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Biography of Natalia Goncharova
Name: Natalia Goncharova
Birth Date: 1881
Death Date: 1962
Place of Birth: Nagaevo, Russia
Nationality: Russian
Gender: Female
Occupations: painter, stage designer, artist, costume designer
Natalia Goncharova
The Russian painter and theatrical scenery designer Natalia Goncharova (1881-1962) was pivotal in the development of avant-garde Russian art during the decade prior to World War I and thereafter was an important and innovative designer of costumes and stage flats.Russian art during the first two decades of the 20th century absorbed the new styles and philosophies of Western European art and moved to the cultural forefront. Goncharova and her husband, Mikhail Larionov (1881-1964), through their work and their efforts organizing shows and artist's groups were at the center of this artistic revolution which preceded and was concurrent with that country's political upheaval.Natalia Goncharova (sometimes spelled Gontcharova) was born in Nagaevo in central Russia. The Goncharova family had lost its fortune, based on the manufacture of linen, by the late 18th century. The renowned poet Pushkin had married one of her ancestors, Natalia Goncharova, after whom she was named. Her father …showed first 150 words…
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…showed last 150 words…pioneers of modern art. Her paintings were acquired by important museums, such as the Tate Gallery, London, and there were a number of exhibitions, that of the Galerie de l'Institut (Paris, 1956) having included new Rayonist paintings and drawings. Despite almost crippling arthritis, Goncharova continued to be productive during the last decade of her life. Her final works moved away from the interpretive and the decorative and sought to explore the infinite, as if at the end of her career Goncharova was returning to her earlier interest in expression through abstraction. Further Reading Mary Chamot's Goncharova-Stage Designs and Paintings (London, 1979) is invaluable for the study of Goncharova's art, particularly in that it reviews her seldom treated theatrical work. John E. Bowlt's Russian Art of the Avant-Garde: Theory and Criticism, 1902-1934 (1976) is equally important for an understanding of the intellectual bases of her early work and the climate in which it was conceived.
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