The dawn of Russian avant-garde
Cubo-Futurism. The Italian beginningIn Italy in 1909, and soon in France, the Futurist Manifesto was published, in which the poet Filippo Tommaso Marinetti glorified progress, industrial development and mechanization of production, as well as opposed obsolete social and cultural institutions. The ideas of the poet were supported by Milanese artists — first of all, Umberto Boccioni, as well as Gino Severini, Carlo Carra, Giacomo Balla, who believed that all this can and should be brought into modern fine art. Exploring the properties of space and movement, the Italian Futurists were certainly intent upon making "bituminous shades" and "nudes" things of the past. The dynamic sensation of a comprehensive forward movement was their new god whom art had begun to worship.
In 1914, Marinetti published his novel "Zang Tumb Tuuum", which described one of the episodes of the Balkan War — the history of the siege of the Turkish city of Adrianople by the Bulgarians, which he witnessed as a military journalist. In this work, the poet "did" without punctuation, syntax and adjectives, using only the infinitive form of verbs and symbols. The dynamism of the narrative was enhanced by the graphic solutions of the book, various fonts and their design — the distinctive techniques of Futurism. Photo Source
Russian Avant-garde is how modern art critics refer the general trend of new artistic directions that arose in world art at the turn of the 19th and 20th centuries. A very thin line separates it from the concept of “modernism”. Read more
The movement of Russian Futurists began to develop almost simultaneously with the Italian one. In 1910, the first Futurist society arose, which included poets, writers and artists Velimir Khlebnikov, the Burliuk brothers, Vladimir Mayakovsky, Vasily Kamensky, Alexei Kruchyonykh and others. Khlebnikov called his comrades in the new art bydetlyany, which meant that they were people who would be. The participants of the movement in every possible way emphasized their independence from Italian
The "Father of Russian Futurism" David Burliuk was a wonderful organizer who rallied interested artists and poets around him and was able to masterfully maintain internal relations among Futurists. Burliuk organized exhibitions, wrote manifestos, financially supported friends and was inexhaustible with the ideas of new actions. "Big stormy Burliuk bursts into life. He is wide and greedy. He needs to know everything, capture everything, eat everything up. A complex figure," wrote Alexei Kruchyonykh about him. Burliuk experimented constantly, he did not hesitate to change his artistic style, moving from impressionism to folk art, weaving cubic elements in his canvases and turning to primitivism. Later, having left Russia, the artist became the discoverer of new art in Japan, and later in the USA.
Ленивой лани ласки лепестков
Любви лучей лука
Листок летит лиловый лягунов
Ломаются летуньи листокрылы
Лепечут ЛОПАРИ ЛАЗОРЕВЫЕ ЛУН
Лилейные лукавствуют леилы
Лепотствует ленивый лгун
Ливан лысейший летний ларь ломая
Литавры лозами лить лапы левизну
Лог лексикон лак люди лая
Любовь лавины = латы льну.
Olga Rozanova. "Spain"
Вульгарк ах бульваров
А рабы бар арапы
Тарк губят тара
Ан и енно
Жиг и гит тела
Вира жирн рантье
Илька негра метресса
Page 1 from the book “Universal War”. Petrograd, 1916
Page 2 from the book “Universal War”. Petrograd, 1916
Page 3 from the book “Universal War”. Petrograd, 1916
Page 9 from the book “Universal War”. Petrograd, 1916
In the preface Kruchyonykh claimed that the collages were born of the same source as transrational language — "the liberation of creation from unnecessary conveniences (through non-objectiveness)". Zaum painting is becoming dominant. He cited the style as originating with Rozanova, and taken up by K. Malevich, J. Pougny under "the rather uninformative name" of Suprematism.
"But I am pleased with the victory of painting as such, in defiance of the pastists and newspaperwork of Italians.
Transrational language (the first representative of which I am) gives a hand to transrational painting." Source