Established in 1912, the Russian art association "Donkey's Tail" is one of the most famous. The name of the community was given by a painting exhibited in Paris, drawn by the tail of a donkey. This infamous organization included artists who had similar views and were fond of the avant-garde trend in art. From its inception, Donkey's Tail has been in the spotlight. However, despite its popularity and rapid rise, a year after its foundation, in 1913, this community of artists ceased to exist.
Members of the "Donkey's Tail"
The artists included in the community stood up for the unification of the European school of painting with the Russian folk tradition. The old paintings of the participants of the "Donkey's Tail" of the early 1910s are executed in a deliberately primitive style. They are reminiscent of splint, ethno-primitivism - and all this combined with avant-garde.
In addition to the organizers of the "Donkey's Tail" Mikhail Larionov and Natalia Goncharova, the association included many other artists. Among them are V. Bart, K. Malevich, V. Tatlin, A. Shevchenko. Despite the popularity of the "Donkey's Tail", gradually many participants began to move away from the direction chosen by the association, wanting to try their hand at other genres and styles - this was the reason for the collapse of the community.
Note from an antiques expert
Today, the works created by the members of this association are especially popular in the market. The collection of the Salon Old Petersburg invites visitors to get acquainted with a rich collection of ancient paintings. Our experts will evaluate your antiques for free, both by phone and online.
"Donkey Tail" - a group of young artists, separated from
"Jack of Diamonds" and organized in 1912 in Moscow together with members
"Union of Youth" exhibition of the same name. Among its participants are M.F.
Larionov, N. S. Nocharova, K. S. Malevich, V. S. Bart, A. V. Shevchenko and others.
The exhibition clearly showed how the creative aspirations of its organizers
differ from the art of "tambourines". If the latter were oriented
mainly on modern French painting, then Larionov,
Goncharova, it turned out to be interesting for their like-minded people to combine the achievements
the newest European schools with national Russian art. Hence the interest
these artists to folk art, lubok, icon painting, as well as to
primitive forms of representation, children's drawing, the art of the East, in
where they discovered pure, pristine traditions.
"Donkey Tail" - the name of the art exhibition in 1912, and then the association of Moscow painters who emerged from the "Jack of Diamonds" group: M. Larionov, N. Goncharova, K. Malevich, V. Bart, A. Shevchenko and others.
The split of the "Jack of Diamonds" occurred for fundamental reasons. If the majority of the Jack of Diamonds, among whom were R. Falk, P. Konchalovsky, A. Kuprin, were guided by the new French painting, then the artists of the "Donkey's Tail" sought to combine the pictorial achievements of the European school with the traditions of Russian folk, naive art, peasant primitive painting, popular prints, icon painting, art of the East. The reason for the original title was a hoax that took place in the Salon des Indépendants in Paris in 1910, when a painting under the same name was exhibited there, really “painted” by the tail of a donkey. On this occasion, young Russian artists declared: “Now we raise the glove. The public thinks that we write with a donkey's tail, so let us be a donkey's tail for them. The paintings of Larionov and Goncharova - the leaders of the group - confirmed this challenge to public opinion, they were distinguished by deliberate rudeness, simplification of form, stylization of a folk primitive. So, the presence at the exhibition of the "Four Evangelists" and images of the Saints, stylized by Goncharova under the popular print, was considered blasphemous by the censors.
Leader Pictures
groups were distinguished by a deliberate coarsening of forms, stylized as painting
primitives. The exhibition met the expectations of the organizers, impressing
close to scandal.
After the exhibition, the group of its organizers retained the name "Donkey
tail". Throughout the second half of 1912, they negotiated
joining the "Union of Youth" as a Moscow branch. Other
direction of work was to organize a meeting at which
attend members of the Donkey's Tail group, the Union of Youth societies and
"Jack of Diamonds" in order to develop a joint program. However
fundamental differences of an aesthetic nature between these three
groupings made the solution of this problem impossible. By 1913 the group
"Donkey Tail" actually broke up.
At their exhibitions, "Donkey Tails" showed not only their own works, but also the works of children, the "creativity" of Moscow painters, the wonderful signs of the Tiflis primitive painter Niko Pirosmanishvili, whom they opened to the artistic community. VD Bubnova and Voldemar Matvey also took part in the expositions.
In 1913, the group broke up, and its leader Larionov was already creating a new abstract art - "rayonism".
On Mondays, many of Moscow's museums are closed. But this does not mean that the public does not have the opportunity to get acquainted with the beautiful. Especially for the first day of the week, the editors of the site launched the "10 Unknowns" section, in which we introduce you to ten works of world art from the collection of Moscow museums, united by one theme. Print out our guide and feel free to take it to the museum.
Olga Rozanova. "Urban Landscape"
On February 5, 1912, 105 years ago, the first exhibition of the Society of Avant-Garde Artists "Jack of Diamonds" opened. Unlike the previous exhibition in 1910, which gave its name to the Society and was attended by only 200 people, this one was a resounding success: all of Moscow was talking about it, and along with the Russian avant-garde artists, one could also see the French - Picasso and Matisse.
Pyotr Konchalovsky
Photo gallery
"Jack of Diamonds" became one of the first avant-garde art associations in Russian art. It included all the artists who determined the course of time in painting: Kandinsky, Malevich and Konchalovsky worked side by side, destroying the boundaries and breaking through the skies of academic traditions. The artists of the "Jack of Diamonds" were united by the desire to fill the painting with color and energy of Fauvism and Cubism, they experimented with form, crushed volume, broke planes, and in general were very close to their French colleagues Pablo Picasso and Henri Matisse. Russian artists came to Paris specifically to get to know them and learn from their picturesque discoveries. But, as it turned out, the question of the continued existence of the association was precisely this - to follow the European masters or mix their experiments with Russian folk traditions.
Ilya Mashkov
Photo gallery
Ilya Mashkov and Pyotr Konchalovsky were among those who decided that the French painting of Paul Cezanne was closer to them than the Russian popular print. When half of the artists left the Jack of Diamonds in 1912, it was these two who saved the community by becoming its ambassadors. In 1916, Konchalovsky and Mashkov left the association, and in 1917, on the eve of the revolution, it broke up. However, the revolution made its own adjustments to the work of all participants in the "Jack of Diamonds" without exception.
Mikhail Larionov
Photo gallery
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But Mikhail Larionov decided that Russian primitive drawing and folk art are much more interesting than French delights. In 1912, together with his wife Natalya Goncharova, he left the association, organizing his own, called "Donkey's Tail". Of course, he does not deny the achievements of his colleagues, which is obvious even in the still life with pears of 1915, written as if Matisse himself was standing behind the artist during the creation of the picture. Nevertheless, he begins to actively borrow folk motifs. For example, in the seasons cycle, along with a primitive image of a girl symbolizing winter, a text is given that resembles the popular popular tradition.
Natalia Goncharova
Photo gallery
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Natalya Goncharova does the same: in her work and even in one work ("In the artist's studio"), the techniques of Matisse (still life), Cezanne (black outline) and the Orthodox icon of the Mother of God, inscribed in the space of the picture, can be combined. At the same time, where Goncharova seemingly turns to a traditionally Russian theme and depicts peasants gathering brushwood, snowflakes frozen in the frosty air turn into a purely decorative motif, completely uncharacteristic of the traditions of Russian painting.
Kazimir Malevich
Photo gallery
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It is difficult to imagine a more world-famous Russian avant-garde artist than Malevich. Except Kandinsky. But it was with the association "Jack of Diamonds" that the avant-garde road of these artists began. Each of them chose his own path - Malevich "invented" Suprematism, and Kandinsky became the main Russian abstractionist. In fact, these two phenomena "grew" out of a creative association and an exhibition held 105 years ago. Of course, "Black Square" is brilliant. But both before and after him, Malevich had a huge number of beautiful figurative works, landscapes and portraits.
Ivan Klyun
Photo gallery
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Ivan Klyun was one of Malevich's closest associates and actively developed the ideas of Suprematism. But this attachment did not last long: in the "Jack of Diamonds" he was led by a passion for impressionism and post-impressionism, an interest in color, which also overcame Klyun's love for the Suprematist form. The artist was cramped within the strict boundaries of pure forms. Gradually, he focused his attention on non-objective compositions, still lifes, illustrations for books and posters, actively engaged in the design of campaign materials.
Wassily Kandinsky
Photo gallery
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Wassily Kandinsky, regardless of the Jack of Diamonds association, became the founder and theorist of abstract art, one of the most influential artists of the 20th century. He took part in collective exhibitions, but still it is impossible to call him a full member of the association, since already in 1911 he, together with his friend, artist Franz Mark, founded the Blue Rider group in Munich. Therefore, the Moscow events concerned him indirectly.
Alexandra Exter
Photo gallery
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In 2001, the Amazons of the Russian Avant-Garde exhibition opened in New York, featuring works by Natalia Goncharova, Alexandra Exter, Olga Rozanova, Lyubov Popova, Varvara Stepanova and Nadezhda Udaltsova. This exhibition made a real sensation in the art world: on the wave of feminist protests, the organizers showed the whole world that the Russian avant-garde was half female and that nowhere else in the world was there such a powerful crushing movement as in Russia at the beginning of the 20th century.
Olga Rozanova
Photo gallery
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Popova in her work went through many stylistic stages and artistic trends: cubism, futurism, Suprematism in the spirit of Malevich and even the "Jack of Diamonds" were only temporary periods for her. But such was the fate of almost all members of this association. Speed and variability have become the defining properties of the Russian avant-garde, so there is nothing surprising in the fact that this era so rapidly gave birth and erased new experimenters.
"Donkey Tail" is one of the most famous and even sensational art associations in our country. The association was organized in 1912 by Russian avant-garde artists Mikhail Fedorovich Larionov and Natalya Sergeevna Goncharova. This organization of artists from the very beginning attracted the attention of the public. It united creators of similar spirit, who were close to the avant-garde trends of art.
N Goncharova "Harvest"
The name "Donkey Tail" comes from one of the paintings that was exhibited at an exhibition in Paris in 2010. This painting was unusual in that it was painted with a donkey's tail.
Unfortunately, despite its quick start and even slightly scandalous popularity, the association of artists did not last long and broke up in 1913, leaving behind only the memory of a historical event in avant-garde art.
N. Goncharova "Round dance"
N. Goncharova "Boy with a rooster"
N. Goncharova "Bathing horses"
N. Goncharova "Self-portrait with yellow lilies"
M. Larionov "Smoking soldier"
In addition to Mikhail Larionov and Natalia Goncharova, such artists as Kazimir Malevich, Vladimir Tatlin, V. Bart, A. Shevchenko and others were in the "Donkey's Tail".
K.Malevich "floor polishers"
Unlike other avant-garde art associations, the artists from the Donkey Tail promoted the unification of the European school and the traditions of Russian folk art, Russian primitivism, popular prints, and so on.
The paintings of these artists fully confirmed their theses. Deliberately simplified forms, somewhere reminiscent of ethno-primitivism, coupled with avant-garde styles that were common in the early 1910s.
V. Tatlin "Self-portrait"
For many, "Donkey's tail" is closely associated with the concept of primitivism in painting. The collapse of the group occurred due to the fact that many of the artists that were part of the association, having tried themselves in this style, gradually began to move in different directions, trying themselves in other genres and directions.
V.Tatlin "The Model"
W. Barth "Double self-portrait"
A. Shevchenko "Woman in red (Portrait of the artist's wife N.S. Psishcheva-Shevchenko)"
Donkey tail"- one of the most famous and even sensational art associations in our country. The association was organized in 1912 by Russian avant-garde artists Mikhial Fedorovich Larionov and Natalya Sergeevna Goncharova. This organization of artists from the very beginning attracted the attention of the public. It united creators of similar spirit, who were close to the avant-garde trends of art.
The name "Donkey's Tail" comes from one of the paintings that was exhibited at an exhibition in Paris in 1910. This painting was unusual in that it was painted with a donkey's tail. Unfortunately, despite its quick start and even slightly scandalous popularity, the association of artists did not last long and broke up in 1913, leaving behind only the memory of a historical event in avant-garde art.
In addition to Mikhail Larionov and Natalia Goncharova, such artists as Kazimir Malevich, Vladimir Tatlin, V. Bart, A. Shevchenko and others were in the "Donkey's Tail". Unlike other avant-garde art associations, the artists from the Donkey Tail promoted the unification of the European school and the traditions of Russian folk art, Russian primitivism, popular prints, and so on. The paintings of these artists fully confirmed their theses. Deliberately simplified forms, somewhere reminiscent of ethno-primitivism, coupled with avant-garde styles that were common in the early 1910s. For many, "Donkey's tail" is closely associated with the concept of primitivism in painting. The collapse of the group occurred due to the fact that many of the artists that were part of the association, having tried themselves in this style, gradually began to move in different directions, trying themselves in other genres and directions.
Creativity K. Malevich
Kazimir Severinovich Malevich (1878 - 1935) - an artist famous in the genre of avant-garde, impressionism, futurism, cubism.
His first paintings were painted under the influence of the French Impressionists and, of course, were also created in the Impressionist style. After some time, he became passionately interested in futurism. He was almost the most active participant in all futuristic exhibitions, and even worked on costumes and scenery, in a word, designed a futuristic opera called "Victory over the Sun" in 1913. This performance, which took place in St. Petersburg, became one of the most important stages in the development of the entire Russian avant-garde.
It was the geometrization of forms and the maximum simplification in design that prompted Kazimir Malevich to think about creating a new direction - Suprematism.
Creativity Malevich
The artist made a revolution, took a step that no one in the world could decide before him. He completely abandoned figurativeness, even fragmented figurativeness, which had previously existed in Futurism and Cubism.
The artist showed his first forty-nine paintings to the world at an exhibition held in Petrograd in 1915 - "0.10". Under his works, the artist placed a sign: "Suprematism in painting." Among these canvases was the world-famous "Black Square", written in 1914 (?), which caused fierce attacks from critics. However, these attacks do not subside to this day.
The very next year, Kazimir Malevich published a pamphlet titled “From Cubism to Suprematism. New pictorial realism ”, in which he clearly justified his innovation.
As a result, Suprematism had such a huge impact not only on painting, but also on the architectural art of the West and Russia, that it brought its creator truly world fame.
Suprematism
Musical instrument
flower girl
Like all artists of a non-standard, "left" direction, Kazimir Malevich was very active during the revolution.
The artist was engaged in scenery for the first performance of Vladimir Mayakovsky "Mystery - buff" in 1918, he was in charge of the Art Department at the Moscow Council. When he moved to Petrograd, he was in charge and taught at the Free Art Workshops.
In the autumn of 1919, Casimir went to the city of Vitebsk to teach at the People's Art School, which was organized by Marc Chagall, and which was soon transformed into the Artistic and Practical Institute. He left Vitebsk only in 1922 to return to Petrograd and work at a porcelain factory, invent more and more new forms of painting, and study the possibilities of applying Suprematism in architecture.
In 1932, Malevich achieved the position of head of the Experimental Laboratory at the Russian Museum, where he developed the theory of the "surplus element in painting", which he had put forward earlier.
In the same year, 1932, Malevich suddenly turned again to traditional realism. Perhaps this was due to the trends of the new time, but, one way or another, Kazimir Malevich could not finish this new period of his work. In 1933 he fell seriously ill, and two years later, in 1935, he died.
Creativity P. Filonov
Pavel Nikolayevich Filonov (January 8, 1883, Moscow - December 3, 1941, Leningrad) - Russian, Soviet artist, founder, theorist, practitioner and teacher of analytical art - a unique reforming direction in painting and graphics of the first half of the 20th century.
Creativity Filonov
The first significant works of Filonov, usually written in mixed media on paper (Man and Woman, Feast of Kings, East and West, West and East; all works - 1912-1913, Russian Museum, St. Petersburg), closely adjoin symbolism and modernity - with their allegorical figures-personifications and a passionate interest in the "eternal themes" of being.
They develop an original manner of the artist to build a picture with crystalline color cells - as a firmly “made” thing. However (unlike V.E. Tatlin), he remains, as it were, a “futurist-conservative” and does not move on to design, remaining within the framework of pure, sparkling, motley picturesqueness.
In 1913, he designed the scenery on the stage for Vladimir Mayakovsky's tragedy "Vladimir Mayakovsky". For the next two years, Pavel Filonov worked as an illustrator of futuristic booklets, published his transrational poem "A Sermon on the Overgrowth of the World" and began to develop artistic theories: "The Ideology of Analytical Art" and "Principles of Made" .
In 1919 the artist's paintings were exhibited at the first state free exhibition of workers' art in Petrograd. Due to the continued sharp criticism and attacks against Filonov, his exhibition, planned for 1929-1930. did not take place in the Russian Museum.
In 1932 His life and work was not interrupted by the war. He died of pneumonia during the siege of Leningrad in 1941. In 1967 A posthumous exhibition of Pavel Filonov's works was held in Novosibirsk.
Only in recent years, Filonov's painting has received worldwide recognition. The images created by his thought gave a huge impetus to the development of the avant-garde in the USSR. He found his artistic style thanks to those uncompromising ideals in which he believed.
Already in his early works, the rejection of the ideology of the Academy of Painting in St. Petersburg is clearly visible. Filonov left the academy in 1910 and chose to ignore mainstream painting in order to further develop his style.
In his painting, Pavel Filonov observed and realized the forces that comprise the existence of mankind. His goal was to achieve a systematic knowledge of the world and its human population.
Filonov's paintings were the result of not just semantic images. His painting is a statement of intellectual principles, some of which are taken from the theory and ideology of the artist. In Filonov's painting, "design intelligence" is visible in the image.
Pavel Filonov devoted a lot of time and effort to x
artistic inventions and creative ideas. He worked 18 hours a day.
In 1925, having found many followers and supporters of his style of expression, he founded a school in Petrograd. This school was closed by the government in 1928. along with all private artistic and cultural organizations.
Artist's work
- Symphony by Shostakovich
- holy family
- Kolkhoznik
Kolkhoznik
Those who have nothing to lose
Spring Formula
Man and woman
Feast of Kings
Animals
Those who have nothing to lose
