Important Art and Artists of Rayonism
This painting is one of a series on peacocks, where Goncharova combines elements of the primitive styles of Egyptian and Russian folk art with Rayonist abstraction. The result reflects the juxtapositions and contradictions common to the style, as she freely mixed ancient and modern influences. Showing the peacock's head and neck in profile, she borrows the composite pose (common in Egyptian art), which allowed for the greatest amount of information to be described in simple contours. Likewise, the tail is spread out in a frontal view, to highlight the defining characteristic of the subject. The blocks of brilliant color suggest Russian folk painting and decorative arts. Their non-descriptive, unrealistic hues transform the recognizable shape of the peacock's plumage into an abstract array of color.
Following principles of Realistic Rayonism, the peacock is clearly delineated and yet remains simply the point of departure for the more eye-catching green oval of the body and the intensely colored, semi-abstract tail. That tail creates a sense of independent movement as the colors contrast and create visual tension, yet the composition of the feathers can also be read as a classical architectural arcade or a painter's palette. These allusions are not contradictory, but allowed to co-exist and ultimately create a more dynamic field of possible interpretations.
The literary concept of Zaum poetry, comprised of nonsensical sounds that assaulted traditional language structures, was embraced by the Russian avant-garde as a means of breaking with the past. Like the Italian Futurists, who were contemporaneously adopting similar approaches in their poetry, the intent was to create a wholly modern, sensorial alternative. Alliances with sympathetic visual artists, such as this collaboration between Kruchenykh, a radical Russian Futuristic poet, and Larionov, were common.
Like the Rayonists, Zaum poets wanted to break into new forms of expression; Kruchenvkh first began publishing postcards before embarking on lithographed books and collaborating with other poets and artists. Old-Fashioned Love was the first of his collaborations with Larionov; Larionov and Goncharova would eventually partner with him on eight books, including Igra v adu (A Game in Hell) in 1912, Worldbackwords and Pomada (Lipstick) in 1913.
This front page shows Larionov's Rayonist depiction of a vase of flowers, with the contours exaggerated in thick, forceful black lines. Limited by the lithographic medium, this print was nonetheless an important step in the development of the "rays" of light as Larionov balanced his representation of an object with his disintegration of that object into light. The work remains Realist Rayonism; indeed, his images in the book drew from natural subjects - flowers, leaves, vines - and human figures illustrated in the Neo-primitivist style of Russian lubki. These lubki were inexpensive woodblock prints that decorated many Russian homes; they provided a common source of native folk iconography for the avant-garde, who valued both their naïveté and their nostalgic familiarity. That he alternates between the forward-looking Rayonist style and retrogressive primitivism reflects the open and all-encompassing stance of the movement. Similarly, Larionov staged the Target show at the same time that he was organizing the exhibition "Original Icon Paintings and Lubki," which focused on highly native and traditional forms of image-making.
In this work of Realistic Rayonism, the artist depicts a dynamic rooster in rays of red and gold; a hen, barely identifiable, appears in golden planes of color beside it. While the objects of the painting are discernable, the true subject, however, is their merging with the background space and their disillusion into rays of light and vectors of energy. This is particularly evident in the left half of the painting, as the lines of reflected light intersect in a chaos of dynamic force lines.
From the early development of the movement, Larionov emphasized the symbolic and visual power of light and radiance, an interest that belies the influence of Impressionism and Post-Impressionism. In his modernization of those 19th-century studies of light, however, he explained, "it is not the objects themselves that we see, but the beams of rays that emanate from them, which are shown in the picture with color lines." The light rays come from the objects and the surroundings, and as a result the subject and its surroundings are integrated into their surrounding environments. Like Cubism, the distinction between the object and its space is complicated, however the Rayonists were motivated by their metaphysical interests in the fourth dimension and their search for a unified expression of energy that surpassed the concrete object.