{"id":624,"date":"2018-02-22T14:03:00","date_gmt":"2018-02-22T13:03:00","guid":{"rendered":"https:\/\/expo-larionov.org\/?page_id=624"},"modified":"2018-05-07T23:01:11","modified_gmt":"2018-05-07T21:01:11","slug":"i-was-and-remain-a-painter","status":"publish","type":"page","link":"https:\/\/expo-larionov.org\/en\/i-was-and-remain-a-painter\/","title":{"rendered":"\u201c I was and remain a painter \u201d"},"content":{"rendered":"
\"Mikhail<\/a>
Mikhail Larionov, Self-Portrait<\/figcaption><\/figure>\n

\u201cI am and remain a painter\u201d: this lapidary confession headed a brief statement that Mikhail Larionov sent to the art critic and writer Michel Seuphor in September 1948. To understand the emotional charge of these words, we need to recall the artist\u2019s declaration in full and the socio-cultural context under which he felt obliged to make it. In autumn 1948 Seuphor was mounting the first major post-war exhibition on the beginnings of abstract art. The show was scheduled to open the following year at the Galerie Maeght in Paris and was to be accompanied by a substantial publication in lieu of a catalogue.<\/p>\n

In the absence of the leading artists of the first wave of abstraction \u2013 Kandinsky, Malewicz, Mondrian, Delaunay \u2013 the history of abstract art was to be outlined by persons writing about it as well as by the words of the artists themselves. Seuphor had an uphill fight to include Larionov in this memorable Parisian exhibition, for the Russian artist\u2019s works and life had fallen into such a state of neglect that some of the critic\u2019s colleagues saw no reason to take him into consideration in the historical discourse being elaborated after the Second World War. To overcome this reluctance \u2013 notably that of Sonia Delaunay \u2013 Seuphor hurriedly put together a smaller exhibition at Paris\u2019s Galerie des Deux-Iles. Given the evidence of the Rayonist works exhibited there in December 1948, Larionov\u2019s place in the \u201cL\u2019art abstrait : ses origines, ses premiers ma\u00eetres\u201d exhibition could no longer be questioned. The letter I have excerpted the artist\u2019s statement from \u2013 \u201cI was and remain a painter\u201d \u2013 was addressed to Seuphor on this occasion. However, the strange thing is that the rest of the artist\u2019s text is devoted entirely to his Futurist friends in Moscow, Tatlin and Malewicz in particular. One can only raise one\u2019s hat to such generosity and delicacy ! This largesse of spirit and brush is an essential trait of Larionov\u2019s personality. It defines his emotional tone and forms the lyrical basis of his art as a whole, above all the art of the heroic period of his Primitivist and Rayonist works. For, although fully situated in the violence of the Expressionist revolt, Larionov\u2019s art never deviated from the warmth of a dreamy, intimist gaze.<\/p>\n

Excepted from Andrei Nakov\u2019s text in the exhibition catalogue Mikhail Larionov. La voie vers l\u2019abstraction, Frankfurt (Germany), 1987.<\/em><\/p>","protected":false},"excerpt":{"rendered":"

\u201cI am and remain a painter\u201d: this lapidary confession headed a brief statement that Mikhail Larionov sent to the art critic and writer Michel Seuphor in September 1948. 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