Back from a mini tour of Yorkshire and Stockport and cheering for supporting act Indignation Meeting
Still stunning
Works by Natalia Goncharova are as eyecatching today as they were when first produced almost a century ago, says CHRISTINE LINDEY
Sybil Andrews - Speedway.Andrew Power - Wimbledon.Cyril Power - The Eight
ALISTAR FINDLAY is mesmerised by this multiple ‘Visions of Scotland’ assault on the audience’s eyes and senses
The Star's critics ANGUS REID, ANDY HEDGECOCK and MICHAL BONCZA reviews I Am Love, The Penguin Lessons, Freaky Tales, The Thicket
MAYER WAKEFIELD has reservations about the direction of a play centered on a DVLA re-training session for three British-Pakistani motorists
New releases from Steve Knightley, Jupiter & Okwess, Jason Palmer, Lisa Knapp and Gerry Driver, Kin'Gongolo Kiniata, Ingrid Laubrock/Tom Rainey, Dan Sealey, Simin Tande, PAZ
JOHN GREEN relishes photography that unfolds a longstanding and poetic relationship with Leeds
A uncomfortably misogynistic authorial voice that sometimes seems to lack insight troubles FIONA O’CONNOR
Natalia Goncharova
Tate Modern, London
A MAJOR figure in Russia’s vibrant pre-World War I avant-garde, aristocrat Natalia Goncharova (1881-1962) was born on her family’s country estate and studied art in Moscow. There she met Mikhail Larionov, who became her lifelong partner and collaborator.
Confident and courageous, she delighted in outraging her ruling class’s rigidly traditional moeurs and high-art aesthetics with “primitive” paintings, whose lack of lifelike representation defied academic conventions.
Paintings like Hay Cutting (1907-08) ignore rules of tone, scale and perspective and use raw, often unmixed colours and large areas of flat shapes encased in bold, visible outlines, as did the contemporary French Fauvists and German Expressionists.
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