Mikhail Fedorovich Larionov (1881-1964) – an outstanding Russian painter, graphic artist and theater artist, representative of the Russian avant-garde of the early XX century. Born in the family of a military paramedic in Tiraspol. In 1898, he entered the Moscow School of Painting, Sculpture and Architecture, studied under K. Korovin and V. Serov. At the school, M. Larionov met N. Goncharova, who became his faithful companion.
The years of study accounted for the early, impressionistic period of M. Larionov’s work. In a manner inherited from French artists, he created entire pictorial series. The intensity of color, the richness of the picturesque textures are distinguished by many of the artist’s early paintings. His works were successful at exhibitions of the Society of Watercolorists, the Union of Russian Artists, “World of Art”, at the Russian exposition of the 1906 Autumn Salon in Paris.
In 1907, in search of new ways in art, M. Larionov turned to the Russian folk “primitive (lubok, craft signboard, etc.). The stage of primitivism in the artist’s work was almost the most fruitful. The artist participated in all the advanced avant-garde exhibitions of the 1910s years, including at the exhibitions of the Jack of Diamonds Association, at the Donkey’s Tail exhibition (1912), organized by the artist himself, which also brought together NS Goncharova, KS Malevich, V.E. Tatlin, A. Shevchenko, M. 3. Chagall, etc.
In 1913, there was a major exhibition of a group of Moscow artists in the Art Salon on Bolshaya Dmitrovka called “The Target”, organized by M. Larionov, who considered it to be the final one in the series of exhibitions of the associations “Jack of Diamonds” (1910-1911) and “Donkey’s Tail” (1912). The “Target” has become the highest point in the development of M. Larionov’s artistic ideas. In 1913, M. Larionov published the brochure “Luchism”, the manifesto “Luchist and Future Futures”, in which he formulated a theory of a new trend: The lucism of M. Larionov laid the foundation for Russian absract art from the turn of the century.
The presented painting, “Radiant still life, continues the series of artist’s artistic searches on the subject of radiation, being a kind of“ subject radiation ”. With this extraordinary technique, the artist forces all objects of the still life to interact in a fluid manner, thereby creating radiant metamorphoses. The echoes of radiation are reflected in book illustrations M. Larionov for collections of futurist poets AE Kruchenykh, VV Khlebnikov, KA Bolshakov In 1914, M. Larionov participated in the battles of the First World War, was shell-shocked. and all his life, Mikhail Larionov worked in tandem with Natalia Goncharova, while remaining a bright personality and often the first violin in a creative duet. One Western journalist called him “a polar bear with the tenderness of forget-me-not.” In 1915, at the invitation of SP Diaghilev, together with The artist N.S. Goncharova joined the Russian Ballet company, traveled with her throughout Europe, worked on sketches of costumes and scenery.In 1919, Mikhail Larionov and Natalya Goncharova settled in Paris. The artist continued to engage in easel painting and graphics, participated in exhibitions, was seriously interested in collecting. Working as a brilliant stage designer, M. Larionov designed the ballets Russian Tales to the music of A.K. Lyadova (1916), “The Jester” S.S. Prokofiev (1921) and others. In the 1920s, he became the artistic adviser to S. Diaghilev. In the last years of his life, he devoted a lot of time to literary work – writing memoirs, articles on Russian art, etc. In 1988, a significant part of the creative heritage of M. Larionov and N. Goncharova was transferred to the Tretyakov Gallery, but a large number of the artist’s works are in museums and private collections different countries of the world.