The organization was created in 1911. The organizers of “Donkey’s Tail” were K. Malevich, M. Larionova, A. Shevchenko, N. Goncharova. The Moscow artists who were part of the Donkey's Tail gave this name to their society due to the popularity at that time of the painting painted with a donkey's tail. The painting was presented to society in 1910 at an exhibition in Paris.
Organization's activities
Members of the art association organized exhibitions at which they showed not only their paintings, but also paintings by their students - aspiring artists. Unfortunately, the organization collapsed in 1913, even before it was officially registered. The results of the artistic group’s activities were the paintings that are popular in our time: “Washwomen” and “Peasants Picking Apples” by N. Goncharova, “Morning in the Barracks” and “Resting Soldier” by M. Larionov, “Flossers” by K. Malevich, “Sailor” and “The Fish Seller” by V. Tatlin. The collection of Russian avant-garde artists "Donkey's Tail", despite its short existence, left a noticeable mark on the history of Russian painting.
Donkey's tail"- one of the most famous and even sensational artistic 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 attracted public attention from the very beginning. It united like-minded creators who were close to avant-garde art movements.
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 the tail of a donkey. Unfortunately, despite its quick start and even slightly scandalous popularity, the association of artists did not last long and disintegrated in 1913, leaving behind only the memory of a historical event in avant-garde art.
In addition to Mikhail Larionov and Natalia Goncharova, the “Donkey's Tail” included such artists as: Kazimir Malevich, Vladimir Tatlin, V. Bart, A. Shevchenko and others. Unlike other avant-garde artistic associations, artists from Donkey Tail promoted the unification of the European school and the traditions of Russian folk art, Russian primitivism, lubok, and so on. The paintings of these artists fully confirmed their theses. Deliberately simplified forms, somewhat reminiscent of ethno-primitivism coupled with avant-garde stylistics 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 who were part of the association, having tried themselves in this style, gradually began to move away in different directions, trying themselves in other genres and directions.
Works of K. Malevich
Kazimir Severinovich Malevich (1878 - 1935) is an artist famous in the genre of avant-garde, impressionism, futurism, and cubism.
His first paintings were painted under the influence of the French impressionists and, of course, were also created in the style of impressionism. After some time, he became passionate about futurism. He was almost the most active participant in all futurist exhibitions, and even worked on costumes and scenery, in a word, he designed a futurist opera called “Victory over the Sun” in 1913. This performance, held 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 maximum simplification in design that prompted Kazimir Malevich to think about creating a new direction - Suprematism.
Malevich's work
The artist made a revolution, took a step that no one in the world could take 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 of painting.” Among these paintings was the world-famous “Black Square”, painted 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 brochure entitled “From Cubism to Suprematism. New pictorial realism,” in which he clearly substantiated his innovation.
Suprematism ultimately had such a huge influence not only on painting, but also on the architectural art of the West and Russia that it brought truly world fame to its creator.
Suprematism
Musical instrument
Flower girl
Like all artists of a non-standard, “left” movement, Kazimir Malevich was very active during the revolution.
The artist designed the scenery for Vladimir Mayakovsky’s first play “Mystery Bouffe” in 1918; he was in charge of the Art Department at the Moscow Council. When he moved to Petrograd, he headed and taught at the Free Art Workshops.
In the fall 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 soon transformed into the Art 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 studied the possibilities of using 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 was never able to finish this new period of his work. In 1933, he became seriously ill, and two years later, in 1935, he died.
Creativity of P. Filonov
Pavel Nikolaevich Filonov (January 8, 1883, Moscow - December 3, 1941, Leningrad) - Russian, Soviet artist, founder, theorist, practitioner and teacher of analytical art - a unique reforming direction of painting and graphics of the first half of the 20th century.
Filonov's creativity
Filonov's first significant works, 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), are closely related to symbolism and modernism - with their allegorical figures-personifications and passionate interest in the “eternal themes” of existence.
They develop the artist’s original manner of constructing a picture with crystalline color cells - like 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, colorful picturesqueness.
In 1913, he designed the scenery 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 “Sermon on the Growth of the World” and began to develop artistic theories: “Ideology of Analytical Art” and “Principles of Madeness” .
In 1919 The artist's paintings were exhibited at the first state free exhibition of workers' art in Petrograd. Due to continued harsh criticism and attacks against Filonov, his exhibition, planned for 1929-1930. did not take place at the Russian Museum.
In 1932 His life and work were not cut short by the war. He died of pneumonia during the siege of Leningrad in 1941. In 1967 A posthumous exhibition of works by Pavel Filonov was held in Novosibirsk.
Only in recent years has Filonov’s painting 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 the uncompromising ideals in which he believed.
Already in his early works, his rejection of the ideology of the Academy of Painting in St. Petersburg is clearly visible. Filonov left the academy in 1910 and made the choice to ignore the main direction in painting in order to further develop his style.
In his painting, Pavel Filonov observed and realized the forces that comprise the existence of humanity. His goal was to achieve a systematic knowledge of the world and its human population.
Filonov's paintings were the result of more than 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 paintings one can see “design intelligence” 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. together with all private artistic and cultural organizations.
Artist's works
- Shostakovich Symphony
- Holy family
- Collective farmer
Collective farmer
Those who have nothing to lose
Spring formula
Man and woman
Feast of Kings
Animals
Those who have nothing to lose
The Russian art association “Donkey's Tail”, created in 1912, is one of the most famous. The name of the community was given by a painting exhibited in Paris, painted with the tail of a donkey. This organization, which gained scandalous fame, included artists with similar views and keen on the avant-garde movement in art. Since its inception, Donkey's Tail has been the center of attention. However, despite its popularity and rapid rise, a year after its founding, in 1913, this community of artists ceased to exist.
Participants of "Donkey's Tail"
The artists included in the community advocated for the unification of the European school of painting with the Russian folk tradition. Antique paintings by Donkey Tail participants from the early 1910s are executed in a deliberately primitive style. They resemble lubok, ethno-primitivism - and all this is combined with avant-garde.
In addition to the organizers of 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 "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 Old Petersburg salon invites visitors to familiarize themselves with a rich collection of ancient paintings. Our experts will evaluate your antiques free of charge, both over the phone and online.
"Donkey's Tail" "Donkey's Tail"
A group of Russian avant-garde artists led by M.F. Larionov and N.S. Goncharova, separated from " Jack of Diamonds"and organized two exhibitions of the same name in Moscow and St. Petersburg (1912). K.S. took part in the exhibitions. Malevich, K. M. Zdanevich, A. V. Shevchenko, S. P. Bobrov, V. E. Tatlin, M.Z. Chagall, A.V. Fonvizin, M.V. Le-Dantu and others. The works of members of the Youth Union were also exhibited in St. Petersburg (V.D. Bubnova, V.I. Markova (Matveya), O.V. Rozanova, P N. Filonova and etc.). The name of the group was reminiscent of the sensational hoax of representatives of the Parisian artistic bohemia, who exhibited at the Paris Salon of Independents (1910) an abstract painting allegedly painted with a donkey's tail dipped in liquid paint. The shocking title was intended to emphasize that the paintings of the exhibition participants were even more “leftist” and avant-garde than those of the Jack of Diamonds.
The scandalous fame of the exhibition was ensured by censorship by banning a number of Goncharova’s paintings representing popular prints of saints (“Evangelists”, 1911), considering that they could not be shown at an exhibition with a similar name. The participants of “Donkey’s Tail” sought to combine the painting achievements of European masters with the traditions of Russian folk art, peasant painting, popular print, icon painting, the arts of the East, thereby drawing closer to primitivism. The exhibition featured for the first time such subsequently famous works as “The Resting Soldier” and “Morning in the Barracks” by M. F. Larionov; “Peasants Picking Apples” and “Washerwomen” by N. S. Goncharova; “Flossers” by K. S. Malevich; “Fish Seller” and “Sailor” by V. E. Tatlin.
Unlike the “Jack of Diamonds,” “Donkey’s Tail,” without taking shape organizationally, disbanded already in 1913.
(Source: “Art. Modern illustrated encyclopedia.” Edited by Prof. Gorkin A.P.; M.: Rosman; 2007.)
See what “Donkey Tail” is in other dictionaries:
Donkey's Tail is an artistic association organized by M.F. Larionov and N.S. Goncharova in 1912. Contents 1 History 2 Links 3 Sources ... Wikipedia
The artistic association organized by M.F. Larionov and N.S. Goncharova in 1912. History The association existed in the early 1910s. It got its name thanks to a painting exhibited at an exhibition in Paris in 1910, drawn by ... Wikipedia
- “DONKEY TAIL”, a group of young Russian artists (M. F. Larionov (see Mikhail Fedorovich LARIONOV), N. S. Goncharova (see Natalia Sergeevna GONCHAROVA), K. S. Malevich (see Kazimir Severinovich MALEVICH), V. E. Tatlin (see Vladimir TATLIN... ... encyclopedic Dictionary
A group of young Russian artists (M.F. Larionov, N.S. Goncharova, K.S. Malevich, V.E. Tatlin, etc.), who organized two exhibitions of the same name in 1912. Anarchic rebellion, denial of the traditions of classical art, proclamation of freedom... Modern encyclopedia
A group of young Russian artists (M. F. Larionov, N. S. Goncharova, K. S. Malevich, V. E. Tatlin), who organized two exhibitions of the same name in 1912. Anarchist rebellion, denial of classical traditions, proclamation of freedom of formal... ... Big Encyclopedic Dictionary
A group of young Russian artists led by M. F. Larionov, which separated from the Jack of Diamonds and organized in 1912 two exhibitions of the same name in Moscow and (together with the Youth Union) in St. Petersburg. The shocking name Donkey... ... Art encyclopedia
- (“Donkey’s Tail”) a group of young artists led by M. F. Larionov, which separated from the “Jack of Diamonds” (See Jack of Diamonds) and organized in 1912 two exhibitions of the same name, one in Moscow, the other, together with members of the “Union ... ... Great Soviet Encyclopedia
A group of young Russian artists (M. F. Larionov, N. S. Goncharova, K. S. Malevich, V. E. Tatlin), who organized two exhibitions of the same name in 1912. Anarchist rebellion, denial of classical traditions, proclamation of freedom of formal... ... encyclopedic Dictionary
"Donkey's Tail"- DONKEY TAIL gr. artists led by M.F. Larionov, which separated from the Jack of Diamonds association. In 1912 M. F. Larionov, N. S. Goncharova, K. S. Malevich, V. E. Tatlin, A. V. Shevchenko, A. A. Morgunov, K. S. Zdanevich, M. V. Le Dantu … … Russian humanitarian encyclopedic dictionary
- “Donkey’s Tail,” a group of young Russian artists led by M. F. Larionov, which separated from the “Jack of Diamonds” and organized two exhibitions of the same name in 1912 in Moscow and (together with the “Youth Union”) in St. Petersburg. Shocking... ... Art encyclopedia
Artistic association "Donkey's Tail". M.F. Larionov, N.S. Goncharova.
"Donkey's Tail" is a group of Russian avant-garde artists associated with the exhibition of the same name, staged in 1912 in Moscow. Its shocking name comes from the scandal at the Parisian Salon of Independents (where a group of hoaxers exhibited an abstract painting in 1910, which was actually “painted” by a donkey using its tail). The core of the Moscow exhibition consisted of the works of the group of M.F. Larionov, who shortly before left, together with N.S. Goncharova and a number of other artists, from the “Jack of Diamonds” association, deciding to organize his own, much more radically avant-garde exhibition. The works of the greatest masters of Russian futurism were shown here (in addition to Larionov and Goncharova - K.S. Malevich, V.E. Tatlin and M.Z. Chagall).
The style was dominated by deliberate primitiveness, powerful color-formal expression, and motifs of rural archaism or rough urban folklore.
Unlike the “Jack of Diamonds,” which became a tradition and a long-term stylistic trend, “Donkey’s Tail,” without taking shape organizationally, disintegrated already in 1913, without forming a general artistic paradigm. In any case, the ephemeral group entered history as an important stage of Russian futurism, which in this short period moved from “neo-folklore” primitiveness to spontaneous “rayonist” abstraction.
M.F. Larionov studied at the Moscow School of Painting, Sculpture and Architecture with V.A. Serov and I.I. Levitan. There he met N.S. Goncharova, who became not only his wife, but also a like-minded person in his work. From the beginning of the 1900s, Larionov actively participated in artistic life, exhibiting not only in Russia, but also in Europe, and French painters had a great influence on Larionov. In 1902-06 he worked in the style of late impressionism (“Lilac Bush in Bloom”). In 1907, experiencing the influence of Fauvism and naive art, he turned to the primitivist style, creating memorable (rich colors, sharp lines, sharp scenes) canvases (“Resting Soldier”; “Spring”).
Being at the forefront of the artistic life of that time, by 1912 he created a new artistic concept - rayism, one of the first examples of abstract art in the category of so-called “non-objective creativity”, in which forms were formed as a result of the intersection of rays reflected from various objects.
The painting and graphics of N.S. Goncharova - initially impressionistic, then decided in the spirit of Fauvism - stand at the origins of Russian futurism. In 1907–1911, she managed, perhaps more organically than any of her contemporaries, to combine the traditions of the “primitive” (popular prints, painted signs, etc.), as well as the traditions of the icon, with new avant-garde trends. A special place in her art is occupied by genre and everyday themes (“Haymaking”, “Washing the Canvas”), as well as religious motifs (the “Evangelists” cycle). “Mystical Images of War” impresses with its menacingly apocalyptic expression. Decomposing the forms of the visible world, the artist turned to cubo-futurism (“Cyclist”).
Transforming the avant-garde into the “art of life,” Goncharova and Larionov were involved in theater (the project of the artistic cabaret “Pink Lantern”) and cinema (participation in the filming of the first Russian futuristic film “Drama in Cabaret No. 13”). That is why their transition to scenography was so organic (at the invitation of S.P. Diaghilev). The powerful, picturesque plasticity of Goncharova’s production of N. A. Rimsky-Korsakov’s opera “The Golden Cockerel” was a resounding success in Paris. While working in Russian Seasons, Goncharova and her husband left Moscow, finally settling in the capital of France in 1919.
1. Russian artists. / Ch. ed. Anisimov A.P. – M.: Delo, 2003.
