Daniel Wladimir Baranoff-Rossiné was a contemporary, sometimes a compatriot and very often a close friend of some of the greatest famous artists of his time, such as Chagall, El Lissitsky, Kandinsky, Larionov, Gontcharova, Malevitch, Pevsner, Arp, Robert and Sonia Delaunay. He was more often than not a leader as far as art was concerned, and part of all pictorial trends of the beginning of the century. At the same time he was an inventive genius, interested in all art forms and techniques, from his Optophonic piano to his Pointillist camouflage of still and moving bodies, and including making fizzy drinks.
He studied successively at the Imperial Academy then at the Ecole Supérieure Technique. He exhibited at the first St. Petersburg Avant-Garde movement exhibitions under the name Wladimir Baranov.
From 1910, he worked in Paris, signing his work Daniel Rossiné. He exhibited at the 1913 and 1914 Salon des Indépendants, and became known for his sculptures. Guillaume Apollinaire called him a "French futurist".
Between 1915 and 1917, he visited Scandinavia, just like Pesvner, Gabo and Kandinsky. It was during this period that he conceived a new way of rolling up and unrolling coloured ribbons to encapsulate space with multiple variations, akin to the German geometrician Moebius ribbon.
From 1917 onwards, the artist took the double-barrelled name of Baranoff-Rossiné. The Twenties were split into two major periods, both as fruitful as each other. Firstly, a Russian period, following the October Revolution until 1925, during which he became increasingly preoccupied with colour and movement, the subject of his lectures at Vkoutemas and of his Optophonic Piano. Secondly, a Parisian period during which he initially produced canvasses covered with sequences of pure shapes and then, towards 1930, used the fashionable curved shapes. Some of his work is reminiscent of budding surrealism, of which Hans Arp was one of the first to practise.
He lived in Paris until his death in 1944, designing new creations with flexible sequences and ribbon shapes, similar to his 1915 work.
Marie-José Mausset and Pierre Breuillaud-Limondin