Tatiana Mikhienko


Tatiana Mikhienko
The Konstantin Rozhdestvensky Centenary Exhibition

#1 2007 (14)

An important figure in late avant-garde art and a pupil of Kazimir Malevich, Konstantin Rozhdestvensky (1906–1997) is, nonetheless, little known to Russian art lovers. The current retrospective exhibition in the State Tretyakov Gallery is the first large-scale public showing of Rozhdestvensky’s drawings and paintings to take place in Russia.


Irina Vakar, Tatiana Levina, Tatiana Mikhienko
“The East, Nationality and the West”

Special issue. KNAVE OF DIAMONDS

This phrase happened to be the title of a fruitful debate held in 1913. Short though it was, it represented one of the most acute problems in early avant-garde art. Painters, poets and art critics - those who created new Russian art and those who were against it - paid written attention to the subject in those days. It was not the first time that the Russian innovators faced the problem of self-identification. It had been a concern for a few years already, but before it had been expressed in the stylistics and choice of themes of their pictures only, rather than in the theoretical conclusions or statements. The complexity of the situation stemmed from the fact that the young artists traced their artistic roots back both to the French painting tradition and to the national, popular folk culture which they believed to have originated in the East. This combination allowed different trends to exist simultaneously in their painting: the primitive co-existed with Postimpressionism and Fauvism, “quotations” from Henri Matisse could be found next to the “lubok” (popular woodblock prints), while “quotations” from Paul Cezanne could be seen alongside the devices of shop-sign painting. Natalia Goncharova, one of the most notable figures of the movement, insisted that “it is necessary to blend the 'alien' art with the native one”. But what was to be considered “alien” or pure Russian at that point? Some of the works of the members of the “Knave of Diamonds” group of the end of the 1900s and through the 1910s can be interpreted as part of their dialogue with the French painters, as well as their reflection on their own roots.




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