Russian Futurist in the context of Vladimir Burliuk


Russian Futurist in the context of Vladimir Burliuk

⭐ Core Definition: Russian Futurist

Russian Futurism is the broad term for 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 a celebration of speed, machinery, violence, youth, industry, destruction of academies, museums, and urbanism; it also advocated for modernization and cultural rejuvenation.

Russian Futurism began roughly in the early 1910s; in 1912, a year after Ego-Futurism began, the literary group "Hylea"—also spelt "Guilée" and "Gylea"—issued the manifesto A Slap in the Face of Public Taste. The 1912 movement was originally called Cubo-Futurism, but this term is now used to refer to the style of art produced. Russian Futurism ended shortly after the Russian Revolution of 1917, after which former Russian Futurists either left the country, or participated in the new art movements.

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Russian Futurist in the context of Vladimir Mayakovsky

Vladimir Vladimirovich Mayakovsky (19 July [O.S. 7 July] 1893 – 14 April 1930) was a Russian poet, playwright, artist, and actor. During his early, pre-Revolution period leading into 1917, Mayakovsky became renowned as a prominent figure of the Russian Futurist movement. He co-signed the Futurist manifesto, A Slap in the Face of Public Taste (1913), and wrote such poems as A Cloud in Trousers (1915) and Backbone Flute (1916). Mayakovsky produced a large and diverse body of work during the course of his career: he wrote poems, wrote and directed plays, appeared in films, edited the art journal LEF, and produced agitprop posters in support of the Communist Party during the Russian Civil War of 1917–1922.

Though Mayakovsky's work regularly demonstrated ideological and patriotic support for the ideology of the Bolsheviks and a strong admiration of Vladimir Lenin, his relationship with the Soviet state was always complex and often tumultuous. Mayakovsky often found himself engaged in confrontation with the increasing involvement of the Soviet state in cultural censorship and the development of the State doctrine of Socialist realism. Works that criticized or satirized aspects of the Soviet system, such as the poem "Talking With the Taxman About Poetry" (1926), and the plays The Bedbug (1929) and The Bathhouse (1929), met with scorn from the Soviet state and literary establishment.

View the full Wikipedia page for Vladimir Mayakovsky
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