Avant-Garde Lot’s Wife: Natalia Goncharova’s Salt Pillars and the Rebirth of Hospitality
Chapter four shows how the innovative treatment of the flight from Sodom by the avant-garde Russian painter Natal’ia Goncharova (1881-1962) presents a figural merger of messianic expectation and cosmopolitan hope in the artist’s experimental hybridizing of secular and sacral components to aesthetic practice. The strangely oneiric and mortified landscape conveyed by Goncharova’s proto-cubist vocabulary in Salt Pillars (ca. 1909) assembles a prescient image of Hannah Arendt’s notion of natality, which Arendt draws from Augustine’s definition of the human as inherently endowed with the capacity for gratitude and the ability to begin again in the midst of uncertainty. Put simply, the painting gives figural expression to the fundamental ambiguity of Arendt’s notion of natality, its backward- and forward-looking turn toward givenness and new beginnings. Through this gesture, Salt Pillars presents a patient attentiveness to the complicity of worlding and unworlding gestures in the rhythm of being with others.