MARIA DUARTE, FIONA O’CONNOR and ANDY HEDGECOCK review Savage House, Enzo, Madfabulous, and Erupcja
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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
CHRIS SEARLE recommends a work of love and deep admiration for a great musician
KENNY MacASKILL relishes a fictionalised account of the life and death of the principled Irish anti-colonialist, executed for betraying his English imperial masters
FIONA O’CONNOR admires an ambitious first novel that loosens South Africa’s rainbow collective to examine the racial tensions within
Aussie mining corporation murder, Liverpudlian ex-cop amnesia, a naive vigilante tries to reset capitalism, and the riddle of the dead psychoanalyst
SYLVIA HIKINS is persuaded by an entertaining play that the true miracle of Lourdes would be for attitudes toward disability to change
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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