Natalia Sergeevna Goncharova (Russian: Ната́лья Серге́евна Гончаро́ва, IPA: [nɐˈtalʲjə sʲɪrˈɡʲejɪvnə ɡəntɕɐˈrovə]; July 3, 1881 – October 17, 1962) was a Russian avant-garde artist, painter, costume designer, writer, illustrator, and set designer. Heavily influenced by the Golden Fleece exhibition of 1908, this work painted the following year has much in common with two works that Goncharova would have seen there, Cézanne's Bathers (1898) and Matisse's Le Bonheur de Vivre (1905). The work is neither Cubo-Futurist nor Rayonist in style, but instead appears as a sort of painted collage that looks forward to the technique of paper cut outs developed by Matisse during the last decade of his career. She also exhibited at the Salon d'Automne in 1921, and participated regularly at the Salon des Tuileries and the Salon des Indépendants. Depicting a religious subject matter and shown with a group whose name derived from the backside of an animal, the work was deemed blasphemous by a government that controlled everything from art, to literature and music. After an early preoccupation with sculpture, she met Larionov and shifted her focus to painting. Standing beneath an arched doorway, a Spanish woman wearing brightly colored and patterned traditional shawls, balances a tray of oranges on her head and even more fruit in a basket carried by hand. Natalia Goncharova was a Russian artist known for her Futurist paintings. Oil on canvas - The State Tretyakov Gallery, Moscow, Russia. In 1901 Goncharova began her own studies at the Moscow Institute of Painting, Sculpture and Architecture as a sculptor, under Pavel Trubetskoi, who was associated with the World of Art movement. oil on canvas Painting. To achieve the effect of dynamic movement, the artist multiplied the cyclist's feet, legs, and body, and also the frame and wheels of the bicycle, to suggest not only forward momentum but the up and down vibrations of the wheels striking the cobblestones. By 1903, she began exhibiting in major Russian salons. A painter, stage and costume designer, printmaker, and illustrator, Goncharova’s work spanned a range of modernist styles, including Futurism, Cubism, Rayonism, and Neo-Primitivism, finding inspiration in Russian folk art and often depicting group scenes of women. She was awarded a silver medal for sculpture in 1903-04. Goncharova was a member of the Der Blaue Reiter avant-garde group from its founding in 1911. Men's shirts, cuffs, and collars are depicted on the left side of the canvas, while women's blouses, aprons, and laces are depicted on the right. The work thus reveals the artist's continued love of flowers, and her ongoing interest in textiles. Cyclist is an artwork on USEUM. Goncharova herself sometimes appears topless in public with symbols on her chest. Accordingly, Cats shows the influence of several coinciding styles: the aggressive energy of a Futurist composition, the multiple visual planes of Cubism, and the bright luminous colors of Orphism. Whilst Van Gogh chose the sunflower as his signature bloom, Goncharova identifies instead with lilies. Russian Futurism, which began with the formation of the literary group, Hylaea, in 1912, differed from Italian Futurism in that it was based primarily on literary philosophy and found significance in typography and print, as Gonchorova conveys here. This, however, was always a white lily and Goncharova chooses an orange alternative perhaps making reference to her own sexual experience. Russian Painter, Writer, Set and Costume Designer, and Illustrator. Exhibition catalogue, Vystavka kartin Natalii Sergeevny Goncharovoi [An exhibition of paintings by Natalia Sergeevna Goncharova], 1900-1913, St Petersburg, 1914, listed p. 7, no. 126. In red, blue, and gold church spires, towers, and onion domes are outlined against a midnight blue sky. His humble cap is juxtaposed with the glossy black top hat, the ultimate symbol of sartorial elitism, and the text in the same upper corner makes a play on words - the top hat mimics the shape of and stands in for one of the characters of the Russian word for "hat." She also painted a Rayonist picture of lillies in 1913. Arranged together, they were meant to resemble an iconostasis, a backdrop to an Orthodox church altar. Each figure, filling a tall narrow panel, wearing a white halo, and holding an unfolding white scroll, is depicted in the Neo-primitivist style which art historian Camilla Gray said is, "treasured most...an almost childish 'directness and simplicity' characteristic of folk art." A painter, stage and costume designer, printmaker, and illustrator, Goncharova’s work spanned a range of modernist styles, including Futurism, Cubism, Rayonism, and Neo-Primitivism, finding inspiration in Russian folk art and often depicting group scenes of women. Furthermore, there could be subtle reference made to the two-faced Roman God, Janus, who looked to the future and to the past. One of Goncharova’s paintings, The Evangelists (1910-11), exhibited with the Donkey’s Tail exhibition group, was confiscated by the Russian sensors. Goncharova and Larionav painted hieroglyphics and flowers on their faces and walked the streets as a part of a primitivist art movement. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. This is a part of the Wikipedia article used under the Creative Commons Attribution-Sharealike 3.0 Unported License (CC-BY-SA). The painted lines at once break the united form of the cats, while at the same time imbue the creatures with a liveliness and dynamism, and suggest qualities of the infinite and of connectivity. See available works on paper, paintings, and prints and multiples for sale and learn about the artist.