Mikhail Fedorovich Larionov, 1881-1964

Barrett H. Clark (drama critic, theatre historian), acquired from the artist in Paris circa 1919-1921
Sotheby's New York, Impressionist, Modern and Contemporary Paintings, Drawings and Sculpture, 15 February 1991, lot 38
Acquired directly from the above by the present owner

The paper is dirty and slightly yellowed. There are stains in some places. There is a 1.5cm. tear to the lower right edge and the collage is beginning to lift in some places. Held in a modern wood frame and under glass. Unexamined out of frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

In the summer of 1915, Mikhail Larionov, one of the pioneers of the avant-garde movement in Russia and the creator of the non-objective artistic style of Rayonnism, joined Serge Diaghilev, the impresario of the Ballets Russes, in Switzerland. Thereafter, Larionov's work from that time was closely connected with Diaghilev and his company. Larionov, primarily an easel painter, was involved with the Ballets Russes as a designer on four productions: Le Soleil de nuit in 1915, Les Contes Russes in 1917, Chout in 1921, and Renard in 1922 (revived 1929).

 

Le Soleil de nuit (The Midnight Sun) is a ballet adaptation of Nikolai Rimsky-Korsakov's opera Snegurochka (The Snow Maiden). The Midnight Sun, with choreography by Léonide Massine, was first produced at the Grand Théâtre in Geneva on December 20, 1915, as a charity performance to aid the Red Cross; Igor Stravinsky noted that the evening netted 400.000 gold francs, and was a "Triumphant success." The performance was repeated a little over a week later, on December 29, at the Théâtre du Châtelet in Paris. Massine had joined Diaghilev's company the previous year, and quickly established himself as the successor to Michel Fokine as choreographer and premier danseur. The production of The Midnight Sun saw not only Massine's debut as a choreographer but also Larionov's first work as a ballet designer. The ballet was a success, and Diaghilev used the two performances as dress rehearsals for a forthcoming tour of the United States in 1916.

 

The Midnight Sun depicted the ceremonies and peasant dances, practiced in some villages of medieval Russia, of hailing the coming of the midnight sun in the figure of Yarila, the ancient sun-god. The whole village took part in the ritual, followed by the dance of the Snow Maiden, and, finally, a dance by a youth chosen to symbolize the Midnight Sun himself. One of the critics of the time commented: "The Midnight Sun is the most novel of the productions thus far shown, having irresistible appeal because of the feeling of folk life that pervades it and because of its humor." "Many of the costumes were grotesque, as was much of the dancing," said another. Yet another critic called it "what in studio slang is conveniently referred to as 'amusing.' The simple arrangement of children's games and national dances, without plot, pleased some and displeased others." The January 19, 1916, issue of the Journal of Commerce assessed Larionov's designs as follows: "In this... the new style of stage setting was seen at its best, or worst... The colours were as weird as the music and the designs were even more startling than the colours. One of the most noticeable features was a valance across the front of the kind children draw when paper and pencil are first given them."

  

Rendered in the Neo-Primitivist style, Larionov's bold designs for the ballet were generally inspired by lubki (popular prints) and folk art. Larionov regarded Russian folk art, with its schematic decorative plant forms, distorted perspective, and bright colors, as more vivid and spontaneous than professional academic art. In his preface to the catalogue of the 1913 Target exhibition Larionov announced: "We strive towards the East and turn our attention to national art. We protest against slavish subservience to the West." Larionov drew on several specific sources for his designs for The Midnight Sun, one of the most important of which was children's dolls. Several preparatory sketches reproduce the stiff, angular postures of dolls, as well as the traditional costume, headdress, and ornamentation seen in dolls of certain provinces.

 

Larionov's inspiration from folk art forms can be seen in his costume for the Sun, who wore an enormous radiating headdress and carried two huge gold suns made of foil collage. While often praised by critics, Larionov's designs for the ballet were almost always abhorred by the dancers, who found the costumes uncomfortable and difficult to dance in.