Rayonism, also known as Rayism or Rayonnism, constituted an abstract art movement that emerged in Russia between 1910 and 1914. This style, conceived and named by the Russian Cubo-Futurists Mikhail Larionov and Natalia Goncharova, represents one of Russia's pioneering abstract art movements.
Background
The genesis of Futurism occurred in 1909 with the publication of the Founding Manifesto of Futurism by Italian poet F. T. Marinetti. This movement drew inspiration from speed, technology, and modernity, aiming to portray the dynamic essence of early 20th-century existence, exemplified by Italian Futurists such as Umberto Boccioni and Giacomo Balla. Subsequently, Russian Futurism, Ego-Futurism, and Cubo-Futurism emerged in Russia, spearheaded by figures including painter David Burliuk and poets Aleksei Kruchyonykh, Vasily Kamensky, and Vladimir Mayakovsky. Larionov and Goncharova were among the initial adherents of Russian Futurism.
In 1910, Goncharova and Larionov, alongside collaborators like Aristarkh Lentulov and Ilya Mashkov, established the exhibiting society known as the Jack of Diamonds. Nevertheless, by 1912, Goncharova and Larionov departed from this group, citing its perceived over-reliance on French artistic conventions. They subsequently organized independent, rival exhibitions, marking the inception of Rayonism. This new movement articulated a unique perspective on abstract art, with Larionov grounding his approach in scientific principles such as radioactivity, ultraviolet light, and X-rays, which he considered fundamental to his artistic vision.
History of the Movement
Although Goncharova initiated painting in the Rayonist style as early as 1909, the formal Rayonist Manifesto, co-authored by her and Larionov, was composed in 1912 and released the following year. Within this manifesto, Larionov proclaimed: "Long live the style of Rayonist painting created by us, free from realistic forms, existing and developing itself only according to its own pictorial laws."
Rayonists aimed to cultivate an art form transcending conventional abstraction, existing independently of temporal and spatial constraints, thereby dismantling the divide between artist and audience. Consequently, Rayonist artworks emphasized the reflective properties of objects and the dynamic movement of light rays. The movement's nomenclature originated from its characteristic employment of dynamic rays in contrasting colors, which symbolized lines of reflected light, specifically "crossing of reflected rays from various objects."
The Rayonist style was formally presented to the public at the notable 1913 Target exhibition. In their published writings, the artists characterized Rayonism as "naturally encompassing all existing styles and forms of the art of the past, as they, like life, are simply points of departure for a Rayonist perception and construction of a picture."
Larionov and Goncharova further articulated:
The Rayonist painting style we propose denotes spatial forms derived from the intersection of reflected rays from various objects, alongside forms selected by the artist's volition. A ray is provisionally represented on the surface by a colored line. The intrinsic value for an admirer of painting achieves its fullest expression in a Rayonist artwork. Objects observed in daily life hold no significance here; rather, the fundamental essence of painting itself is optimally conveyed—specifically, the interplay of color, its saturation, the relationship between colored masses, depth, and texture ... .
We do not perceive an object through our eyes in the conventional manner depicted in artworks or as a consequence of adhering to specific techniques; indeed, we do not apprehend the object itself. Instead, we perceive an aggregate of rays emanating from a light source, which are reflected from the object and subsequently enter our visual field.
Consequently, to render precisely what we observe, one must depict the totality of rays reflected from an object. However, to capture the complete array of rays from a specific object, a deliberate selection is necessary, as reflected 'reflex' rays from adjacent objects also enter our field of vision alongside those of the primary object. Therefore, if the aim is to portray an object exactly as it is perceived, these reflex rays from other objects must also be included, thereby achieving a literal representation of our visual experience...
Furthermore, if our focus shifts from the objects themselves to the aggregate of rays they emit, a pictorial composition can be constructed as follows:
The collective rays emanating from object A intersect with those from object B, resulting in the emergence of a form within the intervening space, dictated by the artist's volition.
The perception of an object's constituent rays, rather than the object itself, inherently aligns more closely with the symbolic plane of a painting. This phenomenon is analogous to a desert mirage, which projects distant cities, lakes, and oases onto the sky. Rayonism thus dissolves the conventional boundaries separating a painting's surface from nature.
Subsequently, in the same year, Rayonist artists began painting their faces. To elucidate this practice, Larionov and co-theorist Ilia Zdanevich authored the manifesto "Why We Paint Our Faces," which featured illustrative designs for Rayonist face painting.
The advent of the Great War marked the conclusion of the Rayonist movement.
The movement's impact on Russian abstract art garnered limited recognition until 1952, when the Tate Gallery acquired several works. Public viewing opportunities for this style are scarce outside major galleries, predominantly in London, New York, or Paris. A significant number of pieces reside in private collections, partly because abstract art was historically disfavored by the Soviets.
Despite its brevity, Rayonism constituted a pivotal stage in the evolution of Russian abstract art. Larionov asserted that it signified the "true freeing of art" from the "realistic" conventions that had previously "oppressed" the artistic community.
The electro musical act "The Rayonists" adopted its name from this artistic movement.
Ray tracing (graphics)
- Ray tracing (graphics)
References
- "Larionov's "Rayonnist Composition"." Northwestern University. Retrieved May 25, 2018.Boguslawski, Alexander. "Rayonism." University of Kansas. Retrieved May 25, 2018.West, Shearer (1996). The Bullfinch Guide to Art. UK: Bloomsbury Publishing Plc. ISBN 0-8212-2137-X.
- Tate Museum - Rayonism
- Rayonists and Futurists: A Manifesto — Natalia Goncharova, 1913