Russian Futurism
Started: 1911
Ended: 1916
KEY ARTISTS
 | Natalia Goncharova Quick View  Artist Page |
| Natalia Goncharova |  |
| Goncharova was part of the Russian avant garde generation involved in a relentless exploration of different visual styles. She also co-founded Rayonism with her life partner Mikhail Larionov. Art Story: Natalia Goncharova Artist Page | ||
 | Mikhail Larionov Quick View Further External Info  |
| Mikhail Larionov | |
| Mikhail Larionov was a Russian avant-garde painter and the founder of Rayonism, the first movement that celebrated Russian abstract painting. Larionov was also a major promoter of Post-Impressionist and Neo-Primitive art during the early twentieth century, and helped widen the international appeal of artists like Matisse, Van Gogh, and Gauguin. Further External Info | ||
 | Velimir Khlebnikov Quick View Further External Info |
| Velimir Khlebnikov | |
| Velimir Khlebnikov was a member if the Russian Futurist movement. Part of the Hylaea group, he experimented with the Russian language and finding the pictorial significance of Cyrillic alphabet in his art. Further External Info | ||
 | Kazimir Malevich Quick View Artist Page |
| Kazimir Malevich | |
| Kazimir Malevich was a Russian modernist painter and theorist who founded Suprematism. Along with his painting Black Square, his mature works feature simple geometric shapes on blank backgrounds. Art Story: Kazimir Malevich Artist Page | ||
"We are breaking with the past, because we cannot accept its hypotheses. We ourselves are creating our own hypotheses anew and only upon them ... can we build our new life and new world view."
Summary
The phenomenon that came to be known as Russian Futurism is not an easily defined movement and was entirely separate from Italian Futurism, which was founded in Milan in 1909. As an ideological umbrella, Russian Futurism was intentionally flexible, accommodating diverse artists and practices during a period roughly dated from 1912 to 1916. Distinct collaborative groups of Russian Futurists formed in St. Petersburg and in Moscow, publishing journals, organizing debates, and curating exhibitions of their work. The individuals practicing as Futurists (whether self-identified or identified as such by critics and the press) shared a passion for exploring new modes of expression in poetry, visual art, music, and performance, while also shattering the distinctions between these mediums.
Drawing on influences from the West and mingling these with their own Russian heritage, the Futurists celebrated new concepts in psychology, color theory, and linguistics. One of their most unusual elements was a latent archaism, or attachment to Russian traditions in spite of an otherwise overwhelming focus on new technologies and forms. The events of World War I left many artists seeking a profound new meaning for their work and the Futurist vein soon developed into (or was superseded by) movements such as Suprematism and Constructivism. Possibly because Russian Futurism first emerged as a predominantly literary movement, some of its most stunning and original works are experimental books. These collaborations between poets and painters offer its most distinctive legacy, one that can be traced into mid-century sound poetry artworks and Conceptual art.
Key Ideas
Beginnings:
In December of 1911, the artist and poet David Burliuk and his brothers Vladimir and Nikolai travelled to their childhood home in the countryside to spend their Christmas vacation. In the months before this holiday they had been introduced to the work of Pablo Picasso, and immediately before their departure they had been given a photograph of one of his recent paintings from Paris - a Cubist exploration of a human figure. Eager to explore this new influence, once at home the brothers churned out canvas after canvas, experimenting with multiple perspectives, flattening objects into planes, and using bizarre color combinations in search of something new. Benedikt Livshits, a writer and a recent acquaintance of the brothers, had also been invited to join them on their trip, and he too reveled in the frenzy of artistic experimentation, producing page after page of prose that explored new rhythms in what he considered to be a direct translation of Cubism to the Russian language. Together, the four of them founded a new group called "Hylaea," and banded together to achieve something profoundly new in art. The name they chose recalled the journey of Heracles and the Scythian empire of the Russian steppes, underscoring the group's tendency towards primitive forms and sometimes garish colors which differed from the muted palette of the Cubist trend. It also reflected a proud focus on the members' heritage, the primitive art of their ancestors, and the internal workings of their language. The collective was soon joined by other artists and writers such as Vladimir Mayakovsky, Alexei Kruchenykh, and Velimir Khlebnikov. They would be called Hylaeans for two years before the term "Futurists" was applied to them by the press.
Content compiled and written by The Art Story Contributors
Edited and published by The Art Story Contributors
" Movement Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by The Art Story Contributors
Edited and published by The Art Story Contributors
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