Aristarkh Vasilyevich Lentulov

Aristarkh Vasilyevich Lentulov (born Jan. 4 [Jan. 16, New Style], 1882, Nizhneye Lomovo, Penza oblast, Russia—died April 15, 1943, Moscow, Russia, U.S.S.R.) was a Russian painter who was one of the foremost representatives of the Moscow School of Art.

Lentulov studied at the art institutes in Penza (1898–1900) and Kiev (now Kyiv, Ukr.; 1903–05) and in St. Petersburg at the studio of Dmitry Kardovsky from 1906 to 1907. In the winter of 1911–12, Lentulov traveled to Paris, the mecca of the Russian avant-garde artists, and worked for a time at the Académie de la Palette with the Cubists Henri Le Fauconnier and Jean Metzinger. Lentulov’s attraction to Cubism coincided with his involvement in the Jack of Diamonds group, which he cofounded with Mikhail Larionov, Natalya Goncharova, Pyotr Konchalovsky, and others in 1909. He participated in the first exhibition of the Jack of Diamonds and took part in the group’s exhibitions, debates, and scandals.

The 1910s were for Lentulov a period of creative productivity and experimentation. He was drawn to Orphism and, influenced by the French artist Robert Delaunay, painted allegorical works, such as Portrayal of the War of 1812 (1912) and numerous landscapes of the city of Kislovodsk, Russia (1913). Some of these paintings, which bordered on nonobjectivity, are surprising in their monumentality.

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His personal style took shape toward the mid-1910s, when he synthesized the spatial concepts of Cubism, the colour of Fauvism, and the decorative patterning of folk art. His style reached its peak in several picture panels with fairy-tale-like decorative depictions of landmarks of old Moscow architecture, such as The Cathedral of St. Basil the Blessed (1913), Bell Ringing (1915; also called The Bell Tower of Ivan the Great), and The Vault of Heaven (1915; also called Decorative Moscow). Lentulov’s extensive use of gold- and silver-foil collage set his bright and colourful paintings apart from the rest. This technique gave the paintings an element of iconlike luminescence and mysticism.

For a short period after the October Revolution, Lentulov took an active part in the cultural development of the new Russia and its art politics. He designed the Moscow decorations for the first anniversary of the Revolution (1918), painted monumental murals for such locales as the Poets’ Café (1918), worked on theatrical set designs, and taught art from 1920 to 1930. He also helped found the Society of Moscow Artists (1926).

In the 1920s and ’30s, Lentulov became increasingly interested in painting from nature, and his use of decorative elements in his paintings practically disappeared. His best landscapes from the late 1920s are imbued with tragedy, reflecting the contradiction he felt between fulfilling the dictates of the Stalinist era and his own inclination toward a different kind of art.