Natalya Sergeevna Goncharova - a representative of a noble family, to which belonged to the wife of A.S. Pushkin. She spent her childhood in her father's estates in the Tula province, and becoming an adult, she repeatedly complained that she had to live in large cities - Natalya Sergeevna was quite satisfied with the rural life. Wherever the artist traveled, villages and rural life always interested her more than urban life. Goncharova worked a lot on book illustrations; like many of her contemporaries, she created theatrical scenery. Goncharova’s style was formed, on the one hand, under the influence of icon painting and Russian popular print, and on the other hand, under the strong influence of the style of the primitive. Images on the artist’s canvases gravitate towards planar ones and have recognizable rhythm. After the revolution, Natalya Sergeyevna was carried away by cubism and futurism, developed the direction invented by her husband M. Larionov - luchism.
The Cyclist painting is the clearest example of futuristic painting. It has all the noticeable signs of this direction, such as: repeated repetition of individual fragments, displacement and duplication of contours in places, which creates a sense of movement of the object in time. The use of street signage in the picture is also characteristic of futurism; but, unlike most of the works of this direction, unbalanced and asymmetrical, the Cyclist is perfectly balanced and clearly calculated in space. The man in the picture is dressed in dark gray trousers and a brown shirt, a cap on his head. Bent over the wheel, he desperately pedals. Road pavers are drawn in the form of repeating round spheres, thin wheels seem to bind in it. The main idea of futurism, the idea of the dynamics of the century, is clearly and unequivocally read in this work.
Description of Baksheev's Painting Blue Spring