Natalia GoncharovaRussian, 1881–1962Конь блед
Can I see it?
Unknown
Where is “Конь блед” now? Collection: State Russian Museum, Saint Petersburg. Unknown.
Saint Petersburg, Russia
The owner is known; whether it is on view today is not.
- In this state since
- Source
- The museum
About the work
Museum text in Russian
Литографированный альбом Наталии Гончаровой «Мистические образы войны», созданный еще в начале Первой мировой войны как предчувствие гуманитарной катастрофы беспрецедентного масштаба, стал вневременным напоминанием об ужасах и страданиях, которые несут военные конфликты. Cерия не имеет текстовой части, она сопровождается только названиями листов, вынесенными в оглавление. Гончарова создала монументальные, эпические образы, с глубоким символическим посылом. Екатерина Климова. Футуристическая книга // Наш авангард. СПб, 2025. С. 341.
State Russian Museum
Details
- Accession number
- Гр.-20339
What it shows
In the catalog
Sources
- State Russian Museum
- Image: State Russian Museum — © State Russian Museum
In the life of Natalia Goncharova
The whole lifeMarch – April 1912
The Donkey's Tail: over fifty paintings
More than fifty of her paintings hung at the first Donkey's Tail exhibition, which Larionov organised as a break with European influence; the censor confiscated “The Evangelists” as blasphemous.
autumn 1913
Solo show on Bolshaya Dmitrovka
Goncharova's largest solo show (together with the spring show in St Petersburg, over 700 works of 1900–1913) closed with the first catalogue-monograph on her and Larionov, edited by I. M. Zdanevich; its preface carries the famous words about turning away “from the West” to the East, whose authorship is disputed.
1914
Designs “The Golden Cockerel” for Diaghilev
On Alexandre Benois's recommendation Diaghilev invited Goncharova to design the opera-ballet “The Golden Cockerel”; after its first performances in Paris and London succeeded, their collaboration continued.
spring 1914
The Synod seizes 22 paintings in St Petersburg
By sanction of the Chief Procurator of the Synod, 22 paintings were removed from her solo show at Nadezhda Dobychina's Art Bureau, although a church censor had cleared them in advance; Count I. I. Tolstoy, Baron Nikolai Wrangel and Mstislav Dobuzhinsky came to her defence, and the paintings were returned.
June 1915
Leaves Russia for the Ballets Russes
Diaghilev invited Goncharova and Larionov to work permanently for his Ballets Russes, and they left Russia, settling first in Switzerland. She felt the parting from her homeland keenly, as she wrote to the poet Sergei Bobrov.
1915–1962 · Residence
Paris
