This painting reflects Baranov-Rossiné’s fascination with Cubism and Orphism, a style developed by his French friend Robert Delaunay that explores the dynamism of color combinations. These movements were in vogue when the young artist arrived in Paris in 1910. Like many of his compatriots from the Pale of Settlement—an area in the Russian Empire where the Jewish community was assigned to live—he decided to emigrate to the French capital. He showed his works at the Salon d’Automne that same year and very soon became a full-fledged member of the École de Paris. While Baranov-Rossine always painted the figurative form, he experimented with the interaction of color and light, as well as sound.
Trained at Odesa Art School and at the Russian Academy of Arts in Saint Petersburg, in the early 1910s Vladimir Baranov-Rossiné worked in Paris, where he became a regular exponent of “Salon des Indépendants” and “Salon d’Automne.” He settled in “La Ruche,” a home to Amedeo Modigliani, Marc Chagall, Alexander Archipenko, and many other celebrated artists and poets of the time. Baranov-Rossiné’s vibrantly colored paintings combined principles of Cubism, Futurism, and above all Orphism, the style developed by his friends Robert and Sonia Delaunay around 1912.
Upon his return to Russia, in 1920-1921 Baranov-Rossiné headed the Core Division of the newly-founded VKhUTEMAS. At the same time, while exploring color and its relations with sound, Baranov-Rossiné invented an “optophonic piano,” a synaesthetic instrument capable of creating sounds and colored lights simultaneously. As the piano's keys were played, the music was “translated” into color by disks that could project up to 3600 hues on a screen. After having presented his invention at a series of concerts in Moscow theaters, Baranov-Rossiné emigrated to France in 1925.
Maria Timina, 2023
abstract; animals; women; peasants; rural; cows; geometry
Link to share this object record: