Lot

52

NATALIA GONTCHAROVA - Huile sur toile

In Galerie Dreyfus Auction

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NATALIA GONTCHAROVA - Huile sur toile
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Binningen

NATALIA GONTCHAROVA , LADYJINO, 1881 - PARIS, 1962

Spanishwoman

Oil on canvas 97 x 67 cm

While nothing is missing from the Spanishwoman's panoply -mantilla, fan, shawl with wide fringes, dress with floral motifs and lace apron-we are, however, a long way from a folk portrait. It is rather the quintessence of Spain that is signified to us with this swirling figure in a radiant and diffracted composition, close to cubism and even more to futurism. Each cut-out part of the woman is like a fan that is unfolded with a sharp blow. The composition is dynamic, even kinetic. The triangular prisms emanating from the centre of the silhouette are answered by a few arcs of circles, such as the edge of the shawl whose fringes fall vertically to the lower left, or the red curve that divides the figure in two. The colours participate in this dynamic also affirming this Hispanicness: yellows, reds and oranges match the white of the lace and the black background. The work, characteristic of Natalia Goncharova's radiant period, subtly combines her plastic research and her taste for popular imagery in an attempt at abstraction.

 

Natalia Goncharova (1881-1962) was a Russian painter who became a naturalized French citizen in 1939. Educated in Moscow, she devoted herself to painting after meeting Michel Larionov (1881-1964), who became her husband. From 1907, after impressionist and cubist experiments, she developed a personal neo-primitive style, strongly influenced by icons and popular Russian imagery (loubok). Thus, religious and peasant themes permeate her work. In 1906, she took part in the Russian art exhibition organised by Serge de Diaghilev (1872-1929) at the Salon d'Automne in Paris, and in December 1909, together with Larionov, launched neo-primitivism at the third Golden Fleece exhibition. Always in the avant-garde, she took part in the Futurist movement (1911), then in the creation of Rayonism (1912-1913), a non-figurative movement whose manifesto they were to write. Present on the entire European scene, Goncharova exhibited for the Blaue Reiter in Munich in 1912, then at the Der Sturm gallery in Berlin. In 1913, a major retrospective exhibition was held in Moscow, with a catalogue of nearly 700 numbers, and in 1914 she exhibited at the Salon des Indépendants in Paris, alongside Larionov, Alexandra Exter (1882-1949) and Georges Yakoulov (1884-1928). It was also in 1914 that she produced the series of lithographs entitled Images mystiques de la guerre (Mystical Images of War) and created the sets for Rimsky-Korsakov's Le Coq d'or (The Golden Cockerel) for the Ballets russes. She exhibits with Larionov at the Paul Guillaume Gallery, with a preface to the catalogue by Guillaume Apollinaire. In 1918, she settled permanently in Paris with Larionov and became one of the main painters of Diaghilev's Ballets Russes, for whom she designed the sets for Stravinsky's Les Noces (1882-1971), as well as for Ida Rubinstein (1885-1960) and her Ballets Russes de Monte-Carlo. A painter of the Paris School, Goncharova was also a member of the Salon d'Automne since 1921, and regularly participated in the Salon des Tuileries and the Salon des Indépendants. Although the war and post-war period was a difficult one for Goncharova and Larionov, it was in 1954, on the occasion of Diaghilev's major retrospectives in London, that they regained their fame. The Musée d'Art Moderne de la Ville de Paris devoted a retrospective to them after their death. In 2019, the Tate Modern in London is holding the first retrospective solely on her work.


Certificate: Jean Chauvelin, Paris.
Signatur: Signed lower right 'N. Goncharova' and titled on the reverse 'Espagnole -n°6'

NATALIA GONTCHAROVA , LADYJINO, 1881 - PARIS, 1962

Spanishwoman

Oil on canvas 97 x 67 cm

While nothing is missing from the Spanishwoman's panoply -mantilla, fan, shawl with wide fringes, dress with floral motifs and lace apron-we are, however, a long way from a folk portrait. It is rather the quintessence of Spain that is signified to us with this swirling figure in a radiant and diffracted composition, close to cubism and even more to futurism. Each cut-out part of the woman is like a fan that is unfolded with a sharp blow. The composition is dynamic, even kinetic. The triangular prisms emanating from the centre of the silhouette are answered by a few arcs of circles, such as the edge of the shawl whose fringes fall vertically to the lower left, or the red curve that divides the figure in two. The colours participate in this dynamic also affirming this Hispanicness: yellows, reds and oranges match the white of the lace and the black background. The work, characteristic of Natalia Goncharova's radiant period, subtly combines her plastic research and her taste for popular imagery in an attempt at abstraction.

 

Natalia Goncharova (1881-1962) was a Russian painter who became a naturalized French citizen in 1939. Educated in Moscow, she devoted herself to painting after meeting Michel Larionov (1881-1964), who became her husband. From 1907, after impressionist and cubist experiments, she developed a personal neo-primitive style, strongly influenced by icons and popular Russian imagery (loubok). Thus, religious and peasant themes permeate her work. In 1906, she took part in the Russian art exhibition organised by Serge de Diaghilev (1872-1929) at the Salon d'Automne in Paris, and in December 1909, together with Larionov, launched neo-primitivism at the third Golden Fleece exhibition. Always in the avant-garde, she took part in the Futurist movement (1911), then in the creation of Rayonism (1912-1913), a non-figurative movement whose manifesto they were to write. Present on the entire European scene, Goncharova exhibited for the Blaue Reiter in Munich in 1912, then at the Der Sturm gallery in Berlin. In 1913, a major retrospective exhibition was held in Moscow, with a catalogue of nearly 700 numbers, and in 1914 she exhibited at the Salon des Indépendants in Paris, alongside Larionov, Alexandra Exter (1882-1949) and Georges Yakoulov (1884-1928). It was also in 1914 that she produced the series of lithographs entitled Images mystiques de la guerre (Mystical Images of War) and created the sets for Rimsky-Korsakov's Le Coq d'or (The Golden Cockerel) for the Ballets russes. She exhibits with Larionov at the Paul Guillaume Gallery, with a preface to the catalogue by Guillaume Apollinaire. In 1918, she settled permanently in Paris with Larionov and became one of the main painters of Diaghilev's Ballets Russes, for whom she designed the sets for Stravinsky's Les Noces (1882-1971), as well as for Ida Rubinstein (1885-1960) and her Ballets Russes de Monte-Carlo. A painter of the Paris School, Goncharova was also a member of the Salon d'Automne since 1921, and regularly participated in the Salon des Tuileries and the Salon des Indépendants. Although the war and post-war period was a difficult one for Goncharova and Larionov, it was in 1954, on the occasion of Diaghilev's major retrospectives in London, that they regained their fame. The Musée d'Art Moderne de la Ville de Paris devoted a retrospective to them after their death. In 2019, the Tate Modern in London is holding the first retrospective solely on her work.


Certificate: Jean Chauvelin, Paris.
Signatur: Signed lower right 'N. Goncharova' and titled on the reverse 'Espagnole -n°6'

Galerie Dreyfus Auction

Sale Date(s)
Lots: 1-118
Venue Address
CHÂTEAU DE BINNINGEN
Schlossgasse 5
Binningen
4102
Switzerland

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Important Information

In addition to the auction price, the buyer shall pay commissions and taxes:

-to 250,000 CHF: 25%
-to 2,000,000 CHF: 20%
-above 2,000,001 CHF: 15%

+ VAT at the prevailing rate.
VAT on commissions and import costs may be retroceded to the successful bidder on presentation of proof of export outside SWITZERLAND.

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-From 250,001 to 2,000,000 CHF: 20% + VAT at the prevailing rate.
-Above 2,000,001 CHF: 15% + VAT at the prevailing rate.
2) VAT on commissions and import costs may be retroceded to the successful bidder on presentation of proof of export outside SWITZERLAND.

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