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Artists Natalia Goncharova
Natalia Goncharova Photo

Natalia Goncharova

Russian Painter, Writer, Set and Costume Designer, and Illustrator

Movements and Styles: Rayonism, Russian Futurism, Performance Art, Proto-Feminist Artists, Neo-Primitivism

Born: June 21, 1881 - Nagaevo, Tula Province, Russia

Died: October 17, 1962 - Paris, France

Natalia Goncharova Timeline

Quotes

"We have learned much from Western artists, but where do they draw their inspiration if not from the East?"
Natalia Goncharova
"One cannot forget something which is no longer outside of you but within, no longer in the past but in the present."
Natalia Goncharova
"If I extol the art of my country, then it is because I think that it ... should occupy a more honorable place than it has done hitherto..."
Natalia Goncharova
"I find those people ridiculous who advocate individuality and who assume there is some value in the 'I' even when it is extremely limited."
Natalia Goncharova
"Cubism is a positive phenomenon, but it is not altogether a new one, especially as far as Russia is concerned. The Scythians made their stone maidens in this hallowed style. Wonderful painted wooden dolls are sold at our fairs ... in France, too, it was the Gothic and African figure sculptures that served as the springboard for Cubist painting. Over the last decade, Picasso has been the most important, most talented artist working in the Cubist manner, whereas in Russia it has been yours truly."
Natalia Goncharova
"Establish no boundaries or limits for oneself in the sense of artistic pursuits. Always use all modern achievements and breakthroughs in art."
Natalia Goncharova
"Cézanne and icons are equivalent, but my works, which I painted under Cézanne's influence and under the influence of the icons, are not the same at all...I am by no means European."
Natalia Goncharova
"To repeat all of the good and idiotic things that have been said of my sisters a thousand times already is infinitely boring and useless, so I want to say a few words not about them, but to them: Believe in yourself more, in your strengths and rights before mankind and God, believe that everybody, including women, has an intellect in the form of the image of God, that there are no bounds to the human will and mind."
Natalia Goncharova
"You can understand the most abstract of things only in the forms you see most often, and also through whatever works of art you've seen."
Natalia Goncharova
"...during all eras, the subject depicted was and will be important - as important as how it is depicted."
Natalia Goncharova

"To apprehend the world about us in all its brilliance and diversity, and to bear in mind both its inner and outer content."

Natalia Goncharova Signature

Synopsis

The work of Natalia Goncharova oscillates between tunes of the sacred and notes of the profane. From an influential, wealthy, and musical family, the artist's own interests lay with Russia's rural workers and by seeming contradiction, with a cast of otherworldly characters. In her paintings, peasants portrayed in the throws of their labor - cutting hay, shaving ice, washing, and weaving - are imbued with monumental dignity. Through repetitive everyday tasks, Goncharova observed the same celestial strength more commonly associated with religious figures, and in this sense merged the realms of heaven and earth in her pictures. Alongside her lifelong love and fellow artist, Mikhail Larionov, Goncharova was part of the Russian avant garde generation involved in a relentless exploration of different visual styles and shifting ideological standpoints - eventually pioneering Rayonism. Not adverse to working in dialogue with popular culture, the artist worked closely with her friend and theater director, Sergei Diaghilev, (of Ballets Russes fame) as a costume and set designer; it was in this role that Goncharova became most well known in her later years.

Key Ideas

In her early work, Goncharova combines a Cézanne-inspired brushstroke, a Fauvist love of color and certain repeated motifs (most notably the circular dance formation) shared with Matisse, and a similar worldview (the religious paired with the secular) to that of Gauguin. Such assimilation of these three powerful influences produces work that is at once decorative and empregnated with meaning.
Orthodox Christian icons commonly found in homes and churches throughout Russia were well known and loved by Goncharova. Like many artisans and believers before her, she too painted religious scenes as 'gifts from above' that materialized intuitively following ongoing devotional dialogue with the Lord. Adding slight subversions to her 'icons' - for example the blank scrolls of The Evangelists (1911) - she revealed intentions to agitate national tradition and propose alternative, less didactic, and more open approaches to spirituality.
Goncharova expresses a particular interest in 'women's work'. Women are often depicted washing and preparing linen, harvesting fruit, and planting new crops. In stature, ordinary people (both men and women) are painted solid and hefty in reference to their position as the pillars of society, yet it is specifically women - historically sculpted as architectural caryatids - that appear most often in Goncharova's oeuvre as the load bearers of society.
As a couple, Goncharova and Larinov set a precedent for performance art that was not further developed until during the 1970s. Together, the artists would appear naked in public with their bodies painted in a similar collaboration to that of Marina Abramovic and Ulay. Their experiments also bear parallel to those of Yayoi Kusama; she too blurred boundaries of so-called propriety by appearing with her body used as canvas and her skin painted with spots (it was usually flowers for Goncharova).

Biography

Natalia Goncharova Photo

Childhood

Natalia Goncharova was born in the town of Nagaevo in the Tula Province in Russia to an elite Russian family. Her father, Sergei Goncharov, worked as an architect and was a descendent of Aleksandr Pushkin, the legendary poet and novelist credited as the patriarch of Russian literature and a revered symbol of national identity. Natalia was named after Pushkin's wife, in honor of her family's history. Goncharova's mother, Ekaterina Il'ichna Beliaeva came from a family that had been musically influential, and included a number of significant religious figures who were renowned musical patrons. As a young girl, Goncharova lived on her grandmother's large estate in the country, which gave her a lifelong appreciation of village life and nature. Her nanny often took her to church, which instilled a lasting spirituality. In spite of their noble lineage and significant land holdings, the family suffered financial strain. In 1892, when Goncharova was ten, her father moved the family to Moscow in search of greater financial opportunities.

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Natalia Goncharova Biography Continues

Important Art by Natalia Goncharova

The below artworks are the most important by Natalia Goncharova - that both overview the major creative periods, and highlight the greatest achievements by the artist.

Self-Portrait with Yellow Lilies (1907)
Artwork Images

Self-Portrait with Yellow Lilies (1907)

Artwork description & Analysis: A look of assured simplicity, flowers in hand, and a studio backdrop give insight into the artist's bohemian existence and love of nature. As the art critic Donald Goddard wrote, "The figure exists...in the cycle of her own paintings on the back wall and of the flowers that have been cut. She is between the rough geometry and brushstrokes of the paintings and the organic shapes and brilliant colors of the flowers, not a sacred monster but a human presence, the artist as her own model, and as part of the structure of her own art."

Flowers recur throughout Goncharova's career, standing as the moment of the present, not for a time of growth or that of demise, but instead for life's incredible force of now. Flowers are a much repeated subject for modern artists, with Vincent Van Gogh and Piet Mondrian being two of the most notable examples. Whilst Van Gogh chose the sunflower as his signature bloom, Goncharova identifies instead with lilies. She also painted a Rayonist picture of lillies in 1913. The lily has long since had religious associations as the flower of chastity, as presented at the annunciation of angel Gabriel. This, however, was always a white lily and Goncharova chooses an orange alternative perhaps making reference to her own sexual experience. It does though seem important that the lily is a religious flower, for with intentions akin to those of Gauguin when he painted himself as The Yellow Christ in 1889, Goncharova also humbly presents herself as a spiritual figure on earth.

Oil on canvas - State Tretiakov Gallery, Moscow Russia

Picking Apples (1909)
Artwork Images

Picking Apples (1909)

Artwork description & Analysis: 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). As in the work by Cézanne, a group of women gather beneath the trees but here they are clothed. The women enjoy the light and airiness of time outdoors, and there is one amourous couple in the fore ground as is also in the painting by Matisse. Overall though, the figures are more pensive and reserved than the reveling pleasure-seekers found in the Frenchman's rainbow-colored tableau.

Goncharova adds a national sentiment with her inclusion of the Russian donkey, and furthermore and most originally, gives the work a religious dimension. The overall meaning of the painting is in fact far removed from Cézanne and Matisse, whose works likely inspired its brushstroke and composition. As the women are picking apples and there exists one male/female couple, the Biblical story of Adam and Eve is evoked. The women, it seems readily take from the forbidden tree of knowledge that led to Adam and Eve's banishment from the Garden of Eden. Indeed, Goncharova painted Pillars of Salt the previous year, illustrating the story of Lot's wife, who looked back at the destroyed city of Sodom after being told not to. The message on both accounts is one of rebellion, and demonstrative that women are not able to be controlled by patriarchal hierarchy.

Oil on canvas - Private collection

Peasants dancing [Khorovod (Round Dance)] (1910-11)
Artwork Images

Peasants dancing [Khorovod (Round Dance)] (1910-11)

Artwork description & Analysis: Showing two women and two men, dancing a round dance, on green earth with a dark blue sky behind them, Peasants Dancing is part of The Vintage: Composition in Nine Parts that contains paintings depicting the grape harvest. Arranged together, they were meant to resemble an iconostasis, a backdrop to an Orthodox church altar. The series was paired with The Harvest: Composition in Nine Parts, nine paintings that contained images from the Book of Revelation. The peasants thus dancing become, in effect, earthly saints.

Executed in her Neo-primitive style, the work combines the influence of Matisse's two 1910 works, Dance and Music, with the folk imagery and style of lubki, popular woodcuts that depicted images taken from Russian life and folklore. In making the two dimensional figures more sculptural, Goncharova makes them monumental, and by depicting them in a formation that draws from folk and ecclesiastical imagery, she situates them in the Russian cultural tradition.

Oil on canvas - National Gallery of Art, Sydney Australia

More Natalia Goncharova Artwork and Analysis:



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Influences and Connections

Influences on Artist
Artists, Friends, Movements
Influenced by Artist
Artists, Friends, Movements
Natalia Goncharova
Interactive chart with Natalia Goncharova's main influences, and the people and ideas that the artist influenced in turn.
View Influences Chart

Artists

Paul GauguinPaul Gauguin
Paul CézannePaul Cézanne
Henri de Toulouse-LautrecHenri de Toulouse-Lautrec
Henri MatisseHenri Matisse
Robert DelaunayRobert Delaunay

Personal Contacts

Mikhail LarionovMikhail Larionov
Olga RozanovaOlga Rozanova
Sergei DiaghilevSergei Diaghilev

Movements

FauvismFauvism
Post-ImpressionismPost-Impressionism
CubismCubism
OrphismOrphism
FuturismFuturism

Influences on Artist
Natalia Goncharova
Natalia Goncharova
Years Worked: 1903 - 1950s
Influenced by Artist

Artists

Vladimir TatlinVladimir Tatlin
Kazimir MalevichKazimir Malevich
Wassily KandinskyWassily Kandinsky
Guillaume ApollinaireGuillaume Apollinaire
Lyubov PopovaLyubov Popova

Personal Contacts

Aleksandr Shevchenko
Mikhail LarionovMikhail Larionov
Sergei DiaghilevSergei Diaghilev

Movements

RayonismRayonism
SuprematismSuprematism
ConstructivismConstructivism
Feminist ArtFeminist Art
Performance ArtPerformance Art

Useful Resources on Natalia Goncharova

Books

Articles

Videos

The books and articles below constitute a bibliography of the sources used in the writing of this page. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet.

biography

Natalia Goncharova: The Russian Years Recomended resource

By Yevgenia Petrova (Editor)

artworks

Goncharova: The Art and Design of Natalia Goncharova

By Anthony Parton

Russian Modernism between East and West: Natalia Goncharova and the Moscow Avant-Garde Recomended resource

By Jane Ashton Sharp

More Interesting Books about Natalia Goncharova
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Cite this page

Content compiled and written by Rebecca Seiferle

Edited and revised, with Synopsis and Key Ideas added by Dr. Rebecca Baillie

" Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Rebecca Seiferle
Edited and revised, with Synopsis and Key Ideas added by Dr. Rebecca Baillie
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