We are searching data for your request:
Upon completion, a link will appear to access the found materials.
Aristarkh Lentulov - Russian and Soviet artist, one of the first Russian avant-garde artists - united several directions in his painting: expressionism, futurism, post-impressionism, cubism and even primitivism. The latter refers to this work. Although even here primitivism is not in its purest form - this is a kind of "primitive exaggeration", intentional gigantomania, everything is huge, massive, condensed into a single monumental mass, like painting itself.
The artist works wonderfully with the contrast of dark and light tones. His movement of colors is striking: these are not canonical transitions from the center of the canvas to the edges, but movement from edge to edge, in various directions. This was the handwriting of the painter. It is enough to look in the upper left corner, where there is a lot of black (in combination with red), and move to the lower left corner, where blue and white tones shine, to see this handwriting.
One cannot disagree with the fact that everything depicted seems to be moving, merging into a single system, although there is not a single living being in the picture, that is, walls, buildings, domes “move” ... A conscious and deliberate density of colors dips the viewer into this panel, he becomes an involuntary participant in this system of buildings.
The picture is called "Moscow". This is quite true, although one could add “architectural” to the word “Moscow”. Indeed, here we can really observe the capital in various architectural solutions: churches (including St. Basil's Cathedral, to which the artist was anxious), two-story houses, possibly even wooden, Kremlin chambers, panel multi-storey buildings.
Together with other fellow artists, Aristarchus created an exhibition called “Jack of Diamonds”, in which the picture in question was first presented to the mass audience and was a resounding success for the latter.