Soldier on a Horse by Mikhail Larionov

Soldier on a Horse 1911

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painting, oil-paint

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portrait

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painting

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graffiti art

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oil-paint

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landscape

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rayonism

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figuration

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acrylic on canvas

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folk-art

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geometric

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expressionism

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naive art

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horse

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russian-avant-garde

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expressionist

Curator: Here we have Mikhail Larionov’s "Soldier on a Horse," painted in 1911 using oil on canvas, a piece that resides here at the Tate Modern. Editor: It's bursting with a naive, almost cartoonish energy. That saturated blue background, the wonky proportions—it's incredibly vibrant and feels like a child's drawing, but with this dark, intriguing undertone. Curator: Larionov was a central figure in the Russian avant-garde. What seems simple is, in fact, part of a radical departure from academic painting. Notice how he merges folk art traditions with elements of expressionism. The soldier, seemingly proud on his steed, is also vulnerable, exposed in this stylized landscape. Editor: Exposed indeed. It's the horse I can't stop looking at, actually. It's got these human-like eyes, like it knows something we don’t. And the lettering in the background, those floating cyrillic characters - what are they trying to tell us? They give it this surreal, dreamlike quality, which complicates that initial "naive" read for me. Curator: That dreamlike quality aligns with the Symbolist movement influencing many artists at the time. Larionov explored national identity and collective memory. He imbues the common soldier with an archetypal aura. Editor: Do you think the soldier symbolizes Russian stoicism perhaps? He is sitting stiffly with a placid expression, almost as if he is unaware that the painting around him is chaotic. Curator: That's a possible interpretation. One could also suggest that his rigid posture is less stoic than just awkward, he's out of touch with a changing world, a dying feudal system. What do you think of the clipped tree stump? Is there symbolism for you there too? Editor: I do see an omen. Like, this soldier isn’t necessarily riding toward anything. And there are some things, that once cut down, won’t regrow. Curator: I agree. It's a multifaceted work. A lot more going on than just a picture of a soldier on horseback. Editor: Absolutely. Makes you think, doesn't it? Art that asks questions rather than gives answers, always the best. Curator: A good example of the continuity of symbolic meaning that lasts across time.

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