style, such as Cyclist. In 1911, she and Larionov developed Rayonism, and produced many paintings in that style. As leaders of the Russian Futurists, they organized provocative lecture evenings in the same vein as their Italian counterparts. Goncharova was also involved with graphic design—writing, and illustrated several avant-garde books. Another important exhibition Goncharova participated in is called The Target (March–April 1913) and No. 4 (March–April 1914). She played a very important role when it came to Russian art at the time. Her aesthetic choices that were bridging the Eastern and Western traditions, served as a catalyst for manifestos and art movements at the time. She was one of the leading artists in Cubo-Futurist (Airplane over a Train, 1912) and Rayonist (Yellow and Green Forest, 1913) circles. Even though her pre-World War I art still had problematic associations, her participation in these exhibits were a segue for Moscow's avant-garde blending of both Western European Modernism and Eastern traditions. In one of her interviews, she said that she got inspiration from Picasso, Le Fauconnier, and Braque, but still her first “Cubist” works to date as long as one year before that. She was also notorious for her occasionally shocking public behaviour. When Goncharova and Larionov first became interested in Primitivism, they painted hieroglyphics and flowers on their faces and walked through the streets; Goncharova herself sometimes appeared topless in public with symbols on her chest as part of her manifesto "Why We Paint Our Faces". She exhibited at the Salon d'Automne (Exposition de L'art Russe) in 1906. Later career and death Goncharova was a member of the avant-garde Der Blaue Reiter group from its founding in 1911. In 1915, she began to design ballet costumes and sets in Geneva. In 1915 she started work on a series of designs – Six Winged Seraph, Angel, St Andrew, St Mark, Nativity, and others – for a ballet commissioned by Sergei Diaghilev, to be titled Liturgy. Also involved in the project, for which Igor Stravinsky was invited to compose the score, were Larionov and Léonide Massine, but the ballet never materialized. Goncharova moved to Paris in 1921 where she designed a number of stage sets of Diaghilev's Ballets Russes. She also exhibited at the Salon d'Automne in 1921, and participated regularly at the Salon des Tuileries and the Salon des Indépendants. Goncharova also identified with Everythingism (russ. Vsechestvo), the Russian avant-garde movement. Everythingism was considered