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©
VEGAP, Madrid
Mikhail Larionov

Street with Lanterns

1913
Oil on Burlap.
35 x 50 cm
Museo Nacional Thyssen-Bornemisza, Madrid
Inv. no.
636
(
1977.35
)
ROOM 43
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 Recovering the ligth. Restoration of Waterloo Bridge, by André Derain 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Postpop rooms 54 Postpop rooms 55 Postpop rooms 56 Postpop rooms Rodin Exhibition room
New trends influenced by the European avant-garde began to emerge during the middle years of the first decade of the twentieth century in parallel with the Primitivist movements of the Russian avant-garde artists. While numerous artists developed an expressive style in the wake of Cubism and Futurism — the so-called Cubo-Futurism — in autumn 1912 Larionov delved deeper into what he would later call Rayonism, a language derived from the lines of force of Italian Futurism. Larionov’s Rayonism was based on the scientific theories of light and on creating a picture space in which the artist reflected on the action and refraction of rays of light. In his own words, “painting manifests itself as a fleeting impression.” Larionov added to Mayakovsky’s definition of Rayonism as a Cubist interpretation of Impression that “it imparts a sensation of the extratemporal, of the spatial. In it arises what could be called the fourth dimension, because the length, breadth, and density of the layer of paint are the only signs of the outside world.”

As may be seen in the Thyssen-Bornemisza Street with Lanterns, Larionov’s Rayonism is based on the expansion of light that emanates from different sources, in this case street lamps. It is not known for certain if Larionov was familiar with any similar Futurist works, such as Giacomo Balla’s Street Light, but there are evident similarities between the two. The rays and lines of colour, which completely fill the picture surface, have also been associated with Sonia Delaunay’s Prismes electriques, which were first shown at the Salon des Indépendants of 1914. However, as John Bowlt explains, the light of the street lamps had also been a common motif in the work of other Russian artists such as Alexander Bogomazov, Alexandra Ekster and Natalia Goncharova, because, as Vladimir Mayakovski had stated, “We see the electric street lamp more often than the old Romantic Moon.”

Paloma Alarcó
20th Century20th Century - European painting. Russian avant-gardePaintingOilBurlap
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Street with Lanterns. Calle con farolas, 1913
Street with Lanterns
Mikhail Larionov

©

VEGAP, Madrid

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Street with Lanterns. Calle con farolas, 1913
Street with Lanterns
Mikhail Larionov

©

VEGAP, Madrid

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