A four-part series by Natalia Goncharova, blending Russian iconographic traditions with early twentieth-century avant-garde style.

Natalia Goncharova painted The Evangelists in 1911, a period when she actively synthesised Russian folk traditions with modern European avant-garde techniques. This work consists of four vertical panels, each depicting one of the four evangelists. The composition draws heavily from the aesthetic of traditional Russian icons and lubok prints, which are characterised by bold outlines and flattened perspective. Each figure holds a large, unrolled scroll, creating a rhythmic verticality across the set. The colour palette is dominated by deep, saturated tones of violet, indigo, and ochre, which contrast with the stark, pale surfaces of the scrolls. Goncharova employs a simplified, almost sculptural approach to the human form, focusing on the expressive weight of the figures rather than anatomical precision. The halos are rendered as simple, solid discs, further referencing the stylistic conventions of Orthodox religious art. This series reflects the artist's interest in the spiritual and decorative potential of non-Western and pre-Renaissance art forms. By stripping away the academic realism common in the nineteenth century, Goncharova creates a direct, powerful visual language. The figures appear monumental despite their simplified features, and the repetition of the scroll motif provides a sense of unity across the four panels. This work remains a clear example of the Neo-Primitivist movement, where the artist sought to reconnect with the roots of Russian visual culture while engaging with the radical shifts occurring in early twentieth-century painting. The heavy brushwork and deliberate lack of depth serve to emphasise the symbolic nature of the subjects, moving away from narrative realism toward a more iconic, static representation.