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Luchism
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Mikhail Larionov.
Red blue radiance.
one thousand nine hundred thirteen
Luchism (rayonism, from the French rayon — "ray") is a trend in the painting of the Russian avant garde in the art of the 1910s, one of the early trends of abstractionism.
It was based on the displacement of light spectra and light transmission, as well as on the idea of the emergence of spaces and forms from "the intersection of reflected rays of various objects[1]", since, according to the theorists of rayism, a person actually perceives not the object itself, but "the sum of the rays coming from the light source, reflected from the object and caught in our field of vision"[2].
The rays on the canvas are transmitted using colored lines[1].
The founder and theorist of the current was the artist Mikhail Larionov.
Mikhail Le Dantu and other artists of the Donkey's Tail group worked in Luchism.
Luchism received a special development in the work of S. M. Romanovich, who made the coloristic ideas of luchism the basis of the" spatiality " of the colorful layer of a figurative painting.
Content
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1 History 2 Artistic principles 3 See also 4 Notes 5 Literature 6 References
History[edit / edit wiki text]
The exhibition of William Turner, which Larionov saw in London in 1906, leads him to think about color in painting, and the artist begins to perceive form as a reflection of light rays.
This was the impetus for the creation of a new direction, which will later be called "luchism".
In 1909, at the Moscow Society of Free Aesthetics, Larionov showed his first painting in a new style - " Glass "(New York, the Solomon Guggenheim Museum); the painting was exhibited only for one day and the next time was shown only three years later at the exhibition" Donkey's Tail " together with other radiant works.
In 1910, Natalia Goncharova and brothers David and Vladimir Burliuki joined him.
They formed the group "Jack of Diamonds", in which Glez, Lefokonye, Kandinsky took part in exhibitions.
In 1911, Larionov left the Jack of Diamonds and prepared the" Manifesto of Luchism", which was signed by 11 artists.
Published only in 1913, this manifesto reveals Larionov's principles: the purpose of painting is to convey the fourth dimension, therefore, the picture itself must be outside of time and space, for which it must consist of light rays, not only because color is the driving "law", but also because its tonality and strength give meaning to new forms.
And although the publication of the manifesto was very late (and coincided with Malevich's "Black Square"), the use of" rays " of pure color remains one of the earliest examples of non figurative painting.
In 1913, an exhibition of avant gardists "Target" was held in Moscow, where the works of Larionov and Goncharova, made in a new style, were presented[3].
In 1914, Larionov organized an exhibition in Paris, the preface to the catalog of which was written by Apollinaire.
After that, Larionov, together with his wife, creates sketches and scenery for the Diaghilev Russian Ballet group and almost stops painting[4].
Only Goncharova, already in old age, after 1956, again returns to painting.
Ya Tugendhold wrote about her retrospective exhibition in 1913 in Moscow that "weekly response to all the fashionable trends of our time, moving from one "Luisma" to another... portraying the same peacock in ten styles, she found time to deepen your talent, focus on that, all of the fashions can be found in it, but not "the Natalia Goncharova, her artistic "I".
Larionov's luchism was sensational at the time as one of the many sensational phenomena that were fashionable in art at that time.
Those were the years when in Russia, and especially in Moscow ,according to S. Diaghilev, " twenty schools were born in a month: futurism, cubism - this is already antiquity, prehistory…
Exhibitions are organized in palaces and attics...".
Luchism did not have permanent followers, but it had a considerable influence on other trends of the Russian avant garde, in particular, on suprematism and constructivism[5].
Artistic principles[edit / edit wiki text]
The meaning of painting, the founder of luchism Mikhail Larionov, declared not the image of objects, but the illustration of color rays reflected from them, which, according to the author, is more close to how objects are seen by the eye[3].
That is, according to the theory, the illustration approaches the "symbolic plane" of the picture.
Luchism erases the boundaries that exist between nature and the picture plane.
Luchism is considered one of the earliest varieties of abstract painting, but it also has other, broader aspects, such as the separation of the subject from its optical perception.
That is why the artist should not depict the object, but only the rays falling on it.
But since our eyes are affected by rays falling not only on this object, but also on the nearest objects, therefore the artist must" mentally " comprehend, imagine and accordingly depict, so to speak, the radiant appearance of the object.
"This is almost the same," says Larionov, "as a mirage that appears in the hot desert air, drawing distant cities, lakes, oases in the sky radiance erases the boundaries that exist between the picture plane and nature"[2].
In the" radiant " picture, the objects of the real world have no meaning, except, in Larionov's terminology," realistic luchism", where the object serves as a starting point.
The ray is conventionally depicted as a color line, and thus, Larionov argues, the essence of the painting itself can best be revealed — "the combination of color, its saturation, the ratio of color masses, depth, texture on all this...".
In practice, the "radiant" works were images with sharp contours, an abundance of sharp corners and bundles of oblique lines.
Larionov himself distinguished different directions within the flow, from "realistic rayism", in which the depicted object is easily recognizable, to the so called "pneumoluchism", when the rays reflected from the object completely obscure it 5].
See also[edit / edit wiki text]
Ray tracing (computer graphics)
Notes[edit / edit wiki text]
↑ Go to: 1 2 Manifest ↑ Go to: 1 2 Luchism 1913 ↑ Go to: 1 2 ...Isms, 2014, p. 44 ↑ Go to: 1 2 All about styles and trends in contemporary art, 2014, p. 50 ↑ Go to: 1 2 ...Isms, 2014, p. 45
Literature[edit / edit wiki text]
Luchism in the Great Encyclopedic Dictionary Inshakov A. N. Luchism in Russian painting and the world avant garde.
The mythology of light in the new art.
// Art history.
— 1999.
- Vol. 2. - p. 354-371.
Inshakov A. N. Larionov's luchism and the luchism of the artists of the "Donkey's tail" / / Art Studies.
- 2001.
- Vol. 2. - pp.
430-455.
Inshakov A. N. Luchism according to S. Romanovich / / Art Studies.
- 2003.
- Vol. 2. - P. 348-361.
M. Larionov.
Luchism.
- Moscow: K and K, 1913.
Mosin I. I.
Everything about styles and trends in contemporary art.
- Vilnius: UAB "Bestiary", 2013.
- p. 50. - 112 p — - 5000 copies.
- ISBN 978-609-456-077-4.
C. Phillips. ...Isms: how to understand modern art.
- Moscow: LLC "Ad Marginem Press", 2014.
- p. 44-45.
- 160 p.
— ISBN 978-5-91103-190-9.
Links[edit / edit wiki text]
N. Goncharova, M. Larionov, K. Zdanevich, etc.
Manifesto of the archers and the future.
Verified on October 31, 2015.
Works by radiant artists on the website Wikipaintings.org.
Verified on October 31, 2015.
<img src="//ru.wikipedia.org/wiki/Special:CentralAutoLogin/start?type=1x1" alt="" title="" width="1" height="1" style="border: none; position: absolute;" />
Source — "https://ru.wikipedia.org/w/index.php?title=Luchism&oldid=74230308"
Categories: Painting styles Art of modernism Painting of the XX century Abstract art Trends of the Russian avant garde
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