A Figure for a Funeral March
Mechanical Costume for the 1917 Ballet "Théâtre des Ombres Colorées"
From the album "L'art théatral décoratif moderne" (Paris: La Cible, 1919)

Mikhail Larionov, French (born Russia), 1881 - 1964

Made in France, Europe

c. 1917

Color stencil print (pochoir) (reproduction of a gouache drawing)

Image: 15 1/8 x 4 13/16 inches (38.4 x 12.2 cm) Sheet: 19 3/4 x 12 11/16 inches (50.2 x 32.2 cm)

© Artists Rights Society (ARS), New York / ADAGP, Paris

Curatorial Department:
Prints, Drawings, and Photographs

Object Location:

Currently not on view

Accession Number:

Credit Line:
Gift of Christian Brinton, 1941

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During the mid-to-late 1910s, Mikhail Larionov and Natalia Sergeyevna Goncharova worked on a series of ballets that, had they been realized, would have been perhaps the most radical of Ballets Russes' founder and producer Sergei Diaghilev’s productions to date. Larionov envisioned mechanized figures and stage sets for his Futurist ballets Théâtre des Ombres Couleurs (A Theater of Painted Shadows) and Histoires Naturelles (Natural Histories); while Goncharova fragmented and abstracted the human body in her costume designs inspired by Spanish dances. With no narrative framework, these ballets were abstract in both form and content, and served as precedents for the modernist innovations of the Ballets Russes in the 1920s.