New York


Acquavella Galleries

The announcement that Acquavella plans a series of Larionov exhibitions will lead to a spate of articles on this artist who played so central a role in Russian vanguardism in the early part of the century. This in turn will mean going back to Camilla Gray’s The Great Experiment, Russian Art 1863–1922 (1962), staring jealously at her pages of Russian bibliography, growing irked with the Public Library for separating art serials (Main Reading Room) from art books (Art and Architecture), turning to Waldemar George’s study of the painter and reading the Acquavella catalog by Françoise Daulte, which is duller and more ambiguous than the resumé given in Gray. I predict that the upshot, in brief, of all the forthcoming observations will be as follows: Larionov ought to be considered a great painter because he arrived at full abstraction (so-called Rayonnism) around 1909—that is, some two years

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