions in Russia and Europe, for example, in 1912, in the exhibition Munich "Blue rider". Goncharova is one of the most famous artists of the Russian avant-garde. In 1900, 1910 years, it has experienced passion impressionism, postimpressionism, cubism and futurism, but most fully expressed himself in simplicity. The source of inspiration for the artist became Russian fine folklore — lubok, brightness, color and plastic expressiveness of which were embodied in the monumental works by Goncharova. In 1915, at the invitation of Diaghilev Goncharova came to Paris for the registration of performances of Russian ballet seasons and remained in France until the end of his life. In Paris period, leaving painting, she works hard as a theater artist.

N. S. Goncharov belonged to an ancient noble family, had the cousin great-granddaughter wife of A. S. Pushkin. Before beginning to study art, Goncharova attended classes at the Moscow University. In 1901 entered the Moscow school of painting, where he studied at the sculpture Department of the S. M. Volnukhin and p. P. Trubetskoy. In 1904, for his sculptural work she received a small silver medal and soon left school.

In the 1900s Goncharova traveled a lot, then she began to paint. Her early impressionist works were shown at exhibitions MTX, "World of art" and others In 1906, she was invited S. P. Diaghilev for participation in the Russian section of the Autumn Salon in Paris.

Back in College Goncharova met M. F. Larionov, who soon became a recognized leader of the Russian avant-garde artists. Goncharova associated with them their personal and creative life, was a constant participant in all of his artistic endeavors. Their names are inseparable in the history of Russian art. As Larionov, the artist had an interest in cubism and futurism, and in 1906 was fascinated by primitive.

Neo-primitivism Goncharova — huge contribution to the art of the early XX century, the Inspiration of the artist drew in a Russian icon, popular woodcut pictures, in a pagan idols of stone "sex." Folk art and religious paintings inspired her paintings "harvest" (1908), "fishing" (1909). Primitive power emanates from the "Idols" (1908−09). The peculiarity of her paintings was the use of flat color spots, outlined a clear outline, resembling techniques Gauguin, whose influence has experienced many Russian artists.

In 1911−12, Goncharova begins to practice the principles he developed Larionov. Among its most famous works of this period include "Cyclist". But again and again he returned to the artist to the primitive. Goncharova participated in all exhibitions of the "left" artists. Contemporaries called it, A. A. Exter and O. C. Rozanov "the Amazons of the Russian avant-garde". Work Goncharova did not always meet with understanding. In 1911 from the exhibition "the Jack of diamonds", the police demanded to remove the painting "the God of fertility". In 1912 the Church censorship opposed four-part series "Evangelists", shown at the exhibition "Donkey's tail".

Separate page of the creative biography Goncharova is its work on futuristic publications. In 1912 appeared, published on the initiative of the poet A. E. woven lithographic postcards with pictures Goncharova. The plot of "Peacock" was found an Association young avangardistki with traditional art. In 1913, she illustrated edition poets centuries Khlebnikov, A. E. woven, K. A. Bolshakova, S. P. Bobrov, it was almost the only futurists, who was not afraid of narrative, "literature" of their works.

In 1914 a separate series came out "Mystical images of war" - large lithography, which became not simply an attempt to create a primitivistic on Patriotic subjects, but also a symbolic images, stunning in its expression, and strength. As for Larionov, Goncharova, were of particular importance 1913 — he was the most intense in her work.

At the exhibition organized by Larionov lubok demonstrated 6-watercolor paintings of Natalia Goncharova, which was a revival of the traditions of folk pictures. In the exhibition catalogue was placed article Goncharova "Indian and Persian splint. At the exhibition "Target", the artist for the first time showed his luchitskii works.

In the same year, Moscow hosted the personal exhibition of Natalia Goncharova, which exhibited and applied work. Finally, this year S. P. Diaghilev on the advice of A. N. Benoit ordered Goncharova design of the ballet "the Golden Cockerel" to the music by N. A. Rimsky-Korsakov for the "Russian seasons" in Paris.

The passion for the East, which is different from all laryanovsky group, and Goncharova was peculiar to the greatest extent, resulted in violent element of paints, which, according to Benoit, "completely conquered Paris.

In 1915, Goncharova and Larionov left Russia, having accepted the offer of Diaghilev’s about working together. In Diaghilev’s entreprise the artist worked on the design of performances "Russian fairy tales" to the music by A. K. Lyadov, "Scarf Columbine", Hoffmann-steel etc. her Best creations became the scenery and costumes for "the Wedding" (1923) and "the Firebird" (1926), I. F. Stravinsky. After the death of Diaghilev in 1929, this work was interrupted, however further Goncharova often collaborated with the theatres of Europe and America; did not leave it and occupation with painting and graphics, participated in exhibitions.

From 1919 Goncharova and Larionov settled in Paris, and although their family Union soon broke up, they maintained friendly relations. In 1950 officially registered marriage, in order to preserve their artistic heritage.

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The ‘Knave of Diamonds’! No prominent Russian avant-garde artist was able to give that society the go-by. Moreover, it was nothing else, but the ‘Knave of Diamonds’ that gave rise to them all. Now they are recognised as the pioneers and the gold standard of avant-garde. All artists, now classical, once were rebels, and the Diamond-Knavers were not an exception. Mikhail Larionov , Natalia…
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Artworks by the artist
110 artworks total
Natalia Goncharova. The four evangelists
The four evangelists
Natalia Goncharova. Self-portrait with yellow lilies
Self-portrait with yellow lilies
1907, 77×58.2 cm
Natalia Goncharova. Breakfast
1924, 190×150 cm
Natalia Goncharova. Flowers
1912, 72.7×93 cm
Natalia Goncharova. Spring. White Spaniards
Spring. White Spaniards
1932, 172×184 cm
Natalia Goncharova. Peacock in the bright sun (Egyptian style)
Peacock in the bright sun (Egyptian style)
1911, 144×129 cm
Natalia Goncharova. The Spanish flu
The Spanish flu
49×64 cm
Natalia Goncharova. French cock. From the series "Mystical images of war".
French cock. From the series "Mystical images of war".
Natalia Goncharova. Costume design for the Opera-ballet "the Golden Cockerel" by N.. Rimsky-Korsakov
Costume design for the Opera-ballet "the Golden Cockerel" by N.. Rimsky-Korsakov
XX century
View 110 artworks by the artist