it. futuro - future) is a socio-cultural and artistic direction that arose on the eve of the First World War. F. is based on the desire to create new language art, corresponding to the rapidly changing realities of the surrounding world with its dynamic development of technology, urbanism, and the increased pace of life.

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FUTURISM

from lat. futurum - future), one of the most influential areas of avant-garde, especially popular in Italy and Russia. The term was invented by writer and poet F. T. Marinetti (1909). With the outbreak of the First World War (1914), which the Futurists called "the hygiene of the world", the movement gradually died out.

Futurism originated in Italy, but the first manifesto was published by Marinetti in Paris (1909). His appeal was picked up by the Italian artists Giacomo Balla, Umberto Boccioni, Carlo Carra, Gino Severini, Luigi Russolo and others. Italy seemed to them "a huge market for antiquities", and the futurists called for getting rid of "the hordes of museums in which she is buried." On February 11, 1910, Boccioni, Carra, Russolo, Balla and Severini scattered leaflets in Milan, the text of which went down in history as the "Manifesto of the Futurist Artist." Participants in the movement called for the destruction of all norms, rules, and forms developed by previous generations of artists, “thrown into the dustbin of history” not only obsolete traditions, but the entire artistic heritage indiscriminately. Insolence, rebellion, love of danger were proclaimed. Futurists sang new era high speeds and rapid pace of life. The ideological and aesthetic program for the unification of the Futurists was also set forth in a number of other manifestos: the Technical Manifesto of Futurist Painting (1910), the Manifesto of Futurist Sculpture (1912), the Manifesto of Futurist Architecture (1914), and others. The Futurists put forward the idea of ​​an open work of art. The Technical Manifesto said: “The structure of the painting has hitherto been foolishly conventional. Artists showed us objects, and people were placed in front of them. From now on, we will place the viewer in the center of the picture.” G. Balla created "plastic-dynamic complexes", U. Boccioni - a sculpture that invades real space, immersing the viewer inside himself.

The style of painting of the Futurists was formed under the influence of cubism; however, if cubism is associated with the artistic study of space, then futurism is primarily an attempt to depict the movement of figures and objects in time. Marinetti wrote in the Parisian newspaper Figaro on February 20, 1909: “We affirm that the splendor of the world has been enriched with a new beauty - the beauty of speed.” The futurists expressed the dynamics of the contemporary world in their paintings by zigzag, funnel-shaped, spiral, etc. forms, fragmented into fragments by figures, combining different moments of movement in one composition: “... moving objects constantly multiply themselves; their shape changes like rapid vibrations in their crazy rapid movement. So, a running horse has not four legs, but twenty, and their movement is three-sided ... ".

Simultaneity (simultaneity of different moments of one action) was expressed in the displacement of spatial plans, the influx of various objects removed from each other in real space (“The street enters the house”, “Simultaneous vision” by W. Boccioni). The focus of the artists is the beauty of movement, speed (“Motorcycle Speeds” by J. Ball; “What the Tram Told Me” by K. Carr). Futurists are characterized by the cult of cars and motors. Marinetti dreamed of creating a "mechanical man with replaceable parts".

In Russia, futurism was perceived mainly by poets, in painting it manifested itself as cubo-futurism (D. D. Burliuk, O. V. Rozanova, the early work of K. S. Malevich). The noisy demonstrations of the futurists led to the birth of actionism, one of the art forms of modernism.

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A direction in art, the name of which is derived from the Italian word "futuro" ("future"). Originated in Italy (the first manifesto of the writer F.-T.Marinetti was published in 1909). Futurism covers a wide variety of artistic areas: 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 surrounding world: the emergence new technology, accelerated rhythms of life, urbanism. Recreation of "dynamic sensations" by means of painting is the central postulate of futuristic aesthetics. For the futurists, movement, and not necessarily related to the world of technology, was a symbol of the creative energy of life, manifesting itself in various forms and in various spheres. In the dynamics of the new industrial and urban reality, they saw, first of all, a mythologized image of their "religion of life". Most often, the Italian program served as the starting point for the birth of local "futurisms". The influence of the new trend in various European countries was sometimes not expressed in a certain style followed by the artists, but Italian futurism only set the general rhythm for local avant-garde associations, infected them with the energy of bold innovation and denial. Or, on the contrary, the specific formal experiments of the futurists became the starting point for artistic searches, far from the ideology and philosophy inherent in the Italian movement.

Russia became one of those countries where the impulses of the Italian movement were enthusiastically received and at the same time constantly challenged and refuted. Russian artists and writers created their own version of Futurism, sometimes directly based on the Italian one, but often radically diverging from it. According to D.D. Burliuk, Russian artists and writers began to use the very word “futurism” from 1911: “In 1911, the flag “futurists” was thrown out (Burliuk 1994, p. 63). I.M. Zdanevich points out the same year as a starting point for the history of Russian futurism. However, most often for self-naming (and 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 "budetlyane".

Easter at the Futurists. "Blue Journal". 1915. No. 12

N.S. Goncharova. Cyclist. 1913. Oil on canvas. 79×105. timing

O.V. Rozanova. City. 1913. Oil on canvas. 71.4x55.6. NGHM

Futurism in Russia did not achieve the comprehensiveness that distinguished the Italian movement - in architecture, music, photography, design, sculpture, dance, there was no consistent implementation of futurism. The appeal of the bytolyans to cinema and theater remained episodic. In Russian culture, futurism first of all became the mythology and ideology of creating the art of the future, transforming life and the person himself. Various artistic and literary groups turned out to be associated with this program, and its elements can be noted in the work of various artists. Russian futurism never possessed the solidity and programmatic unity of the Italian movement. It is generally accepted that initially futuristic aesthetics takes shape in literature. The association "Gilea" and the group of "ego-futurists" (Igor Severyanin, K.K. Olimpov, I.V. Ignatiev, V.I. Gnedov and others) became the most original interpreters of literary futurism. It is difficult to name a grouping with a consistent futuristic program among painters. Closest to the Futurists was the group of M.F. Larionov "Donkey Tail" and some members of the St. Petersburg "Union of Youth".

The most eventful in the history of Russian futurism were undoubtedly 1912-1913 and several pre-war months of 1914. The first lithographic books by the buddlyans, which provided one of the most original versions of the implementation of the futuristic concept in Russian art, were published in 1912. Theatrical performances(the opera Victory over the Sun and the tragedy Vladimir Mayakovsky), the publication of the main manifestos, the creation of futuristic make-up and the first futuristic film - all these events are concentrated within one 1913. At the same time, the Larionov group published probably the most daring and paradoxical futuristic manifesto, The Luchists and future ones. It affirmed: a return to national traditions, orientation to the culture of the East, and at the same time sounded an enthusiastic hymn to all manifestations of international modern life. In the same year, Larionov's notes and interviews appeared in a number of newspapers and magazines, outlining his radical and fantastic projects for a futuristic theater in which "the scenery is in motion and follows the artist, the audience lies in the middle of the hall in the first act and is in a grid, under ceiling - in the second "(On the project of a futuristic theater in Moscow // Theater in cartoons. 1913. No. 1. P. 14). Finally, in 1913, with the participation of Larionov and N.S. Goncharova, the first and only futuristic film Drama in Cabaret No. 13 was staged. In 1913, the Futurist poets (D. Burlyuk, V. V. Mayakovsky, V. V. Kamensky) began touring the cities of Russia, giving lectures on the new movement. Very often, their lectures turned into real theatrical performances 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 neo-primitivist and sometimes expressionist aesthetics. It was the connection with neo-primitivism that colored Russian futurism in such strange and unacceptable "archaic" tones for Italian futurists. The neo-primitivist roots of Russian futurism can also be associated with such a non-futuristic characteristic of the aesthetics of the Budutlyans as a wary and sometimes hostile attitude towards the new machine, mechanical reality. Russian futurists designed a natural version of the new culture, based on the logic of a living organism, not a machine. The Italian myth of a supernatural, superhuman culture remained alien to the natives.

Futurism has never had a monopoly on avant-garde art in Russian painting and has never taken a leading position. In painting, Futurism remained only a brief episode (1912-1914). During this period, the main body of futuristic paintings was created, such as The Grinder by K.S. ) Goncharova, “Walk. Venus on the Boulevard” by Larionov (1913, Center Pompidou), “Factory and Bridge” (1913. MoMA) and “Fire in the City” (1913. SOHM) by O.V. Rozanova, “Italian Still Life” by L.S. Popova (1914 . Tretyakov Gallery), "Allegorical depiction of the war of 1812" by A.V. Lentulov (1912. Private collection), "Turn of the car" by M.V. Le-Dantyu (1913–1914. OOMII), and others. Of course, even after 1914, works appear in Russian art in which traces of the influence of futuristic aesthetics are clearly visible - by K.M. ), D.D. Burlyuk (“Japanese cleaning fish”. 1922. Collection of Anatoly Bekkerman, New York).

Very often, Russian artists take from Futurism only external means of conveying movement, they 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 cubo-futurism, has developed. Unlike the Italians, who got acquainted with cubism after creating their own futuristic program, for Russian artists it was cubism that became the basis on which futuristic techniques were superimposed. The direct assimilation of a number of “classical” ways of conveying the movement of Italian Futurism became for Russian painters rather a kind of springboard for the formation of their own concepts, or, in the words of D.V.

Although a small range of works can be attributed to futuristic painting in Russian art, next to them there is a wide layer of borderline works, to some extent connected with futurism and blurring the rigid boundaries of this phenomenon in Russian painting. The circle of such “borderline” works includes cubo-futuristic works, pictorial alogism, or individual works of artists who, on the whole, are completely alien to futuristic aesthetics (P.N. Filonov, Girl with a Flower. 1913; Rebirth of an Intellectual, 1913. Both - the Russian Museum) . Since 1915, for Russian artists, futurism no longer represents an actual trend in painting. The concept of non-objective art, associated mainly with the names of V.E. Tatlin and Malevich, determines the main trends in the development of art in the second half of the 1910s and early 1920s.

The history of Russian futurism is associated not so much with discoveries in the field of pictorial language, but with various types socio-cultural activities. Numerous public debates and lectures on the new art, arranged by painters and writers, the famous tour of the Futurists in the cities of Russia, the sensational productions of the Budetlyanin theater, the publication of poetry collections, theoretical manifestos and declarations - all this futuristic activity determined the atmosphere of artistic life in the 1910s. For the aesthetics of futurism, the effect, the "explosion", an instant flash of emotions were important. And not only as a propaganda ploy to attract the attention of the public. Love for stunning, for demonstrative theatricality of behavior, style of speech or texts embodied special properties a modern, futuristic worldview, in which a quick change of impressions, instantaneous flash events has taken the place of the measured rhythms of the past. Futurists introduce concepts and strategies borrowed from politicians and the military into the world of art. First of all, this is the concept of an “enemy” (according to Marinetti, “an eternal enemy that should have been invented if it did not exist”), which has become one of the central ones for futuristic aesthetics. It is the futurists who begin to call their performances before the public battles, supporting (and sometimes deliberately provoking) confrontation with the public and the artistic establishment.

The revolutionary time gave a second wind to futuristic mythology about the art of the future, which transforms life and the person himself. The birth of a new man, the invasion of the "dilapidated" old world by young forces - "barbarians" capable of infusing fresh blood into a tired culture - all these mythologemes of the futuristic movement turned out to be in demand in revolutionary times. By this time, the former futuristic associations had already ceased to exist, futuristic aesthetics had lost its leading position in the avant-garde movement. Only the mythology and ideology of futurism turned out to be in demand. During these years, futurism was not so much a direction in art with a specific aesthetic program as a generalized name for a variety of currents of the so-called "left" art. Moreover, the political content in this interpretation clearly prevailed over the aesthetic. In 1918–1919, under the influence of revolutionary events, the radicalization of futuristic aesthetics takes place. Futurism is now interpreted as an art corresponding to the deep spirit of the revolution. And most often not so much a specific revolution as a mythologized Revolution, embodying spontaneous creative power and a new cosmogony.

The most significant declarations of this period - the "Manifesto of the Futurist Flying Federation" and "Decree No. 1 on the Democratization of Art" - appeared in 1918 in the first issue of the Futurist Newspaper. These declarations identified the most important trends of the revolutionary stage in the futurist movement: the creation of new mass forms of art that exists outside the walls of museums and galleries, directly invading the life of city streets; the concept of artistic activity as a tool for the creation of life and a means of revolutionary transformation of human consciousness and psyche.

In the first post-revolutionary years, Tiflis became a new center of futuristic activity, where the development of not politicized mythology, but the most radical aesthetic concepts of futurism (mainly poetic), continued. Due to various circumstances, A.E. Kruchenykh (“the father of Moscow futurism”, as he was called in Tiflis newspapers), the Zdanevich brothers, the poet I.G. Terentyev, who became the main inspirers of Tiflis futuristic associations, ended up here. This stage in the history of Russian futurism is associated primarily with the activities of the "Syndicate of Futurists" (Kruchenykh, I.M. and K.M. Zdanevichi, N.A. Chernyavsky, Lado Gudiashvili, S.V. Valishevsky, Kara-Darvish) and the group "Forty-one" (Kruchenykh, Terentyev, I.M. Zdanevich, Chernyavsky). Kruchyonykh in those years, in his hectographic books, created the most radical forms of abstruse poetry, in which the futuristic aesthetics of the moment, speed and explosion were combined with ecstatic mysticism and the discoveries of non-objectivity.

In addition to literary or pictorial, futurism initially existed as an ideology, as a special strategy for establishing the new in art, a special strategy for the existence of art in modern world as a philosophy of a new culture. It is impossible to associate it with one group or another, with a certain circle of artists or writers. This futurism is not so much a trend in art as the energy of modern life that cannot be rigorously defined, directed towards the creative transformation of the world and dictating the rhythm of a new worldview. “Futurism,” I. Zdanevich emphasized, “is a common phenomenon for all peoples carrying a new, mechanical culture ... it belongs not only to art as such, but (it) is a spiritual trend, a special religion that embraces our entire great life"(I. Zdanevich. "On Futurism." Lecture // Art History. 1998. No. 1. P. 558). It was this facet of futurism that turned out to be extremely important in the history of Russian avant-garde culture - futurism as a “spiritual trend” became the prologue to many discoveries of the Russian avant-garde.

The word "futurism" comes from Latin word"futurum", meaning the future. This is the name of the avant-garde trend in European and Russian art of the 10s - 20s. XX century. In an effort to create the art of the future, futurism rejected traditional culture, especially its artistic and moral values, while cultivating urbanism (the aesthetics of the machine industry and big city), interweaving of documentary material and science fiction; in poetry he even destroyed natural language.

Futurism got its name from the Italian poet Filippo Tommaso Marinetti, who published in 1909 the "First Manifesto of Futurism", proclaiming the death of the old art and replacing it with a new one, whose vocation is to save the world.

Russian futurism, of course, was based on Italian futurism, but Russian futurists independently came to the cult poetic word.

Russian futurism: personalities

Among the famous Russian futurists, Velimir Khlebnikov is often called the first, although the title father of Russian futurism worn by David Burliukov. You should also name Vladimir Mayakovsky, Osip Mandelstam, Igor Lotarev, who later became Severyanin, Alexei Kruchenykh, Boris Pasternak, Nikolai Aseev and Vasily Kamensky.

The vast majority of futurists, or, as they were called with the light hand of Khlebnikov, Budtlyan, came from the most remote corners Russian Empire. At the dawn of their careers, they had to overcome significant difficulties perpetrated by an inert provincial environment, hostile to any innovation. But this helped young writers to develop fighting qualities and the traditional notion that literary heights are taken with a fight, unceremoniously.

Most of the public appearances of Russian futurism were accompanied by an atmosphere of scandal: everything usually began with a scandal and everything ended with a scandal.

Russian futurism: literature

Perhaps the first futuristic swallow in Russia was the collection “The Garden of Judges”, published in St. Petersburg in 1910, the name of which was given by the then unknown Velimir Khlebnikov. Given the sheer absurdity of the title, one can only guess what the author wanted to say. Most likely, the poets of the future are driven into the narrow framework of the book, but soon the poems will allow them to become judges and legislators of a new poetic taste.

This book is written in reverse side wallpaper, although in the printing house this whim caused a lot of abuse, since wallpaper chalk clogged the internal joints of the printing machine, and it had to be constantly washed. It came out in a meager circulation, and very few people read it, most of whom later called the authors "wallpaper poets."

Despite this, young writers in the same 1910 published a new collection called "The Impressionist Studio", where Khlebnikov's poem "The Spell of Laughter" appeared, which became a kind of calling card Russian futurism:

Oh, laugh, laughers!
Oh, laugh, laughers!
What laughers laugh
That they laugh hilariously,
Oh, laugh wickedly!

In 1911, the young poet Benedict Livshits came to the village of Chernyavka in the Tauride province to visit the Burliuk brothers in order to sort out the manuscripts of Khlebnikov, who had previously visited Chernyavka. The ancient Greek name for this area at the mouth of the Dnieper - Gilea, that is, "forest", was chosen as the name of a literary group, which, in addition to the Burliuks and Livshits, included Khlebnikov, Kamensky, Mayakovsky and Kruchenykh.

The next bombshell thrown at the reader by Russian futurism after The Jail of Judges was a book with a daring title, A Slap in the Face of Public Taste, published in Moscow in 1912. It opens with a declaration full of curses against the most famous Russian writers. Among the authors, Mayakovsky stood out most strongly, not embarrassed by the most offensive formulations addressed to his opponents.

Russian futurism: communities

While Cubo-Futurists were having fun in Moscow, Igor Severyanin was “thundering” in St. Petersburg, who, together with his fellow poets, was a follower of ego-futurism (ego from Latin - I).

I, the genius Igor-Severyanin,
Intoxicated with his victory:
I'm completely screened!
I am wholeheartedly approved!

In this poem, called "Epilogue", the pronoun "I" is repeated three times.

In addition to cubo- and ego-futurism, futurism in Russia also existed in other forms, and representatives of each group considered the others to be “self-proclaimed”. Sometimes, however, they nevertheless united to fight a common enemy - philistinism and supporters of classical art. After the publication of "Slap in the Face of Public Taste", the Cubo-Futurists teamed up with enemies from the St. Petersburg Society of the Severyanin, and jointly make a grandiose tour of the cities of Russia. Speaking in the provinces, they mocked the crowd, who had never heard anything like it before.

Since 1913, a new generation of futurists has appeared on the literary scene. The most famous among them were Pasternak and Aseev, who in 1914, together with Sergei Bobrov and Bogdan Gordeev, created the Centrifuge group.

In 1914, through the efforts of David Burliuk, the First Journal of Russian Futurists was published, which brought together members of almost all the Futurist clans of the Russian Empire.

The decline of Russian futurism

Meanwhile, the country was involved in the First world war, which has flowed into October revolution. This diverted public attention from the Futurist movement. Almost all of the natives welcomed the October Revolution, in which they saw the embodiment of their aspirations. Russian futurism has always been distinguished by the desire for revolutionary transformations. Here is an excerpt from Mayakovsky's poem "A Cloud in Pants":

Take out, walking, hands from trousers -
Take a rock, a knife and a bomb
And if someone has no hands -
He came to fight with his forehead!

Some budetlyans, especially Mayakovsky, openly declared their claims to head literary life Soviet republic. After that, Lenin fiercely criticized the People's Commissar of Education Lunacharsky, who allowed Mayakovsky's poem "150,000,000" to be printed in a large circulation of ... 5 thousand copies. The fate of Mayakovsky himself, who died in 1930, is also known. Until now, researchers have not come to a definite opinion whether he was killed, and if so, by whom.

The decisive actions of the Bolsheviks led to the fact that by the middle of the 30s, Russian futurism, which was trying to repaint itself in the so-called "left front of the arts", was destroyed.

In conclusion, let us cite Mayakovsky’s poem “Could You?”, which, like a drop of water, reflects Russian futurism:

,
Splashing paint from a glass;
I showed on a saucer of jelly
Oblique cheekbones of the ocean.
On the scales of a tin fish
I read the calls of new lips.
And you
Nocturne play
We could
On a drainpipe flute?

Danil Rudoy - 2003

What is for you Russian futurism? Which futuristic achievements do you admire, and which ones cause bewilderment? Share your opinion in the comments!

A trend in avant-garde art that arose at the beginning of the 20th century and developed mainly in painting and poetry, denied realism and sought to create its own dynamic style, "the art of the future."

This trend was characterized by a cult of the future and a complete rejection of cultural heritage past, break with it.

Initially, the movement originated in Italy: on February 20, 1909, the Italian poet Filippo Marinetti, on behalf of young artists, published the Futurist Manifesto, which outlined the main principles of the movement. Calling museums cemeteries, offering to abandon the veneration of the past, "dead" art, Marinetti declared the readiness of artists of the new formation to create a completely different artistic reality. Marinetti's ideas were shared by such Italian artists as D. Balla, L. Russolo, C. Carra, U. Boccioni and others. creativity, devoting it to a racing car, train, electricity. This absolutization of speed and dynamics was most clearly expressed in futuristic painting, which was characterized by the layering of pictures and elements on top of each other. In an effort to visually convey the simultaneity and dynamism of impressions, futurist artists used such techniques as exaggerated dynamics of compositions, flickering forms, doubling, resembling the image of stages of movement, contours with sharp edges of planes marked with sharp lines. In addition, the goal of the Futurists was the synthesis of sound and image: with the help of pictorial means, they tried to convey the sounds of a modern city in their paintings, visualize them, while in literature they tried to influence the reader not only with the content of the book, but also with its external form.

The ideas of Italian futurism took root in Russia like nowhere else in the world. Marinetti's manifesto was translated and published in the Evening newspaper as early as March 1909. In 1912, the Russian futurists created their own manifesto "A Slap in the Face of Public Taste", where they proposed "to throw Pushkin, Dostoevsky, Tolstoy, etc., etc. off the ship of modernity."

In literature, adherents of futurism were V. Mayakovsky, V. Khlebnikov, A. Kruchenykh, D. Burliuk, V. Kamensky, B. Livshits and others. In 1909, almost simultaneously with the release of the "Manifesto" in Italy, they organized a group of poets " Budtlyan" (the term was coined by V. Khlebnikov), with this name distancing themselves from the Italian movement and emphasizing their originality. The first collection of their poems "Judges' Garden" (1910) was printed on the reverse side of the wallpaper, later "A Slap in the Face of Public Taste" (1912) was published, accompanied by a manifesto of the same name, "Dead Moon" (1913), "Judges' Garden II" (1913), "Mare's Milk" (1914), "Roaring Parnassus" (1914) and others. Since 1910, the Budtlyans have also been included in the "Gilea" group - from the ancient name of the area in the Taurida province, where the estate of David Burliuk was located, which became the center of Futurist meetings.

Futurist poets abandoned all literary traditions, proclaiming the absolute freedom of the poetic word, giving its form primacy over content. A. Kruchenykh asserted the poet's right to use a language that has no definite meaning - "zaum". Rejecting poetics in the traditional sense, its musicality and symbolism, the Futurist poets considered the word not as a way of expressing thoughts, feelings or emotions, but viewed it as an end in itself. This led to active word creation: more traditional, with a semantic load in Mayakovsky, and to the creation of a completely original "abstruse" language (verses by A. Kruchenykh, V. Khlebnikov, and others).

The societies of Russian futurists were characterized by the joint work of poets and artists, "painters and speech creators", striving for a synthesis of literature and fine arts. Thus, in addition to poets, the "budetlyans" included artists K. Malevich, N. Kulbin, musicians M. Matyushin, A. Lurie; in 1913, the Gilea society merged with the artistic Youth Union (M. Larionov, N. Goncharova, A. Exter, and others). The most striking example of the synthesis of arts: words, music and forms, was the futuristic opera Victory over the Sun, created in 1913. A. Kruchenykh wrote the text for it, M. Matyushin wrote the music, and K. Malevich was responsible for the visual part, scenery and costumes.

Russian futurists also called themselves cubo-futurists, rethinking and synthesizing the findings of cubism and Italian futurism. Almost all members of the "Gilea" referred themselves to this direction. Unlike poetry, in painting it is difficult to single out futurism as a single artistic system. In fact, this term denoted various currents of the Russian avant-garde. In certain periods of life, "cubo-futuristic" works were created by completely different artists, who are difficult to unite with a common denominator: K. Malevich ("Harvesting Rye", 1912, "Aviator", 1914), N. Goncharova ("Radiant Lines", 1910), D Burlyuk ("Portrait of the song-fighter figure skater Vasily Kamensky", 1917), M. Larionov ("Radiant Lines", 1911), etc. These works were united by the image of semi-abstract compositions, geometric shapes, close to the "machine" rhythm, collage, the similarity of all elements of the composition, consisting of the same primary elements. The image became impersonal, nonjudgmental. This direction in painting was most fully represented at the "First Futuristic Exhibition of Tramway B" and at the "Last Futuristic Exhibition of Paintings 0.10", held in 1915 and 1916 in Petrograd.

In applied art, Russian cubo-futurism found its place in the creation of scenery and costumes for theater and cinema (A.Ya. Tairov's performance "Salome" with scenery by A. Exter, 1917), in projects of festive urban decoration (Vitebsk in 1918-1920).

In Russian fine art, futurism and cubo-futurism have become a kind of transitional stage to such areas of the Russian avant-garde as Suprematism, constructivism and rayonism. Within the framework of cubo-futurism, the aesthetics of the absurd was first developed, which later formed the basis of Dadaism and Surrealism.

As an independent trend in the visual arts and literature, futurism existed until the early 1920s, after which its individual figures continued their creative searches and experiments, each in their own direction.

Futurism(lat. futurum - future) is the name of the artistic avant-garde movements of the 1910s and early 1920s.

features of futurism.

• The desire to create new art, aspiration for the future (hence the name).
• Rejection of traditions in art.
• Particular attention to the form of the work. Experimentation in versification - areas of rhyme, vocabulary,
• The use of neologisms, often copyrighted.
• The desire to express the mass mood of the crowd, hence the language of posters, slogans, orientation to the spoken verse. The Futurists wrote in the name of the man of the crowd. They were sure of "the inevitability of the collapse of junk"(V. Mayakovsky) and birth "new humanity".
• Rebellious spirit.
• The cult of the city, technology.

From the history of futurism in Russia.

• Futurism in literature arose at the beginning of the 20th century in Italy, and then in Russia.
• In 1909, in Italy, the poet F. Marinetti published the Futurist Manifesto. The main elements, according to the author, - Courage, audacity, rebellion.
• In Russia, the manifesto of the futurists has become "A slap in the face of public taste", authors - V. Mayakovsky, A. Kruchenykh, V. Khlebnikov. 1912
• Unlike Italian futurism, the authors of the Russian manifesto rejected the ideas of anarchism and even fascism, which were characteristic of F. Marinetti. They posed questions aesthetics, proclaiming revolution of form, its independence from the content (" it doesn't matter what but how”) and absolute freedom of poetic speech.
• Already in 1915-1916, futurism began to disappear as a trend.

The main directions and groups of futurism in Russia.

cubofuturists – "Gilea"

(V. Khlebnikov, V. Mayakovsky, A. Kruchenykh

and others).

Their collections:"Judges' Garden" (1910), "A Slap in the Face of Public Taste" (1912), "Dead Moon*" (1913), "Took" (1915).

The most common group. The course is based on the principles cubism in painting: the desire to decompose the depicted three-dimensional object into simple elements and then assemble it into a single whole, depict an object from different angles at the same time and emphasize the properties that are invisible in the classical image of the object on the one hand.

called to throw off all classic literature from Pushkin to the Symbolists and Acmeists.

In their opinion, "New Coming Beauty" can express the sense of liberated art , "Self-valuable Word".

They are almost completely denied all the laws and rules of grammar and poetics.

WORD against:

• content,
• language (literary),
• rhythm (musical, conditional),
• syntax,
• etymology.

"Association of Egofuturists"

(I. Severyanin, I. Ignatiev and others). "Egofuturism" in Latin "I am the future"). It lasted very little: from 1911 to the beginning of 1914.

Unlike cubofuturism, which grew out of the creative community of like-minded people, egofuturism was individual invention of the poet Igor Severenyan . Together with K. Olimpov, in 1911 in St. Petersburg he created a circle ego, from which egofuturism began.

I. Severyanin himself noted this features of the direction:

• The soul is the only truth.
• Self-affirmation of personality
• Searching for the new without rejecting the old.
• Meaningful neologisms.
• Bold images, epithets, assonances and dissonances.
• The fight against "stereotypes" and "screensavers".
• Variety of meters.

1912 In St. Petersburg, the "Academy of Egopoetry" was created, G. Ivanov, K. Olimpov and Grail-Arelsky (S. Petrov) joined I. Severyanin.

Later, I. Ivanov joined, who created the "Intuitive Association of Egofuturists", P. Shirokov, V. Gnedov and D. Kryuchkov will join it. Their programming manifesto "Gramata"(exactly such a spelling of the word) characterized egofuturism as "the incessant striving of every Egoist to achieve the possibilities of the Future in the Present through the development of egoism."

"Mezzanine of Poetry"

(V. Shershenevich, R. Ivnev).

The group was created in 1913 from ego-futurists. (Already at the end of 1913 the association broke up).

Included: V. Shershenevich, R. Ivnev, L. Zak (pseudonyms - Khrisanf and M. Rossiyansky), S. Tretyakov, K. Bolshakov, B. Lavrenyov and others.

The ideological inspirer of the group V. Shershenevich wrote: “... futurism is a social trend, born big city which itself destroys all national differences. The poetry of the future is cosmopolitan."

Three almanacs have been published: "Vernissage", "Feast in the Time of Plague", "Crematorium of Sanity" and several collections.

"Centrifuge"

(S. Bobrov, N. Aseev, B. Pasternak).

The association was founded in January 1914.

Key Features creativity of representatives of the "Centrifuge:

• Move while building lyrical work spotlight from the word as such into intonation-rhythmic and syntactic structures.
• organic compound futuristic experimentation and tradition.

"Centrifuge" as a poetic group they existed until the end of 1917, and books under the brand name "Centrifuge" continued to be published until 1922, that is, longer than all other groups of futurists.

The material was prepared by: Melnikova Vera Alexandrovna.