Bal de la Grande Ourse organisé par l'Union des Artistes Russes à Paris 1925

The 1925 original document by Mikhail Larionov for the "Bal de la Grande Ourse" represents a fascinating intersection of Russian émigré culture and the vibrant Parisian art scene of the early 20th century. This document was produced to promote a significant event organized by the Union des Artistes Russes à Paris, a group that played a crucial role in bringing together Russian artists who had settled in France after the Russian Revolution.

Mikhail Larionov, a key figure in the Russian avant-garde movement, was not only a painter and theoretician but also deeply involved in theatrical and artistic events. The "Bal de la Grande Ourse," held at the Salle Bullier in Paris on May 8, 1925, was a notable example of his involvement in such cultural endeavors. This grand ball, with its blend of performance, art, and costume, reflected the influence of Russian émigré artists on the Parisian cultural scene.

The event was more than just a social gathering; it was a celebration of artistic creativity and cultural exchange. The Union des Artistes Russes à Paris, which organized the ball, aimed to support Russian artists in exile and to promote their work in a new and challenging environment. The bal provided a platform for these artists to express their creativity in a festive and collaborative setting, drawing inspiration from both Russian and French artistic traditions.

The document itself is a piece of history, highlighting the participation of a wide range of artists and performers. The list of names included in the document reflects the diversity and talent present at the event, with many notable figures from the Russian émigré community contributing to the evening’s success. From avant-garde painters to musicians and dancers, the bal brought together a community of artists united by their shared experience of exile and their desire to continue their creative work in France.

The "Bal de la Grande Ourse" was also a reflection of Larionov’s interest in Constructivism and his fascination with modernist aesthetics. The design of the document echoes the principles of Constructivism, with its geometric forms and bold typography. This style was emblematic of the avant-garde movement, which sought to break away from traditional artistic conventions and embrace new ways of seeing and creating.

Today, the 1925 document for the "Bal de la Grande Ourse" is an important artifact for collectors and historians interested in the Russian avant-garde and the cultural history of Russian émigrés in Paris. It serves as a reminder of the significant contributions made by Russian artists to the Parisian art scene and the broader modernist movement. The bal itself, with its mix of artistic performances and social interaction, was a microcosm of the dynamic and innovative spirit that characterized the Union des Artistes Russes à Paris.

In essence, this document is more than just an announcement of an event—it is a symbol of the resilience and creativity of Russian artists in exile, and of their ability to continue making meaningful contributions to the world of art and culture despite the challenges of displacement. Mikhail Larionov’s involvement in the "Bal de la Grande Ourse" is a testament to his enduring influence on the avant-garde movement and his role in fostering cultural exchange between Russia and France during a pivotal period in history.

Exhibition - Music - Russia

At Salle Bullier 31 rue de l'observatoire in Paris

Good condition, small tears