Biographies of the poets of futurists

Futurism futurism direction in art, the name of which is formed from the Italian word "Futuro" "Future". The first manifest by the writer F. Marinetti was published in Italy, published in futurism, covers a variety of areas of artistic creativity: literature, painting, music, sculpture, architecture, photography, theater, design, cinema and dance. The basis of futuristic aesthetics was the search for a new language of art, corresponding to the changing realities of the world: the emergence of new technology, accelerated rhythms of life, urbanism.

The recreatment of “dynamic sensations” by picturesque means of “dynamic sensations” is the central postulate of futuristic aesthetics. For futurists, the movement, and completely not necessarily connected with the world of technology, was a symbol of the creative energy of life, manifested in various forms and in various fields. In the dynamics of the new industrial and urban reality, they saw primarily the mythologized image of their “religion of life”.

Most often, the Italian program served as a starting point for the birth of local “futurisms”. The influence of the new direction in various European countries sometimes did not affect a certain stylistics that artists followed, but Italian futurism set only the general rhythm to local avant -garde associations, infected them with the energy of impudent innovation and denial.

Or, on the contrary, the specific formal experiments of the futurists became the starting point for artistic searches, which are far from ideology and philosophy inherent in the Italian movement. Russia became one of those countries where the impulses of the Italian movement were enthusiastically perceived and at the same time constantly disputed and refuted.

Russian artists and writers created their own version of futurism, sometimes directly based on Italian, but often radically diverged with it. According to D. Burliuk, Russian artists and writers begin to use the word “futurism” from “in the year the flag“ futurists ”Burliuk was thrown the same year as a reference point for the history of Russian futurism is indicated by I.

However, most often for self -confusion, this corresponded to the spirit of romantic nationalism of futuristic aesthetics, they preferred to avoid the foreign word “futurism”, replacing it with Russian equivalents - “future” or “slamers”. Easter at the futurists. Canvas, oil. The timing of O. episodic was the appeal to the cinema and theater. In Russian culture, futurism, first of all, became the mythology and ideology of creating the art of the future, transforming life and man himself.

Different fiction and literary groups were connected with this program and its elements can be noted in the work of various artists. Russian futurism never possessed monolithic and programmatic unity of the Italian movement. It is generally accepted that initially futuristic aesthetics are formed in the literature. The Association of Gileya and the group of “egofuturists” Igor Seversyanin, K.

Olympov, Ignatiev, V. Gnedov and others became the most distinctive interpreters of literary futurism. Among the painters, it is difficult to call a group with a consistent futuristic program. The closest to the futurists was the group of M. Larionov “donkey tail” and some members of the St. Petersburg “Youth Union”. The most saturated in the history of Russian futurism, undoubtedly, were - and several pre -war months the first lithographic books will be, who gave one of the most original options for implementing the futuristic concept in Russian art, the Victory over the Sun and the tragedy “Vladimir Mayakovsky”, the publication of the main manifestos, the creation of a futuristic grim and the first futuristic film are published.

- All these events are concentrated within the same limits of the same Larionic group, probably published the most daring and paradoxical futuristic manifesto “Luchista and future”. It approved: a return to national traditions, a focus on the culture of the East and at the same time an enthusiastic anthem sounded all manifestations of international modern life.

Finally, with the participation of Larionov and N., in the tour of the cities of Russia, the artistan's poets D. Burliuk, V. Mayakovsky, V. Kamensky, who made lectures on the new movement. Very often their lectures turned into real theatrical actions and were accompanied by numerous newspaper publications about futurism. One of the features of Russian futurism is a deep and almost never disappeared connection with the non -Preimivist, and sometimes expressionistic aesthetics.

It was the connection with unprimitivism that stained Russian futurism into “archaic” tones so strange and unacceptable for Italian futurists. Russian futurists designed a natural version of a new culture based on the logic of a living organism, not a machine. The Italian myth of a super -generated, superhuman culture remained alien to it. In Russian painting, futurism never had a monopoly on avant -garde and never occupied leading positions.In painting, futurism remained only a brief episode - during this period the main building of futuristic paintings is created, such as the “grinder” of K.

Malevich - the art gallery of Yale University, the “cyclist” of the timing and the “electric lamp” Center Pompidu, Paris Goncharova, “a walk. Venus on the boulevard of Larionov, the Pompida center, the “Factory and the bridge” by Moma and the “Fire in the city” by SOHM O. Rozanova, the “Italian still life” by L. Popova GTG, the “Allegorical image of the war” by A. Landulov, a private collection, “Car Turn” by M.

Le Dantu-Oomiya, and others. Of course, even after Russian art, works appear in which traces of the influence of futuristic aesthetics are clearly visible - K. Zdanevich “Syndicate of the Wooders” or “Orchestral Portrait”. Collection of S. Shuster, St. Petersburg. Burlyuka "Japanese, cleaning fish." Collection of Anatoly Beckerman, New York. Very often, Russian artists take only external means of transmission of movement from futurism, perceive futurism as a formal exercise.

Based on the combination of futuristic and cubist aesthetics in Russian painting, a special version of “dynamic cubism”, or cubofuturism, has developed. Unlike Italians, who met cubism after creating their own futuristic program, among Russian artists it was Cubism that became the basis on which futuristic techniques were superimposed. The direct assimilation of a number of “classic” ways of transmitting the movement of Italian futurism has become more likely for Russian painters as a kind of springboard for the formation of their own concepts, or, in the words of D.

Sarabeanov, a “transplant station” in their rapid movement to exhaust the newly achieved and the discovery of the new one. Although a small circle of works can be attributed to futuristic painting in Russian art, there is a wide layer of borderline works next to them, to one degree or another related to futurism and eroding the rigid boundaries of this phenomenon in Russian painting.

Cuboturistic works, picturesque alogism or individual works of artists, generally alien to the futuristic aesthetics P., both are the timing of such “border” works. Starting with, for Russian artists, futurism no longer represents the current direction in painting. The concept of indescribable art, associated mainly with the names of V. Tatlin and Malevich, determines the main trends in the development of art of the second half of X and the beginning of x.

The history of Russian futurism is connected not so much with discoveries in the field of a picturesque language as with various types of socio-cultural activity. Numerous public disputes and lectures on the new art arranged by painters and writers, the famous tourist tour of the cities of Russia, the sensational performances of the theater "Plelyanin", the publication of poetic collections, theoretical manifestations and declarations - all this futuristic activity determined in the atmosphere of artistic life.

For the aesthetics of futurism, the effect, “explosion”, an instant outbreak of emotions were important. And not only as a propaganda trick to attract the attention of the public. The love of stunning, for the demonstrative theatricality of behavior, the style of speech or texts embodied the special properties of a modern, futuristic attitude, in which a quick change in impressions, instant events and bursts came to the place of measured rhythms of the past.

Futurists introduce concepts and strategies into the world of art, borrowed from politicians and the military. First of all, this is the concept of “enemy” according to Marinette, “an eternal enemy that should be invented if it were not”, which became one of the central for futuristic aesthetics. It is the futurists who begin to call their speeches to the public battles, supporting and sometimes deliberately provoking confrontation with the public and artistic establishment.

The revolutionary time gave the second wind of futuristic mythology about the art of the future, transforming life and man himself. The birth of a new person, the invasion of the “dilapidated” old world of young forces - “barbarians”, capable of pouring fresh blood into a tired culture - all these mythologems of the futuristic movement were in demand in revolutionary times.

By this time, the former futuristic associations had already ceased to exist, futuristic aesthetics had lost a leading position in the avant -garde movement. Only mythology and ideology of futurism turned out to be in demand. In these years, futurism is not so much a direction in art with a specific aesthetic program as a generalized name for the most diverse movements of the so -called “left” art.

Moreover, the political content in such an interpretation clearly prevailed over the aesthetic. B - under the influence of revolutionary events, a radicalization of futuristic aesthetics occurs. Futurism is now interpreted as an art corresponding to the deep spirit of the revolution. Moreover, most often not so much a specific revolution as a mythologized revolution that embodies spontaneous creative power and new cosmogony.These declarations designated the most important trends in the revolutionary stage in the futuristic movement: the creation of new mass forms of art that existed outside the walls of museums and galleries, directly invading the life of city streets; The concept of artistic activity as an instrument of creativity of life and means of revolutionary transformation of consciousness and human psyche.