Fact-checked by Grok 2 weeks ago

Rayonism

Rayonism, also known as Rayism or Luchism, is a that emerged in the early , focusing on the depiction of rays and energy through abstract, intersecting lines of contrasting colors to represent the immaterial essence of objects and space. Founded by artists Mikhail Larionov and , it blended influences from , , and Orphism to explore scientific concepts like x-rays and the , marking one of the first steps toward non-objective art in . The movement originated in around , during a period of vibrant pre-Revolutionary that fused national traditions with European trends. Larionov and Goncharova, who met as students at the of , and in , developed Rayonism as an extension of their earlier Neo-Primitivist works, publishing the in July . Early Rayonist works, including (), were exhibited in , with the movement debuting more formally at the exhibition in in , featuring key paintings such as (–13). Key characteristics of Rayonism include the use of dynamic, slanting lines to simulate converging beams of , often dissolving recognizable forms into transparent, fractured planes of vivid colors such as reds, blues, and yellows. The style encompassed Realistic Rayonism, which retained faint outlines of subjects like landscapes or still lifes (e.g., Goncharova's Rayonist Forest, c. 1913–14), evolving toward more purely abstract Pneumo-Rayonism, emphasizing spiritual and energetic immateriality over literal representation. Other notable artists included Alexander Shevchenko, who contributed to the group's theoretical writings. Rayonism's influence extended to later Russian movements like and , though it was short-lived, effectively ending in 1914 when Larionov and Goncharova relocated to in 1915 to work with Sergei Diaghilev's on set and costume designs. Despite its brevity, the movement underscored the innovative spirit of early 20th-century Russian abstraction, prioritizing the sensory experience of light and motion in modern life, including themes of machines and mystical landscapes.

Origins and Influences

Founding and Manifesto

Rayonism emerged as an art movement founded by the Russian artists Mikhail Larionov and between 1910 and 1914, initially developing as an evolution from their engagement with . Larionov conducted initial private experiments and sketches around 1910, exploring abstract forms derived from light and color interactions, which laid the groundwork for the movement's non-objective approach. In 1912, Larionov and Goncharova departed from the Jack of Diamonds group—also known as the Knave of Diamonds—due to ideological differences, particularly the group's increasing reliance on , especially , artistic influences. This break prompted them to organize the rival Donkey's Tail exhibition, where they began presenting Rayonism as a distinct style focused on the intersection of rays rather than representational forms. Their departure marked a pivotal shift toward a uniquely expression, free from foreign impositions. The formal theoretical foundation of Rayonism was established through the publication of the Rayonist Manifesto in July 1913 (drafted in 1912), co-authored by Larionov and Goncharova, and printed in the catalog for the Oslinyi khvost i mishen exhibition in . The manifesto outlined the movement's core goals: to depict the intersection of light rays from various objects rather than the objects themselves, using colored lines to represent these provisional forms on the . It emphasized transcending time and space, stating, "The picture appears to be slippery; it imparts a sensation of the extratemporal, of the spatial... In it arises the sensation of what could be called the ." Furthermore, the text highlighted the role of color rays in evoking pure perception, noting that "the combination of color, its saturation, the relation of colored masses, depth, texture... can be shown here best of all," and positioned the artist as a mediator connecting the viewer to the essence of beyond physical reality: "That which is valuable for the lover of finds its maximum expression in a rayonist picture... The objects that we see in life play no role here, but that which is the essence of itself."

Key Influences

Rayonism drew its primary inspiration from Italian Futurism, particularly Filippo Tommaso Marinetti's 1909 "Founding and Manifesto of Futurism," which proclaimed a radical embrace of speed, technology, and the destruction of traditional syntax in art to capture the dynamism of modern life. This manifesto galvanized Russian artists, including Mikhail Larionov and , who adapted its rejection of passéist aesthetics into Rayonism's emphasis on energetic, non-objective forms that evoked motion through intersecting rays rather than static representation. The Futurist celebration of machinery and velocity thus provided a foundational framework for Rayonism's , transforming pictorial space into a field of . Closely linked to and its hybrid offshoot , Rayonism evolved from Larionov and Goncharova's initial engagement with these movements in the early 1910s, where they experimented with fragmented forms and modern urban themes before refining Rayonism as a purer, ray-centric style. Their early adoption of Cubo-Futurist techniques, blending Cubist geometry with temporality, marked a transitional phase that informed Rayonism's departure toward total abstraction, distancing it from the more figurative tendencies of their predecessors. Scientific discoveries of the era profoundly shaped Rayonism's conceptual basis, with concepts like Wilhelm Röntgen's X-rays (1895), Henri Becquerel's (1896), and the Curies' work on providing of invisible forces that permeated , justifying the of unseen rays and the of forms. These ideas, alongside studies in light refraction and theory, inspired Larionov to reconceive painting as a of radiant , where "the of these and the theories of the dissociation of represent an essential input to understand how emerged." Such parascientific motifs underscored Rayonism's aim to reveal the dematerialized essence of reality beyond visible perception. Within the vibrant milieu of pre-World War I , Rayonism benefited from the experimental ecosystem fostered by groups like the Union of Youth (Soyuz Molodezhi), founded in 1910 in , where Larionov actively participated in exhibitions and debates that bridged , , and emerging . This collective's seven exhibitions from 1910 to 1914 served as a crucial platform for idea exchange among over 80 artists, including and , amplifying the innovative currents that propelled Rayonism's development. Futurism's techniques for rendering speed—through fragmented compositions and dynamic lines of force—directly influenced Rayonism's ray-based , as Larionov and Goncharova employed angular, intersecting lines to simulate the "sum of rays from object A intersect[ing] the sum of rays from object B," evoking energy akin to a speeding or blur. For instance, in works like Larionov's Red Rayonism (1913), these elements manifest as vibrant, intersections reminiscent of multiplicity, but purified into light rays to abstract motion into pure visual rhythm.

Characteristics and Techniques

Aesthetic Principles

Rayonism's central aesthetic principle revolves around the representation of intersecting rays of color and , rather than tangible objects, to capture the reflections and perceptions that constitute visual . As articulated in the foundational manifestos, spatial forms emerge from the of these reflected rays, provisionally depicted through colored lines and planes on the surface, allowing the to evoke the dynamic essence of without reliance on physical forms. This approach prioritizes the sums of rays emanating from objects, where their crossing in space generates new, imagined configurations driven by the 's will, transcending mere imitation of the visible world. The movement's goal extends to transcending physical form altogether, aiming to evoke sensations of , time, and a profound emotional between and viewer. By focusing on color , relations of colored masses, and their intersections, Rayonist paintings suggest depth and movement through non-objective means, creating a "fourth dimension" sensation akin to music's autonomy from narrative. This non-objectivity manifests in "rayonist" planes where colors intersect to imply boundless energy, rejecting the static boundaries of in favor of pure visual transmission. Scholarly analysis underscores how this evokes invisible radiant matter, bridging the material and spiritual to materialize the 's inner . Philosophically, Rayonism positions art as a direct conduit for the artist's inner vision, drawing on and pure sensation to liberate from representational constraints. Influenced by parascientific ideas of and polarities in color, it views as the origin of both and radiation, enabling the of into dynamic flows. This rejection of static subjects distinguishes Rayonism from traditional by emphasizing -based as the core of expression, where objects serve only as stimuli for ray intersections rather than ends in themselves. While briefly echoing dynamism in its focus, Rayonism uniquely prioritizes non-figurative through these luminous principles.

Artistic Methods

Rayonists employed colored lines to provisionally depict rays on the surface, focusing on the reflected rays emanating from objects without rendering the objects themselves, as outlined in the 1913 manifesto by Mikhail Larionov and . This technique emphasized the of these rays to generate spatial forms, where the artist's selection of forms arose from the of reflected , creating textures through overlapping lines that suggested depth and vibrancy without relying on representational elements. To simulate the diffusion of light, artists layered translucent colors in planes, prioritizing and the interplay of tones to evoke ray reflections rather than defining outlines or solid forms. The density of layers contributed to a of the , with combinations of color masses and intensities enhancing the perceptual experience of light's movement across the picture plane. Pure hues such as reds, blues, and yellows were often applied in transparent overlays to dissolve boundaries and mimic the ethereal quality of intersecting rays. Experimental methods involved blending oil paints with unconventional materials and tools to achieve ray-like diffusion and dynamic motion, such as incorporating paper maché or plaster dust into the medium for added texture and faktura. These approaches allowed for the creation of abstract compositions where tones' positions relative to one another produced new visual effects, free from the constraints of concrete representation. Rayonists deliberately avoided traditional and , which they viewed as limiting to the essence of , instead relying on harmonious color relations to imply spatial and boundless . This rejection of conventional depth cues shifted focus to the intrinsic laws of color and line, enabling paintings to capture the infinite intersections of light rays in a non-objective manner.

Key Figures and Works

Mikhail Larionov

Mikhail Larionov was born in 1881 in , near in the (now ). He studied at the Moscow School of Painting, Sculpture, and Architecture starting in 1898, where he met in 1900, beginning a lifelong artistic partnership. Early in his career, Larionov became involved in the , co-founding the Jack of Diamonds exhibition group in 1910 to promote and challenge traditional art norms. As the primary theorist of Rayonism, Larionov developed the movement's principles around 1912, authoring three manifestos that outlined its focus on light rays and spatial forms arising from their intersections. He created early rayonist sketches, such as Rayonist Landscape (circa 1912–1913), which depicted landscape elements through emanating rays of color to capture the dynamic interplay of light rather than representational forms. Larionov's key works exemplify Rayonism's techniques. In Glass (1912), he portrayed five tumblers, a goblet, and two bottles using lines and vectors of color to represent refracted light rays intersecting, with overlapping color planes emphasizing transparency and the "sum of rays" from the objects. Similarly, Rayonist Composition: Domination of Red (1912–13) features a pre-Constructivist mass of slanting lines and painted rays of light in contrasting hues, evoking spatial depth through abstract ray intersections rather than tangible subjects. Larionov's artistic evolution progressed from neo-primitivism, seen in his earlier folk-inspired works, to pure , with Rayonism marking his peak innovation in visualizing invisible energies. After his military service and wounding in 1914, Larionov left in 1915, settling in in by 1919. He continued promoting Rayonism through designs for Sergei Diaghilev's , such as sets for The Midnight Sun (1915) and Russian Tales (1917), and later graphic works until his death in 1964 in Fontenay-aux-Roses, .

Natalia Goncharova

Natalia Goncharova was born on June 16, 1881, in Nagaevo, Province, , into a family with artistic ties, and she emerged as a multidisciplinary artist excelling in painting, textile design, book illustration, and theater set and costume design. Initially trained at the Moscow School of Painting, Sculpture, and Architecture, she aligned early with the , embracing neo-primitivism by incorporating motifs from Russian folk art and lubki prints into her work, which foreshadowed her abstract explorations. Her affiliation with in the late 1900s positioned her at the forefront of experimental art in , where she and her partner Mikhail Larionov challenged traditional forms. As a co-founder of Rayonism alongside Larionov in 1912, Goncharova played a central role in shaping the movement, co-authoring the Rayonist Painting Manifesto that briefly outlined its principles of depicting intersecting rays of . She innovatively blended folk-inspired elements with , creating works that fused cultural heritage with modernist fragmentation. Representative pieces include Rayist Perception in Blue and Green (1913), which abstracts forms into luminous, intersecting beams, and Rayonist Forest (1914), a Realistic Rayonist retaining faint outlines amid rays. These exemplify her emphasis on dynamic subjects, where techniques highlighted speed, reflections, and the energy of modern life. Goncharova's innovations extended Rayonism by applying its ray-based methods to and kinetic themes, distinguishing her approach through open, elegant forms that conveyed and atmospheric in everyday scenes. Her collaborative efforts with Larionov were integral, including joint exhibitions like the 1913 show in , where their rayonist works were prominently featured; these partnerships not only amplified the movement's visibility but also influenced her transition away from pure Rayonism toward broader pursuits, particularly in stage design for Sergei Diaghilev's . In 1915, Goncharova left with Larionov for , where they settled permanently by 1919, and she continued her career in design and painting, contributing to productions like Le Coq d'Or (1914) and (1923), though her abstract experiments waned in favor of figurative and decorative works. She died in on , 1962, after decades of relative obscurity in the , but her legacy gained recognition through major museum acquisitions, such as the Gallery's purchase of Linen (1913) in 1953, affirming her pivotal role in early .

Other Contributors

Ilia Zdanevich, a poet and theorist, played a key role in the theoretical foundations of Rayonism through his co-authorship of the 1913 manifesto "Rayonists and Futurists" alongside Mikhail Larionov and , where he contributed insights into the aesthetic of intersecting rays as a synthesis of light and spiritual emanation. Zdanevich's writings emphasized Rayonism's integration of external radiation with the artist's internal experience, enriching the movement's conceptual depth by linking visible forms to invisible energies. Alexander Shevchenko contributed to the group's theoretical writings and participated in the 1913 Target exhibition, signing the Rayonist manifesto and exhibiting works aligned with the movement's principles of dynamic light and abstraction. Olga Rozanova adopted Rayonist elements peripherally around 1914, blending them with emerging Suprematist tendencies in transitional works that incorporated ray-like linear structures to evoke spatial energy and color dynamics. Her involvement remained limited, primarily through shared futurist circles and exhibitions, rather than deep theoretical engagement. Overall, the contributions of these secondary figures were short-term and auxiliary, providing theoretical elaboration, experimental artworks, and exhibition support, yet the movement stayed predominantly centered on Larionov and Goncharova's .

Historical Development

Exhibitions and Contemporary Reception

Rayonism's initial public appearances began with the Donkey's Tail exhibition in in March 1912, organized by Mikhail Larionov and after their split from the Knave of Diamonds group, where early proto-rayonist pieces were introduced alongside diverse primitivist and works. The movement's formal debut occurred at the (Mishen) exhibition in from March 24 to April 7, 1913, organized by Larionov and Goncharova as a provocative showcase for art, featuring several rayonist paintings by the two founders along with contributions from other artists such as Ivan Larionov, Timofei Bogomazov, and Alexander Shevchenko. Contemporary reception in the press was mixed, with circles praising Rayonism's innovative approach to and as a distinctly development, as noted by critic Pavel Ivanov who highlighted its "completely new technical method," while traditionalists dismissed the works as chaotic and incomprehensible, leading to heated public debates at the Polytechnical Museum during the show. International exposure remained limited primarily to networks, with the "Rayonists and : A " distributed through publications associated with the Hylaea group, though the movement garnered little attention beyond these circles amid the broader European . This period aligned with the heightened artistic experimentation in Russia leading up to , yet Rayonism was largely overshadowed abroad by the rising prominence of and Italian Futurism.

Decline and Later Recognition

The development of Rayonism was abruptly halted by the outbreak of in 1914, when founder Mikhail Larionov sustained injuries during the Battle of the Masurian Lakes, severely limiting his ability to continue producing and promoting the style. Larionov and , the movement's key proponents, emigrated to France in 1915, shifting their focus to stage design for Sergei Diaghilev's and effectively ending Rayonism's active phase by that year. The ensuing of 1917 and subsequent further isolated the artists from their Russian context, rendering continued engagement with the movement impossible as they settled permanently in . In the post-war period, Rayonism fell into obscurity, with its works dispersed across private collections and receiving scant recognition in the due to the regime's suppression of . Beginning in the late 1920s, Soviet authorities censured movements like Rayonism, favoring , and by 1934, was officially banned as incompatible with state ideology. This ideological clampdown persisted through the , , and 1960s, confining most Rayonist pieces to private holdings in and abroad, where they remained largely inaccessible to the public. Rayonism's revival began in the West during the mid-20th century, sparked by growing interest in art amid the cultural exchanges. Camilla Gray's seminal book The Great Experiment: Russian Art 1863–1922 (1962) introduced Rayonism to broader audiences, highlighting its innovative . This was followed by key exhibitions in the and that included Rayonist works, such as the 1971 "Art in Revolution" show at London's , which featured Soviet pieces despite political restrictions on abstract elements. Scholarly attention intensified in the and 1980s through retrospectives like "Art from Revolution" (1977, ) and publications such as Between Revolutionary Art and (1979), which analyzed Rayonism's theoretical contributions and contextualized its suppression. Despite this resurgence, accessibility remains challenged by the location of many Rayonist works in state collections or private holdings, which historically limited public viewing. Recent initiatives by institutions, including the UNT Digital Library's archiving of Goncharova's Blue-Green Forest (1911), have begun to mitigate these barriers, enabling wider online access to the movement's sparse but significant oeuvre.

Legacy and Influence

Impact on Abstract Art

Rayonism played a pioneering role in the development of Russian abstraction, serving as a crucial bridge between the dynamic energies of and the pure non-objectivity of . Founded by Mikhail Larionov and in 1911–1912, the movement's emphasis on intersecting rays of light and color to capture spatial reflections pushed beyond representational forms, influencing Kazimir Malevich's shift toward in his Suprematist works, such as those exhibited in 1915. Rayonist principles contributed to Malevich's exploration of form and texture (faktura), where sensations emerge from colored surfaces rather than depicted objects, marking a foundational step in non-objective art. The technical legacy of Rayonism's ray-based color theory extended into mid-20th-century modernism, anticipating elements of and light installations through its innovative depiction of light as dynamic, immaterial energy. By equating painted rays with reflected light's vibrations, Rayonists introduced a that prioritized optical effects and perceptual illusion over static forms, prefiguring the kinetic illusions and color interactions central to artists like in the 1950s–1960s. This approach also resonated in light-based installations, such as those by in the 1920s–1930s, where projected rays and luminous materials echoed Rayonism's focus on radiation and spatial dematerialization. Rayonism contributed significantly to the international discourse on , exhibiting clear parallels with contemporaneous movements like Orphism, developed by , and later . Both Rayonism and Orphism explored light and color as autonomous elements to evoke and , with Rayonists' intersecting rays mirroring Delaunay's circular color contrasts in works from 1912–1913, fostering a shared emphasis on the "" beyond physical objects. In , this evolved into , where artists such as and adopted Rayonist ideas of line-as-color and material texture to emphasize and utility in post-1917 art. Rayonism's innovations in light depiction during the have earned it institutional recognition as a key chapter in canonical histories of , often highlighted for advancing abstract painting's engagement with and . Major surveys, such as those from the , position Rayonism alongside as a vital 1912–1914 response to European influences, underscoring its role in the global shift toward non-representational art. The specific transmission of Rayonist ideas to European circles occurred prominently through Larionov and Goncharova's exile in beginning in 1915, where they integrated their abstract principles into theater design and exhibitions during the . Settling permanently in by 1919, the couple collaborated with the and organized shows that exposed Western audiences to techniques, influencing networks and contributing to the cross-pollination of in interwar .

Modern Interpretations

In the , scholarship on Rayonism has increasingly emphasized the role of gender dynamics within the , particularly highlighting Natalia Goncharova's contributions as a pioneering artist who challenged patriarchal norms. Goncharova, co-founder of the movement alongside Mikhail Larionov, defied conventions by exhibiting female nudes in 1910, leading to a high-profile for , and by painting religious icons—a domain traditionally forbidden to women in Orthodox Russia. Recent analyses, such as those in the 2019 exhibition catalog, position her as a for international success, underscoring how her rayonist works, like Rayonist Composition (c. 1912–13), integrated with feminist agency, reframing the movement's history beyond male-centric narratives. Contemporary interpretations also draw parallels between Rayonism's focus on intersecting light rays and modern scientific concepts, including aspects of quantum physics that describe light as both particle and wave. A 2020 study examines Larionov's theoretical foundations in early 20th-century discoveries like X-rays and , interpreting rayonism's "radiant matter" as prescient of quantum ideas on energy dissociation and immateriality, blending scientific mythology with artistic abstraction. This reevaluation connects the movement's emphasis on dynamic, non-objective forms to quantum notions of probabilistic reality, offering fresh insights into its metaphysical underpinnings. Major retrospectives in the have spotlighted rayonist works, revitalizing scholarly and public interest. The 2019 Tate Modern exhibition on Goncharova featured key rayonist pieces, such as Rayonist No. 6 (1911–12), contextualizing them within her broader evolution. Similarly, the concurrent Palazzo Strozzi show in displayed rayonist paintings alongside loans from the , emphasizing their role in bridging Russian folk traditions with Western . These exhibitions have prompted renewed curatorial focus on Rayonism's transitional significance in history. Rayonism's legacy extends into contemporary culture through influences in , light projections, and , adapting its light-ray motifs to . Digital artist Rupert Newman cites Rayonism as a core inspiration for his projection-based works, which use intersecting light beams to evoke spatial energy, mirroring the movement's non-figurative dynamism in virtual environments. In , the British electro group The Rayonists explicitly references the style in their name and aesthetic, drawing on its radiant, abstract principles for electronic compositions that blend light-inspired visuals with soundscapes, as seen in their releases. These extensions demonstrate Rayonism's adaptability to digital and performative realms. Modern critiques address the movement's historical incompleteness, particularly the underrepresentation of female contributors like , whose early involvement in related circles was overshadowed by male figures. Rozanova, active in before transitioning to , produced works with rayonist-like ray intersections, yet her innovations received limited recognition during her lifetime due to gender biases; 21st-century analyses, including those in The Art Story's 2018 profile, call for greater inclusion of such artists to rectify Eurocentric and patriarchal narratives in . Accessibility issues persist, with critiques noting the scarcity of global exhibitions outside major Western institutions, limiting broader engagement with rayonist artifacts. As of the , efforts have enhanced Rayonism's current status, making works more accessible worldwide. The Tate's online collection includes high-resolution images of Goncharova's rayonist drawings, such as Rayonist Composition, enabling virtual study and analysis. The State Russian Museum's Virtual Russian Museum platform features digitized avant-garde holdings, including Larionov's rayonist paintings, supporting scholarly research and public education amid growing online cultural initiatives in . These projects, part of broader museum trends documented in 2022 studies, address historical inaccessibility and foster inclusive interpretations of the movement.

References

  1. [1]
    Rayonism Movement Overview | TheArtStory
    Sep 22, 2017 · Rayonism, an abstract style developed by Russians Larionov and Goncharova used dynamic rays of contrasting color representing reflected ...
  2. [2]
    Rayonism, Luchism, Russian Abstract Art Movement - Visual Arts Cork
    Also known as Rayism and Luchism (luch means ray in Russian), Rayonism was a style of abstract art conceived and developed by Russian artists Mikhail Larionov ( ...Missing: definition | Show results with:definition
  3. [3]
    Rayism/Rayonism - National Galleries of Scotland
    Rayonism was art early twentieth century art movement founded by the Russian artists Mikhail Larionov and Natalia Goncharova in 1912.Missing: history | Show results with:history
  4. [4]
    Mikhail Larionov - Monoskop
    Nov 1, 2024 · He was the founder of the Jack of Diamonds group (1909-1911), and with them he exhibited a remarkable series of paintings, among them the ...
  5. [5]
    The Rayonist Art of Mikhail Larionov and Natalya Goncharova
    Feb 11, 2022 · Rayonism is concerned with spatial forms that can arise from the intersection of the reflected rays of different objects, forms chosen by the artist's will.Missing: founding | Show results with:founding
  6. [6]
    [PDF] Rayonists and Futurists: A Manifesto, 1913 - Monoskop
    Larionov's current rejection of the West and his orientation toward Russian and East- ern cultural traditions. In addition to Larionov and Goncharova, the ...Missing: excerpts | Show results with:excerpts
  7. [7]
    Rayonism | explore the art movement that emerged in Russia
    Rayonism was an avant-garde movement founded by Mikhail Larionov and Natalia Goncharova. Drawing inspiration from Cubism and Futurism.
  8. [8]
    Italian Futurism, 1909–1944: Reconstructing the Universe - Exhibitions
    Italian Futurism was officially launched in 1909 when Filippo Tommaso Marinetti, an Italian intellectual, published his “Founding and Manifesto of Futurism”
  9. [9]
    [PDF] RAYONISM IN EARLY MODERN ART – A FLEETING RAY OF LIGHT
    The New Russian Art and Italian Futurism, Art Journal, 34 (3), 229-239. ... Figure 12: Red Rayonism, Mikhail Larionov, 1913. Watercolor on paper, The ...
  10. [10]
    Natalia Goncharova: The Trailblazer - Tate
    Jun 5, 2019 · Not surprisingly, Goncharova was among the first artists in Russia to respond to cubism and futurism, developing a style that became known as ...
  11. [11]
    Russian Futurism Movement Overview - The Art Story
    Mar 23, 2017 · In 1912, Mikhail Larionov and his partner Natalia Goncharova developed a style called luchizm (alternately translated into English as Rayism and ...Key Ideas & Accomplishments · Haycutters · Russian Futurism: Concepts...
  12. [12]
    [PDF] Mikhail Larionov's Rayonism and the Scientific Mythologies of the ...
    Dec 11, 2020 · Abstract The article investigates the theory of non-figurative painting developed by Mikhail Larionov (Rayonism) and its connection to ...Missing: excerpts | Show results with:excerpts
  13. [13]
    Mikhail Larionov's Rayonism and the Scientific Mythologies of the ...
    The article investigates the theory of non-figurative painting developed by Mikhail Larionov (Rayonism) and its connection to parascientific theories of the ...
  14. [14]
    Union of Youth. Russian Avant-Garde 1909 - 1914
    The key artists of the Russian Avant-Garde were strongly influenced by their participation in the activities of the Union, among them – Mikhail Larionov, ...Missing: context | Show results with:context
  15. [15]
    [PDF] The Union of Youth : an artists' society of the Russian avant-garde
    context of the local Russian avant-garde, and the Union of Youth in particular. This, in turn, establishes their symbolist and scientific heritage and their ...Missing: WWI | Show results with:WWI
  16. [16]
    [PDF] Rayonist Painting, 1913 - Monoskop
    The picture appears to be slippery; it imparts a sensation of the extratem- poral, of the spatial. In it arises the sensation of what could be called the.Missing: excerpts | Show results with:excerpts
  17. [17]
    [PDF] Mikhail Larionov: Rayonism and Radiant Matter - Atlantis Press
    Abstract—The article focuses on several aspects of the theory and practice of rayonism in the work of Mikhail. Larionov, which have to date remained at the ...Missing: excerpts | Show results with:excerpts
  18. [18]
    Mikhail Larionov | The Guggenheim Museums and Foundation
    Mikhail Larionov was born in Tiraspol, a city near Odessa, Russia (now Odesa ... (Rayonist Composition: Domination of Red, 1912–13) is an early example ...Missing: Rayonism | Show results with:Rayonism
  19. [19]
    Mikhail Larionov | MoMA
    144 works online. Mikhail Larionov Rayonist Composition: Domination of Red 1912-13 (dated on painting 1911). On view Gallery 503.Missing: biography | Show results with:biography
  20. [20]
    Mikhail Larionov | Glass | The Guggenheim Museums and Foundation
    Mikhail Larionov was not only a painter but also an organizer of exhibitions, a stylistic innovator, and the author of three Rayist manifestos.<|control11|><|separator|>
  21. [21]
    Natalia Goncharova 1881–1962 - Tate
    Goncharova's lifelong partner was fellow Russian avant-garde artist Mikhail Larionov. She was a founding member of both the Jack of Diamonds (1909–1911) ...
  22. [22]
    [PDF] Goncharova's Rayism - Authentication in Art
    His monograph, Goncharova: The Art and Design of Natalia Goncharova, appeared in October. 2010, from which this article and the illustrations come. ANTHONY ...
  23. [23]
    [PDF] Natalia Goncharova's canonization in Europe after 1945
    Nov 26, 2018 · Goncharova and Larionov extended their artistic exploration with the development of. Rayonism after 1911, which was a continuation of their ...
  24. [24]
    Rayonism - Tate
    Rayonism is an early abstract art form with interacting linear forms derived from light rays, based on the effect of light on landscapes or cityscapes.<|separator|>
  25. [25]
    [PDF] Natalia Goncharova - CORE
    In 1912, Goncharova and Larionov developed the new style of abstract painting which they termed Rayism (Luchizm; sometimes termed Rayonism), based on the.
  26. [26]
    'Linen', Natalia Goncharova, 1913 - Tate
    'Linen', Natalia Goncharova, 1913 on display at Tate Modern.Missing: Rayonism | Show results with:Rayonism<|separator|>
  27. [27]
    Olga Rozanova Paintings, Bio, Ideas - The Art Story
    May 2, 2018 · Rozanova's 1914 painting Metronome was shown at The Last Futurist Exhibition 0,10 in Petrograd in 1915, alongside such legendary works as ...In A Café · The Factory And The Bridge · Biography Of Olga RozanovaMissing: transitional | Show results with:transitional<|separator|>
  28. [28]
    Target exhibition - Oxford Reference
    Exhibition organized in Moscow by Larionov, Goncharova, and Malevich in March 1913, at which Rayonism was launched.Missing: contributors | Show results with:contributors
  29. [29]
    https://www.malevichsociety.org/selected-exhibitions/
  30. [30]
    rayonism in early modern art – a fleeting ray of light - ResearchGate
    Dec 16, 2021 · Rayonist roots in Italian Futurism. “While it can't be denied that ... Red Rayonism, Mikhail Larionov, 1913. Watercolor on paper, The ...<|control11|><|separator|>
  31. [31]
    Larionov's Rayonism | The Tretyakov Gallery Magazine
    World War I, the Russian Revolution and the Civil War made it practically impossible for the artist, then living in France, to participate in the artistic life ...Missing: decline | Show results with:decline
  32. [32]
    "Living in the territory of art”. NEW PERSPECTIVES ON MIKHAIL ...
    These small-scale pieces and sketches in which a thick mass of colour either swirls like a snowstorm, or drifts like the stream of the rivers featured in their ...
  33. [33]
    The Russian Avant-Garde - Claremont Review of Books
    ... 1913 introduced Rayonism, a genuinely abstract style. An offshoot of Cubism, Rayonism conveys emotions through visual equivalents of the new scientific ...Missing: reception traditionalists
  34. [34]
    Soviet Union Bans Abstract Art | Research Starters - EBSCO
    In 1934, the Soviet Union officially banned abstract art, declaring Socialist Realism as the sole acceptable form of artistic expression.
  35. [35]
    CHOSEN RELATIONSHIPS. The Russian avant-garde as reflected ...
    Exhibited for the first time in 1914, Rayonism resolved the object world into abstract ray structures. ... Photo: Berlinische Galerie, Museum of Modern Art.
  36. [36]
    Rayonism: Blue-Green Forest - UNT Digital Library
    Oct 30, 2025 · This artwork is part of the collection entitled: ARTsource and was provided by the UNT College of Visual Arts + Design to the UNT Digital ...
  37. [37]
    Concrete Art Movement Overview | TheArtStory
    Mar 25, 2019 · ... Rayonism, Neo-Primitivism, and Cubo-Futurism, had been undertaking ... Op Art, and the last vestiges of pre-war geometrical abstraction.
  38. [38]
    [PDF] Revolution : Russian avant-garde, 1912-1930 - MoMA
    Rayonism and Cubo-Fufurism, movements that coexisted during 1912-14, incorporated the influences of French Cubism and Italian. Futurism. These were known ...
  39. [39]
    Natalia Goncharova | Tate
    Rayonism suggested a world beyond the visible. Goncharova's depiction of energies such as electricity and rays that intersected solid objects led her ...
  40. [40]
    [PDF] Natalia Goncharova | Palazzo Strozzi
    Sep 28, 2019 · Morozov owned over 200 works covering the development of modern painting, and he bought paintings by Goncharova and Larionov along with works.
  41. [41]
    Natalia Goncharova | Tate Modern
    Rayonism. An early form of abstract art characterised by interacting linear forms derived from rays of light · Artist · Natalia Goncharova. 1881–1962 ...
  42. [42]
    https://www.tate.org.uk/whats-on/tate-modern/natalia-goncharova
  43. [43]
    Collections - Virtual Russian Museum
    Online resources · Collections · Old Russian Art · Old Russian Decorative and Applied Art · Works of Painting · Drawing and Waterсolours · Graphic Art.Missing: Rayonism digitization
  44. [44]
    Digitization of Libraries, Archives, and Museums in Russia
    Dec 19, 2022 · This paper discusses the digitization of cultural heritage in Russian libraries, archives, and museums.Missing: Rayonism | Show results with:Rayonism<|separator|>