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Knave of Diamonds (arts association)

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251:. Their works demonstrate the artists’ interest in the developing of the new styles (Russian Primitivism, Russian Cezanneism, Moscow School of Neo-Primitivism, among others) that emerged around their first exhibition as a result of their integrating folk art of the provinces in the artworks. Other new styles and genres, such as performance and body-art, emerged from this unlikely blending of fine European art, Russian folk art, and urban folk of the masses in Russia. The artistic significance of the individual members of The Knave of Diamonds aside, their activities conditioned a qualitative shift in Russian art of the 1910s. Among the most important changes was the democratization of the art society in Russia. 88: 31: 156:
because "he liked the sound of it." was itself a salvo at the exhibition-attending public of the period. While one contemporary account blandly concluded: "Organizers regard the title Knave of Diamonds as a symbol of young enthusiasm and passion, 'for the knave implies youth and the suit of diamonds
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print style was exalted, and folklore motifs embraced. "The Russian artists were following the paths that Gauguin, Matisse and Picasso had gone down in discovering the primitives of Africa and Oceania, with the only difference that they did not need to go far away to find inspiration but got it
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The show's title was subsequently adopted to form a new artistic association in Moscow, an association which soon became the largest and one of the most significant exhibition societies. This group of artists contended that Moscow would be the future of the contemporary art scene, with its artists
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represents seething blood,'" the public itself understood the symbolism to trend in a different direction: "unaccustomed to such novel titles," they assumed the show to be "a gambling house or brothel," and "in no way an art exhibition." The reviews that followed were commensurately critical.
331:, accusing the Knaves of artistic stagnation. Goncharova called out what she saw as the group's replacement of "artistic creation with theorizing." Despite these period claims, in retrospect, "it is hard to award primacy and originality of pictorial enterprise" to either group. 148:
A stated objective of the exhibition was "to offer young Russian artists who find it extremely difficult to get accepted for exhibitions under the existing indolence and cliquishness of our artistic spheres, the chance to get onto the main road."
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exhibition opened in Moscow in the Salon of the Levisson Building on 10 December 1910, and ran through to January 16, 1911, and included works by thirty eight artists.
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State Russian Museum, State Tretiakov Gallery, Ekaterina Cultural Foundation, The Knave of Diamonds in the Russian Avant-Garde. St. Petersburg: Palace Editions, 2004.
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artists in Russia, heavily influenced by French styles, who sought "to unite the stylistic system of Cezanne with the primitive traditions of folk art, the Russian
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in 1910, the group's intention was to provoke the art establishment in Russia, challenge "good taste," and shock. The group remained active until December 1917.
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Benedikt Livshits, The One and a Half-Eyed Archer (1931). Translated by John E. Bowlt. Newtonville, Mass: Oriental Research Partners, 1977, pages 69–96.
141:(Russian painters then living abroad), and Russian artists active in the Moscow scene, including the group of young artists recently expelled from the 164:'s house (from 1909, open every afternoon Sunday for public viewing) and including canvases by Cézanne, Van Gogh, Gauguin and Matisse, included 177: 747: 570: 87: 1566: 264:
ideas, the group as a whole paid close attention to traditionally crafted toys, indigenous art forms, signboards, and even icons. The
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Knave of Diamonds (23 (or 25) Jan — 26 Feb 1912) Moscow Military District Economic Society of Officers, 10 Vozdvizhenko, Moscow
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Painters Mikhail Larionov, Natalia Goncharova, and a sub-group of artists ceded from the group to form the more radical
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Knave of Diamonds (7 Feb — 7 Mar 1913) Levisson house, Bolshaya Dmitrovka Street, Moscow, 3 – 28 April, St. Petersburg
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defined "the Russian pre-revolutionary culture", a favorite culture of the Moscow intelligentsia in the 1970s.
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revitalizing depleted Western European culture with the purity and vitality of their work. With a nod to
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Knave of Diamonds, InCoRM (International Chamber of Russian Modernism), Compiled by Patricia Railing
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Knave of Diamonds (21 Nov — 3 Dec 1917) Kira Mikhailova Art Salon, Bolshaya Dmitrovka Street, Moscow
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Knave of Diamonds (6 Nov — 19 Dec1916) Kira Mikhailova Art Salon, Bolshaya Dmitrovka Street, Moscow
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The Moscow painters, admirers of modern French artistic styles and frequent visitors to collector
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Knave of Diamonds (10 Dec 1910 — 16 Jan 1911) Levisson house, Bolshaya Dmitrovka Street, Moscow
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at home - in shop signs, in tin-ware or the works of other non-professional folk artisans."
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In 1912, the more radical members of the group, including Larionov, split to form the
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Knave of Diamonds (5 Feb — 2 Mar 1914) Society of Lovers of Art, Moscow
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Artists of Moscow for Victims of the War (6 Dec 1915 — 18 Jan 1916)
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G. G. Pospelov, Bubnovii Valet / Knave of Diamonds, Moscow, 1990.
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Vstavka proizvedenii khudozhnikov gruppy 'Bubnovyi valet' Moscow
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Knave of Diamonds Exhibition Catalogue (1910) Moscow, Russia
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Painting and Sculpture in Europe, 1880-1940: 4th Edition
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Moscow School of Painting, Sculpture and Architecture
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Cambridge University Press. 1: 192:, Vasily Rozhdestvensky, and 233:Antonina Fedorovna Sofronova 589:Vakar, Irina (2013-10-25). 525:Hamilton, George H (1967). 484:, London, 1959, p. 22. See 1583: 1494:Situationist International 531:. Penguin Books. pp.  18:Jack of Diamonds (artists) 1567:Russian Futurist painters 52: 348:Sokolov, Kirill (1978). 102:The exhibition featured 83:Exhibition, Moscow, 1910 1004:Experimental literature 642:The Burlington Magazine 636:Bowlt, John E. (1974). 394:Bowlt, John E. (2002). 1270:Second Viennese School 901:Neue Slowenische Kunst 772:Abstract expressionism 92: 41: 27:Russian artistic group 1562:Russian art movements 1377:Theatre of the Absurd 1300:Twelve-tone technique 1179:Electroacoustic music 323:Related artist groups 90: 33: 1362:Postdramatic theatre 1347:Experimental theatre 884:Multidimensional art 617:. Russia Info Centre 139:Alexey von Jawlensky 1552:Russian avant-garde 864:Lyrical Abstraction 434:Railing, Patricia. 229:Vladimir Mayakovsky 207:The group included 127:Alexandre Mercereau 111:Henri Le Fauconnier 38:Woman with a Guitar 1477:Postmodernist film 1382:Theatre of Cruelty 1265:Rock in Opposition 1206:Free improvisation 849:Post-Impressionism 782:Art & Language 503:www.britannica.com 476:Louis Vauxcelles, 241:Alexander Osmerkin 225:Aleksey Kruchenykh 221:Velimir Khlebnikov 186:Aristarkh Lentulov 174:Pyotr Konchalovsky 170:Natalya Goncharova 93: 63:, was a circle of 42: 35:Aristarkh Lentulov 1529: 1528: 1519:Russian symbolism 1504:Socialist realism 1342:Experimental film 1308: 1307: 1014:Hungry generation 989:Conceptual poetry 844:Neo-Impressionism 572:978-1-139-82527-6 396:"Jacks and Tails" 203:Membership Growth 135:Wassily Kandinsky 97:Knave of Diamonds 81:Knave of Diamonds 45:Knave of Diamonds 16:(Redirected from 1574: 1557:Russian painters 1423:Russian Futurism 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Index

Jack of Diamonds (artists)

Aristarkh Lentulov
Russian
Romanized
avant-garde
Moscow

French
cubist
Henri Le Fauconnier
André Lhote
Albert Gleizes
Jean Metzinger
Alexandre Mercereau
Gabrielle Munter
Wassily Kandinsky
Alexey von Jawlensky
Moscow School of Painting, Sculpture and Architecture
Mikhail Larionov
Sergei Shchukin
Robert Falk
Natalya Goncharova
Pyotr Konchalovsky
Aleksandr Kuprin
Mikhail Larionov
Aristarkh Lentulov
Ilya Mashkov
Marianna Wladimirowna Werewkina
David Burliuk

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