![]() Critic Nina Gurianova describes works such as In The Café as possessing a "laconic, expressive, and vivid childlike manner", referring in particular to the "deliberately crude and straightforward" painting style, for which various reference-points can be cited. Reminiscent of works depicting the louche café-culture of Paris, by Paul Gauguin, Edgar Degas, Henri de Toulouse-Lautrec, and others, In a Café nonetheless retains a distinctively Russian, Neo-Primitivist aesthetic, tapping into the historical tradition of folk-art already being mined by Goncharova and others by this time. This relatively early work indicates Rozanova's awareness both of the French avant-garde art being exhibited in Moscow at the time and the Neo-Primitivist aesthetics of her Russian contemporaries, including Natalia Goncharova. This connection was reflected in the display of her work in an exhibition of international Futurism in Rome in 1914. ![]() Amongst the various painters associated with the movement, however, Rozanova was uniquely indebted to Italian models, including the work of Umberto Boccioni and Giacomo Balla. ![]() However, some critics have pointed out that the influence of Italian Futurism was relatively slim, and have instead emphasized the importance of prior developments in Russian art such as Neo-Primitivism and Rayonism to the conception of Cubo-Futurist style.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |