User:BrianE22/sandbox/Russian Futurism

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1.1 Lead: {Russian Futurism was a movement of Russian poets and artists who adopted the principles of Filippo Marinetti’s “Manifesto of futurism,” which espoused the rejection of the past, and celebration of speed, machinery, violence, youth and industry; it also {advocated the modernization and cultural rejuvenation.}

Addition: after “rejection of the past”, destruction of academies, museums, and urbanism.

After “urbanism.” The Manifesto celebrated the “beauty of speed” and the machine as the new aesthetic (ref). Marinetti explained the “beauty of speed” as “a roaring automobile is more beautiful than the Winged Victory” further asserting the movement towards the future. Artforms were greatly affected by the Russian Futurism movement within Russia, with its influences being seen in cinema, literature, typography, politics, and propaganda. The Russian Futuristic movement saw its demise in the early 1920s.

Origins

After “A slap in the face of public taste”… Which issued similar ideas as Marinetti’s Manifesto, such as the rejection of old literature for the new and unexpected.

After “Kiev, Kharkov, and Odessa.”… While many artforms and artists converged to create “Russian Futurism”, David Burlyuk (born 1882, Ukraine) is credited with the avant-garde movement becoming known within Europe and the United States (Ref Encyc Brit “cubo”). He was a Russian poet, critic, and publisher who centralized the Russian movement. While his contribution to the arts were lesser than his peers, he was the first to discover many of the movement’s talents. Burlyuk was the first to publish Velimir Khlebnikov and see the talents of Vladimir Mayakovsky.

Russian furturism also adopted ideas from “French Cubism” which coined the name “Cubo-Futurists” given by an art critic in 1913. Cubo-futurism adopted ideas from “Italian Futurism” and “French Cubism” to create its own blended style of visual art. It emphasized the breakdown of forms, the use of various viewpoints, the intersection of spatial planes, and the contrast of colour and texture. The focus was to show the intrinsic value of a painting, without it being dependent on a narrative.

Modernity

{The likes of Pushkin and Dostoevsky, according to} A Slap in the Face of Public taste, {should be “heaved overboard from the steamship of modernity”.}

{They acknowledged no authorities whatsoever; even Filippo Tommaso Marinetti, when he arrived in Russia on a proselytizing visit in 1914, was obstructed by most Russian Futurists, who did not profess to owe him anything}.

Cinema

(Delete this section or find a way to adapt on it. Missing references).

Literature and Typography

Edited header spelling.

After “texts by Kruchenykh and sets contributed by Malevich.” Reference added (Encylopdeia Brit, Cubo-Futurism)

Demise

{After the Bolsheviks gained power, Mayakovsky's group—patronized by Anatoly Lunacharsky, Bolshevik Commissar for Education—aspired to dominate Soviet culture. Their influence was paramount during the first years after the revolution until their program—or rather lack thereof—was subjected to scathing criticism by the authorities. By the time OBERIU attempted to revive some of the Futurist tenets during the late 1920s, the Futurist movement in Russia had already ended. The most militant Futurist poets either died (Khlebnikov, Mayakovsky) or preferred to adjust their very individual style to more conventional requirements and trends (Aseyev, Pasternak)}. (added source here)

See also

• Add "Cubo-Futurism" to this section

References and sources

Reference

Sources

• Markov, Vladimir (1968) Russian Futurism. University of California Press.
• Petrova, Ye (2000) Russkiy futurizm ('Russian Futurism'). SPb.
• V. N. Terekhina, A. P. Zimenkov (1999) Russkiy futurizm. Teoriya. Praktika. Kritika. Vospominaniya. ('Russian Futurism. Theory. Practice. Criticism. Memoir.'). Nasledie: Moscow.