Order the catalogue			Goncharova manifested her radicality in both life and art. She shocked the Moscow bourgeoisie with her casual cross-dressing and her open cohabitation with artist Mikhail Larionov, and elicited the anger of the righteous with her brazen interpretations of religious subjects such as The Evangelists (in Four Parts), 1911. Not unexpectedly, she was the victim of hostility and disparagement in the press, and the official censor forced her paintings to be withdrawn from more than one exhibition.
			Goncharova's vivid paintings of industrial machinery, the local countryside, and peasants and pagan effigies (including Sabbath, 1912, and The Evangelists), demonstrate the breadth of her subject matter and the richness of her vision. While she was aware of French painting after Impressionism, especially the work of Paul Gauguin and Henri Matisse, Goncharova derived true inspiration from the indigenous traditions of medievel Russian art. In the Russian icon, for example, she discovered new perceptions of space, anatomical proportion, and color combinations, which she then applied to her own studio paintings, book illustrations, and stage designs. She also looked at peasant embroidery, the lubok (hand-colored print), and even the stone baba or stellae, examples of which dotted the Russian and Ukrainian landscape. Peasants Gathering Grapes, 1912, is a convincing paraphrase of this particular ethnographic concern.
			Top right: Cats (rayist percep.[tion] in rose, black, and yellow), 1913. Oil on canvas, 84.5 x 83.8 cm. Solomon R. Guggenheim Museum, New York 57.1484. © 2000 Artists Rights Society (ARS), New York/ADAGP, Paris.	Above: Photograph of Goncharova and Mikhail Larionov made up for a Furturist theater project, 1913. Reproduced in Teatr v karrikaturakh (Moscow), no. 3 (Sept. 21, 1913), p. 9.