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96-414: 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

192-547: A collection of poets and artists within the Cubo-Futurist movement came together for a meeting entitled Pervyi vserossiiskii sezd Baiachei Budushchego (poetov futuristov) (First-All Russian Congress of Bards of the Future [The Futurist Poets]), establishing that the group would create a "new 'Futurian' theatre" that would be run by their own collective and "transform Russian theatre" into a modern art form. The Cubo-Futurists employed

288-456: A congregation of Russian artists who called themselves Soyuz Molodyozhi ('Union of Youth') in 1910. The group was brought together by the Ukrainian painter and poet David Burliuk (1882–1967) under the name budetlyane (a Russian interpretation of the western term "futurists"), inspired by Italian Filippo Tommaso Marinetti 's (1876–1944) 1909 Futurist Manifesto . Marinetti's work espoused

384-537: A critic he considered too harsh. His drama La donna è mobile (Poupées électriques), first presented in Turin , was not successful either. Nowadays, the play is remembered through a later version, named Elettricità sessuale (Sexual Electricity), and mainly for the appearance onstage of humanoid automatons, ten years before the Czech writer Karel Čapek invented the term robot . In 1910 his first novel, Mafarka il futurista ,

480-475: A crowd that in part attended the performances to throw vegetables at them. The most successful "happening" of that period was the publicization of the "Manifesto Against Past-Loving Venice " in Venice. In the flier, Marinetti demands "fill(ing) the small, stinking canals with the rubble from the old, collapsing and leprous palaces" to "prepare for the birth of an industrial and militarized Venice, capable of dominating

576-564: A design for a stage curtain. The next year, a Russian Futurist book was published: Tango with Cows , written by aviator-poet Vasily Kamensky and illustrated by the Burliuk brothers. By 1914, the Russian Futurists (many of them Cubo-Futurist) developed a hostility to the Italians. When Marinetti went on a lecture tour of Russia in that year, he was met with general unfriendliness, contrary to

672-422: A long editorial. However, although a number of artists, including Wyndham Lewis , were interested in the new movement, only one British convert was made, the young artist C.R.W. Nevinson . Marinetti's campaign both threatened and influenced Ezra Pound , who founded his own literary movement, Imagism , and wrote manifestos to publicize it while attacking Futurism. One result of Pound's strong reaction to Marinetti

768-463: A manifesto entitled A Slap in the Face of Public Taste ( Russian : Пощёчина общественному вкусу ). The Russian Futurist Manifesto shared similar ideas to Marinetti's Manifesto, such as the rejection of old literature for the new and unexpected. In addition to the forenamed authors, the group included artists Mikhail Larionov , Natalia Goncharova , Kazimir Malevich , and Olga Rozanova . Although Hylaea

864-567: A modernised future. Poets of the Cubo-Futurist movement saw writing as a "laboratory or workshop" to renew language and literature, dissecting words and generating neologisms in order to shift contemporary understandings of poetry in order to display their interest in revolution and modernity. This practice is known as "transrational poetry" (or zaum ). The purity and dynamism artists of this movement found in mechanisation and technology, literary Cubo-Futurists found in transrational poetry, with this poetic experimentation later developing to involve

960-466: A more aggressive style within their performances, making use of arte-azione 's (art-in-action) playfulness, provocative or unintelligible language, improvisation, and unpredictability. As stated by Roman Jakobson (1896–1982): "The evenings of the Futurists brought… the public… The public's reaction was various: many came for the scandal, but a broad segment of the student public awaited the new art, wanted

1056-499: A movement and dynamism that reflected their attempts to reconstruct understandings of their world and their art. Cubo-Futurism acted as the jumping point for artists Mikhail Larionov (1881–1964) and Natalia Goncharova to develop Rayism (also called Rayonism), one of the first non-objective Russian artistic styles. It was either Rayism or, once more, Cubism and Futurism (or a mixture of all three) which then later influenced Kazimir Malevich to create Suprematism , an art mode that

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1152-583: A narrative. Like their Italian counterparts, the Russian Futurists were fascinated with the dynamism, speed, and restlessness of modern machines and urban life. They purposely sought to arouse controversy and to gain publicity by repudiating the static art of the past. 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

1248-565: A number of visits to London, which he considered 'the Futurist city par excellence', and where a number of exhibitions, lectures and demonstrations of Futurist music were staged. Marinetti sought to establish an English Futurism and initially had an ally in Harold Monro , editor of Poetry and Drama , a London literary journal. Monro devoted the September 1913 issue to Futurism, praising Marinetti in

1344-399: A passion for the democratisation of poetry through the use of chaotic, common language (and concepts) that allowed for freedom of expression and interpretation by the average person. Like artists of the same movement, these poets were interested in creating "totally new words and a new way of combining them", transforming and recreating poetry into a literary form that depicted their ideas of

1440-437: A perfect future defined by equality and an organised collective consciousness. One such example would be Kazimir Malevich 's 1912–13 The Knife Grinder (The Glittering Edge) . The flickering of reflective metallic colours creates a dynamic representation of motion and energy, depicting the "mechanical vibration and dynamic rhythm" of modernisation through industrialisation and mechanical harmony. The knife grinder himself

1536-563: A proselytizing visit in 1914, was obstructed by most Russian Futurists, who did not profess to owe him anything. Russian Futurist cinema refers to the futurist movement in Soviet cinema. Russian Futurist cinema was deeply influenced by the films of Italian futurism (1916–1919) most of which are lost today. Some of the film directors identified as part of this movement are Lev Kuleshov , Dziga Vertov , Sergei Eisenstein , Vsevolod Pudovkin and Aleksandr Dovzhenko . Sergei Eisenstein 's film Strike

1632-592: A regular army officer in 1917. In May of that year he was seriously wounded while serving with an artillery battalion on the Isonzo front; he returned to service after a long recovery, and participated in the decisive Italian victory at Vittorio Veneto in October 1918. After an extended courtship, in 1923 Marinetti married Benedetta Cappa (1897–1977), a writer and painter and a pupil of Giacomo Balla . Born in Rome, she had joined

1728-643: A single, monstrous, fantastic, perpetually-moving machine, into a single huge non-animal automatic organism… [this] cannot help but be reflected in our thinking and in our spiritual life: in Art". The "cult of the machine" became an increasingly utopic concept within Cubo-Futurist circles, with artists perceiving the idyllic phenomenon of machine production as the foremost " proletariat creation" due to its ability to help construct an equitable, collective life for all people regardless of class. This ideological conception of utopic perfection through machinery significantly impacted

1824-505: A source of energy, and calling for the creation of "plastic complexes" to replace natural foods. Food, in turn, would become a matter of artistic expression. Many of the meals Marinetti described and ate resemble performance art, such as the "Tactile Dinner", recreated in 2014 for an exhibit at the Guggenheim Museum . Participants wore pajamas decorated with sponge, sandpaper, and aluminum, and ate salads without using cutlery. During

1920-431: Is The Knifegrinder , painted circa 1912–1913. Natalia Goncharova officially entered her Futurist stage in around 1912 to 1913; soon, Cubo-Futurist influences became apparent in her work. This was not, for her, a dramatic change in her previous style of painting. In 1913, an exhibition of her latest work was held at a Russian art gallery, which received a massive variety of responses. Mikhail Larionov followed suit in

2016-582: Is central to the composition , camouflaged within the dense abstracted geometric shapes that surround and encompass him, invoking the idea that the man has fused into the mechanical perfection of a giant organised system. To Malevich and other artists of the Cubo-Futurist movement, works like this acted as a social metaphor highlighting the process of transformation, revolution, social rebuilding, and proletariat collectivism they wished to see in their society's future. Complex abstracted geometric shapes and representations of perfected mechanical society's highlights

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2112-559: Is generally considered to be the most influential group of Russian Futurism, other groups were formed in St. Petersburg ( Igor Severyanin 's Ego-Futurists ), Moscow (Tsentrifuga, with Boris Pasternak among its members), Kyiv , Kharkiv , and Odesa . While many artforms and artists converged to create "Russian Futurism", David Burlyuk (born 1882, Ukraine) is credited with publicizing the avant-garde movement and increasing its renown within Europe and

2208-562: Is known best as the author of the Futurist Manifesto , which he wrote in 1909. It was published in French on the front page of the most prestigious French daily newspaper, Le Figaro , on 20 February 1909. In The Founding and Manifesto of Futurism , Marinetti declared that "Art, in fact, can be nothing but violence, cruelty, and injustice." Georges Sorel , who influenced the entire political spectrum from anarchism to Fascism, also argued for

2304-683: Is likely a series of five murals at the Palermo Post Office (1926–1935) for the Fascist public-works architect Angiolo Mazzoni . In early 1918, Marinetti founded the Partito Politico Futurista or Futurist Political Party, which only a year later merged with Benito Mussolini 's Fasci Italiani di Combattimento . Marinetti was one of the first affiliates of the Italian Fascist Party . In 1919 he co-wrote with Alceste De Ambris

2400-536: The 0,10 Exhibition of 1915–1916, also organised by Puni, and fuelled by the rivalry between Malevich and Tatlin; afterwards, most of the participants of Cubo-Futurism began to direct their energies to other styles of writing or painting, for example Malevich's new art movement Suprematism , which officially began at the 0,10 Exhibition, or with Constructivism . According to the Italian Futurist painter Gino Severini , who had met and heard first-hand accounts from

2496-526: The Congress of Fascist Culture that was held in Bologna on 30 March 1925, Giovanni Gentile addressed Sergio Panunzio on the need to define Fascism more purposefully by way of Marinetti's opinion, stating, "Great spiritual movements make recourse to precision when their primitive inspirations—what F. T. Marinetti identified this morning as artistic, that is to say, the creative and truly innovative ideas, from which

2592-561: The Dada avant-garde movement based in Zurich, Berlin, and Paris, which would begin a few years later. In 1913, the opera Victory over the Sun – prologue by Khlebnikov, libretti by Kruchenykh, and music by Mikhail Matyushin – was completed. The costume and set designer was Malevich; the opera has since become notable for starring the first appearance of his influential painting Black Square , as part of

2688-589: The Ego-Futurists , a rival Russian literary association who had been formed in 1911 by the poet Igor Severyanin . This time, the negative feelings went both ways: Severyanin disapproved of the attitudes of the Cubo-Futurists, whilst they dismissed the Ego-Futurists as being immature, tasteless impostors. By the year 1915, Cubism and Futurism both began to become exhausted for the painters; nevertheless, in 1915,

2784-463: The Fascist Manifesto , the original manifesto of Italian Fascism . He opposed Fascism's later exaltation of existing institutions, terming them "reactionary". After walking out of the 1920 Fascist party congress in disgust, he withdrew from politics for three years; however, he remained a notable force in developing the party philosophy throughout the regime's existence. For example, at the end of

2880-528: The Futurist movement. He was associated with the utopian and Symbolist artistic and literary community Abbaye de Créteil between 1907 and 1908. Marinetti is best known as the author of the Manifesto of Futurism , which was written and published in 1909, and as a co-author of the Fascist Manifesto , in 1919. Emilio Angelo Carlo Marinetti (some documents give his name as "Filippo Achille Emilio Marinetti") spent

2976-1053: The Second Italo-Abyssinian War and the Second World War , serving on the Eastern Front for a few weeks in the Summer and Autumn of 1942 at the age of 65. He died of cardiac arrest in Bellagio on 2 December 1944 while working on a collection of poems praising the wartime achievements of the Decima Flottiglia MAS . Cubo-Futurism The coexistence of these differing strands of artistic practice within Cubo-Futurism reflects an ideological preoccupation with collective renewal and deconstruction (a notion born of their post-revolutionary context) with each poet or painter free to create their own aesthetic consciousness based on

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3072-565: The United States . Burlyuk 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 talented poets and artists associated with the movement. Burlyuk was the first to publish Velimir Khlebnikov and to celebrate the Futurist poetry of Vladimir Mayakovsky . Russian futurism also adopted ideas from "French Cubism " which coined

3168-644: The University of Pavia in 1899. He decided not to be a lawyer but to develop a literary career. He experimented with every type of literature (poetry, narrative, theatre, words in liberty ), signing everything "Filippo Tommaso Marinetti". Marinetti and Constantin Brâncuși were visitors of the Abbaye de Créteil c. 1908 along with young writers like Roger Allard (one of the first to defend Cubism ), Pierre Jean Jouve, and Paul Castiaux, who wanted to publish their works through

3264-512: The Abbaye. The Abbaye de Créteil was a phalanstère community founded in the autumn of 1906 by the painter Albert Gleizes , and the poets René Arcos , Henri-Martin Barzun , Alexandre Mercereau and Charles Vildrac . The movement drew its inspiration from the Abbaye de Thélème, a fictional creation by Rabelais in his novel Gargantua . It was closed down by its members early in 1908. Marinetti

3360-546: The Battle of Adrianople, exemplifies words in freedom. Recordings can be heard of Marinetti reading some of his sound poems: Battaglia, Peso + Odore (1912); Dune, parole in libertà (1914); La Battaglia di Adrianopoli (1926) (recorded 1935). Marinetti agitated for Italian involvement in World War I, and once Italy was engaged, promptly volunteered for service. In the fall of 1915 he and several other Futurists who were members of

3456-465: The Bolshevik propaganda trains in 1919 by their organiser, Burov. The organiser first showed them the "Lenin", which had been painted a year and a half ago when, as fading hoardings in the streets of Moscow still testify, revolutionary art was dominated by the Futurist movement. Every carriage is decorated with most striking but not very comprehensible pictures in the brightest colours, and the proletariat

3552-473: The Communist Party made it clear they did not want any futurist influence in Soviet literature. This marked an abrupt fall from grace for Kruchenykh's writing and futurism as a literary movement. Filippo Marinetti Filippo Tommaso Emilio Marinetti ( Italian: [fiˈlippo tomˈmaːzo mariˈnetti] ; 22 December 1876 – 2 December 1944) was an Italian poet, editor, art theorist, and founder of

3648-477: The Cubo-Futurist art style can be found in the works of Natalia Goncharova , who, as early as 1909, applied Cubist and Futurist means of expression in her paintings. Thanks to modern technology (transport and telegraphy, for example) and the artists' experience of other countries, the creatives in Russia knew much about the avant-garde events in Europe. Cubo-Futurism as an art style would begin to take its full form in

3744-550: The Fascist hierarchy. Towards the end of the 1930s, some Fascist ideologues (for example, the ex-Futurist Ardengo Soffici ) wished to import the concept of " degenerate art " from Germany to Italy and condemned modernism, although their demands were ignored by the regime. In 1938, hearing that Adolf Hitler wanted to include Futurism in a traveling exhibition of degenerate art, Marinetti persuaded Mussolini to refuse to let it enter Italy. On 17 November 1938, Italy passed The Racial Laws , discriminating against Italian Jews, much like

3840-470: The Fascist regime Marinetti sought to make Futurism the official state art of Italy but failed to do so. Mussolini was personally uninterested in art and chose to give patronage to numerous styles to keep artists loyal to the regime. Opening the exhibition of art by the Novecento Italiano group in 1923, he said: "I declare that it is far from my idea to encourage anything like a state art. Art belongs to

3936-514: The Futurists in 1917. They'd met in 1918, moved in together in Rome, and chose to marry only to avoid legal complications on a lecture tour of Brazil. They had three daughters: Vittoria, Ala, and Luce. Cappa and Marinetti collaborated on a genre of mixed-media assemblages in the mid-1920s they called tattilismo ("Tactilism"), and she was a strong proponent and practitioner of the aeropittura movement after its inception in 1929. She also produced three experimental novels. Cappa's major public work

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4032-468: The Hylaea group. It was only after aforementioned poets began to display shocking public behaviour (for example wearing absurd clothes), when the writers and the movement in general began to be called simply ' Russian Futurism '. As a result, 'Cubo-Futurism' then began to refer to the artists who were influenced by Cubism and Futurism, though both terms still remain interchangeable. The earliest appearances of

4128-608: The Lombard Volunteer Cyclists were stationed at Lake Garda , in Trentino province, high in the mountains along the Italo-Austrian border. They endured several weeks of fighting in harsh conditions before the cyclists units, deemed inappropriate for mountain warfare, were disbanded. Marinetti spent most of 1916 supporting Italy's war effort with speeches, journalism, and theatrical work, then returned to military service as

4224-541: The Russian Futurist painters Larionov, Puni and Kseniya Boguslavskaya , the movement finished in 1916, though, according to the Encyclopædia Britannica , the style continued to be in use until roughly 1919. For Cubo-Futurist artists, this movement represented a shift in stylistic values from a perception of painting as a reflection of their current reality into a portrayal of idealism through depictions of

4320-455: The Soviet state art school in Moscow, Vkhutemas . Poets that experimented with Cubo-Futurist ideals pressed the importance of deconstructing the rules and meaning of poetry, systematically attacking the previously popular Russian classical and symbolist poets due to their propensity to examine metaphysical , esoteric ideas that did not resonate with the common populace. Cubo-Futurist artists had

4416-600: The X Mas ("A Fifteen Minutes' Poem of the tenth MAS "), Marinetti sought to reconcile his newfound love for God and his passion for the action that accompanied him throughout his life. There were other contradictions in his character: despite his nationalism, he was international, educated in Egypt and France, writing his first poems in French, publishing the Futurist Manifesto in a French newspaper and traveling to promote his ideas. Marinetti volunteered for active service in

4512-631: The artists are in our hands". Initially the artists were so revolutionary that at one point Burov had delivered the Department of Proletarian Culture some Futurists "bound hand and foot", but now "the artists had been brought under proper control". The other three trains were the "Sverdlov", the "October Revolution", and the "Red East". After the Bolsheviks gained power, Mayakovsky's group—patronized by Anatoly Lunacharsky , Bolshevik Commissar for Education —aspired to dominate Soviet culture. Their influence

4608-441: The combination of the two styles. Artists who experimented with Cubist and Futurist (or a combination of both) styles within their sculptures all expressed a dislike of traditional, classical artistic traditions, thus highlighting the characteristically Cubo-Futurist interest in transformation, innovation, and rejuvenation. Cubo-Futurist sculptors included Joseph Chaikov , Boris Korolev and Vera Mukhina , all of whom taught at

4704-403: The concept of revolution and collective action through reinterpretation of artistic and social traditions. In the context of late Tsarist Russia , society was deeply divided by social class. Russian industrialisation, development, economic growth, and urbanisation fell far behind other Western nations, with the country experiencing high levels of illiteracy, poor health care, and struggling with

4800-666: The connection between the stillness of conventional Cubism, and the dynamism inherent in Futurism. Rather than simply following the example of painting industrial scenes, set by the Futurists in Italy, or of painting in fairly flat colours, set by the Cubists in France, he placed heavy rural Russian themes on his work; this therefore led to his paintings of traditional village life in a bright, juxtaposing avant-garde style. An example of his Cubo-Futurist work

4896-443: The continent. Shchukin’s collection included a considerable number of Picassos , Matisses , Cezannes , Monets , and Gauguins , thus allowing artists in St. Petersburg and Moscow access to Cubist and Futurist artworks that would later influence the development of the Cubo-Futurist movement. While Cubo-Futurism was first named and identified in 1913, the movement can be traced back to

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4992-491: The country, or participated in the new art movements. Notable Russian Futurists included Natalia Goncharova , Mikhail Larionov , David Burliuk , Kazimir Malevich , Vladimir Mayakovsky , and Velimir Khlebnikov . The Manifesto celebrated the "beauty of speed" and the machine as the new aesthetic. Marinetti explained the "beauty of speed" as "a roaring automobile is more beautiful than the Winged Victory" further asserting

5088-461: The deconstruction of language to onomatopoeic forms. One such example of this is Velimir Khlebnikov 's sound-paintings in his play Zangezi . Poets of this movement also utilised unorthodox methods during their public poetry recitals, such as painted faces, public clowning, and extravagant clothing in order to gather attention to their work, and highlight their futuristic experimentation. Introduction of Cubo-Futurist theories and ideologies into

5184-513: The development of modern art. Regardless, the Italian state shut down Artecrazia . Marinetti made numerous attempts to ingratiate himself with the regime, becoming less radical and avant garde with each attempt. He relocated from Milan to Rome. He became an academician despite his condemnation of academies, saying, "It is important that Futurism be represented in the Academy." He was an atheist, but by

5280-531: The discrimination pronounced in the Nuremberg Laws . The antisemitic trend in Italy resulted in attacks against modern art, judged too foreign, too radical and anti-nationalist. In the 11 January 1939 issue of the Futurist journal, Artecrazia , Marinetti expressed his condemnation of such attacks on modern art, noting Futurism is both Italian and nationalist, not foreign, and stating that there were no Jews in Futurism. Furthermore, he claimed Jews were not active in

5376-511: The distinctive ideals and theoretical background of the movement but followed their own aesthetic path, thus depicting the freedom these artists were given to express their own perceptions of a modernised world. The following artists have been associated with Cubo-Futurism: Sculpture was a smaller subsect of the Cubo-Futurist movement. Influenced by the work of Italian futurist sculptor and painter Umberto Boccioni , and Pablo Picasso 's cubist sculptures, Russian artists began experimenting with

5472-403: The domain of the individual. The state has only one duty: not to undermine art, to provide humane conditions for artists, to encourage them from the artistic and national point of view." Mussolini's mistress, Margherita Sarfatti , successfully promoted the rival Novecento Group, and even persuaded Marinetti to be part of its board. In Fascist Italy, modern art was tolerated and even approved by

5568-479: 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

5664-426: The early 20th century for their own personal collections. Collectors and patrons , Sergei Shchukin (1854–1936) and Ivan Morozov (1871–1921), paid special attention to Impressionist , Post-Impressionist , Fauvist , Cubist , and Futurist art from all over Europe amassing a large selection of momentous works, and consequently introducing local Russian artists to art movements, techniques, and styles popular around

5760-412: The first all-Russian Futurist exhibition, called 'Tramway V', opened on March 3; organised by Ivan Puni , Vladimir Tatlin 's works became the main focus, and the exhibition led to a succés de scandale . In 1916, another notable Cubo-Futurist book was published: Universal War , by Aleksei Kruchenykh , perhaps in collaboration with his wife Olga Rozanova . Cubo-Futurism can be said to have ended with

5856-546: The first years of his life in Alexandria , Egypt, where his father (Enrico Marinetti) and his mother (Amalia Grolli) lived together more uxorio (as if married). Enrico was a lawyer from Piedmont , and his mother was the daughter of a literary professor from Milan . They had come to Egypt in 1865, at the invitation of Khedive Isma'il Pasha , to act as legal advisers for foreign companies that were taking part in his modernization program. His love for literature developed during

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5952-705: The great Adriatic , a great Italian lake." In 1911, the Italo-Turkish War began and Marinetti departed for Libya as war correspondent for a French newspaper. His articles were eventually collected and published in The Battle of Tripoli . He then covered the First Balkan War of 1912–13, witnessing the surprise success of Bulgarian troops against the Ottoman Empire in the Siege of Adrianople . In this period he also made

6048-522: The importance of violence. Futurism had both anarchist and Fascist elements; Marinetti later became an active supporter of Benito Mussolini . Marinetti, who admired speed, had a minor car accident outside Milan in 1908 when he veered into a ditch to avoid two cyclists. He referred to the accident in the Futurist Manifesto: the Marinetti who was helped out of the ditch was a new man, determined to end

6144-456: The latest avant-garde trend, by publishing two manifestos on his and Goncharova's new art movement, Rayonism , which was inspired by Cubo-Futurism. Other Cubo-Futurist artists emerged, for example Aleksandra Ekster , who was involved in Ukrainian and Russian Futurist stage design, and Lyubov Popova , who had learned of Cubism during her 1912 stay in Paris, and painted in the Cubo-Futurist style in

6240-602: The limitations of little mass communication outside larger cities. Looking outward at the realities of those from neighbouring countries, artists who would later become members of the Cubo-Futurist movement noticed the impacts of the burgeoning Machine Age on everyday life, recognising the beauty, dynamism, and energy of the utilitarian machine aesthetic leading to a renewed interest in technological modernisation within art, poetry, and life. Ukrainian modernist painter Aleksandr Shevchenko (1883–1948) echoed this sentiment when, in 1913, he stated, "the world has been transformed into

6336-723: The meaningless slaughter of World War I and hailed the Russian Revolution as the end of that traditional mode of life which he and other Futurists ridiculed so zealously. Although never a member of the Russian Communist Party (RKP(b)), he was active in early 1919 in the attempt to set up Komfut as an organisation promoting Futurism affiliated to the Viborg District Branch of the Party. War correspondent Arthur Ransome and five other foreigners were taken to see two of

6432-704: The mid-1930s he had come to accept the influence of the Catholic Church on Italian society. In Gazzetta del Popolo , 21 June 1931, Marinetti proclaimed that "Only Futurist artists...are able to express clearly...the simultaneous dogmas of the Catholic faith, such as the Holy Trinity, the Immaculate Conception and Christ's Calvary." In his last works, written just before his death in 1944 L'aeropoema di Gesù ("The Aeropoem of Jesus") and Quarto d'ora di poesia per

6528-425: The movement derived its first and most potent impulse—have lost their force. We today find ourselves at the very beginning of a new life and we experience with joy this obscure need that fills our hearts—this need that is our inspiration, the genius that governs us and carries us with it." As part of his campaign to overturn tradition, Marinetti also attacked traditional Italian food. His Manifesto of Futurist Cooking

6624-547: 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. Initially the term "futurism" was problematic, because it reminded them too much of their rivals in Italy; however, in 1911, the Ego-futurist group began. This

6720-414: 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

6816-432: The need for creatives (e.g. artists and writers) to abandon the past by moving towards the utilisation of the aesthetic language of machinery, industrialisation, urban living, and utilitarian design. For Marinetti and those that followed him, the futurist movement stood for freedom, collectivity, perfection, and social rejuvenation. Influenced by the Futurist Manifesto , the aesthetics of dislocation and fragmentation became

6912-486: The new world". Cubo-Futurism was incredibly significant in the development of art styles like Rayonism , Suprematism , and Constructivism , with the movement acting as a transitionary phase between objective, figurative works and radical non-objective , non-representational abstract art. Cubo-Futurism gave artists the freedom to engage with the limitations of representation and subjectivity, and experiment with use geometric shapes and fragmented forms in order to convey

7008-558: The positive reception he had on his previous tour of 1910: Larionov had, for example, a serious argument with a pro-Marinetti cultural figure, the former wishing to greet him with rotten eggs and the latter with flowers, whereas the female Cubo-Futurist painters may have been put off by Marinetti's misogyny. The relations worsened to such an extent that Hylea began to fake the publication dates of their books, as though to state that they were earlier and more Futurist than their colleagues in Italy. The Russian Futurists were also disgusted with

7104-482: The pretense and decadence of the prevailing Liberty style . He discussed a new and strongly revolutionary programme with his friends, in which they should end every artistic relationship with the past, "destroy the museums, the libraries, every type of academy." Together, he wrote, "We will glorify war—the world's only hygiene— militarism , patriotism, the destructive gesture of freedom-bringers, beautiful ideas worth dying for, and scorn for woman." The Futurist Manifesto

7200-441: The realm of theatre production came with widespread scandal among those within the turn-of-the-century Russian society. Similar to those that engaged with Cubo-Futurism within the art world, individuals within the theatre community utilised the movement's characteristic ideology of cultural renewal, transformation, and revolution within their works, expanding futurism from the literary and artistic realm and into theatre. In July 1913,

7296-462: The refreshing imagery of Futurist poems and experimented with versification themselves. The poets and painters collaborated on such innovative productions as the Futurist opera Victory Over the Sun , with music by Mikhail Matyushin , texts by Kruchenykh and sets contributed by Malevich. Members of Hylaea elaborated the doctrine of Cubo-Futurism and assumed the name of budetlyane (from the Russian word budet 'will be'). They found significance in

7392-486: The revolutionary focus of the artistic community. The term 'Cubo-Futurism' first appeared in a lecture in 1913, originally to refer to the poets who belonged to David and Vladimir Burliuk 's literary group, 'Hylaea', also spelt 'Guilée' and 'Gylea'. This term was coined by Korney Chukovsky (1882–1969), a Russian art critic, in reference to the work of Vladimir Mayakovsky , Aleksey Kruchonykh , Velimir Khlebnikov , Benedict Livshits , and Vasily Kamensky , members of

7488-478: The revolutionary nature of their work as, "only futurist art is constructed on collective principles… Only futurist art is, at the present time, 'the art of the proletariat'", as painter and sculptor Nathan Altman (1889–1970) once stated. Cubo-Futurist artists are unique in their independence and autonomy from other members of the group. Non-representational artists experimenting with Cubo-Futurism – such as Kandinsky , Larionov , Malevich , and Tatlin – adopted

7584-541: The school years. His mother was an avid reader of poetry, and introduced the young Marinetti to the Italian and European classics. At age seventeen he started his first school magazine, Papyrus ; the Jesuits threatened to expel him for publicizing Émile Zola 's scandalous novels in the school. He first studied in Egypt then in Paris, obtaining a baccalauréat degree in 1894 at the Sorbonne , and in Italy, graduating in law at

7680-406: The shape of letters, in the arrangement of text around the page, in the details of typography. They considered that there is no substantial difference between words and material things, hence the poet should arrange words in his poems like the artist arranges colors and lines on his canvas. Grammar, syntax, and logic were often discarded; many neologisms and profane words were introduced; onomatopoeia

7776-543: The spirit of the recently deceased Marinetti. About the same time Marinetti worked on a very anti- Roman Catholic and anti- Austrian verse-novel, Le monoplan du Pape ( The Pope's Aeroplane , 1912) and edited an anthology of futurist poets. But his attempts to renew the style of poetry did not satisfy him. So much so that, in his foreword to the anthology, he declared a new revolution: it was time to be done with traditional syntax and to use "words in freedom" ( parole in libertà ). His sound-poem Zang Tumb Tumb , an account of

7872-529: The stylistic elements of the Cubo-Futurist movement, influencing artists to experiment with pure abstraction , geometric shapes, harsh lines and planes, and the deconstruction of organic forms into powerful structures infused with machine symbolism. At the top of early 20th century Russia’s deep social, political, and class divisions were a small group of elite aristocrats and businessmen. With considerable access to international art markets and dealers , they assembled significant number European masterpieces of

7968-520: The vocabulary of the Cubo-Futurists in their attempt to interrogate the tireless and repetitive dynamism of technology, and highlight their fantasies of a utopic mechanical modernity. The Cubo-Futurists combined the modernist, cosmopolitan spirit of Marinetti's futurism with the aesthetic characteristics of analytical cubism (e.g. abstracted forms, flatness, fragmentation, geometric shapes, muted and dark colours, combination of various viewpoints) in order to create their own didactic art form designed to display

8064-438: The years 1912 to 1913, though the style of poetry ended when Russian Futurism itself also faded. One of the first major painters to become a Cubo-Futurist would be Kazimir Malevich , who entered his Cubo-Futurist phase in 1912–13; he termed the works he exhibited at the 1912 ' Donkey's Tail ' and 1913 'Target' exhibitions as being 'Cubo-Futurist'. For Malevich, Cubo-Futurism would be especially important, because it symbolised

8160-467: The years 1913 to 1914. The movement in Russia was notable for having a large percentage of female painters, in contrast to the movement in Italy. The Cubo-Futurists – both poets and artists – were also notable for their curious activities, both public and artistic: Mayakovsky wore a bright yellow jacket, Ilia Zdanevich ("Iliazd") and Burliuk painted on their faces, and some of the painters attached objects upon their canvases, in such manners that predated

8256-637: Was a major contributor. An advertisement promised Blast would cover "Cubism, Futurism, Imagisme and All Vital Forms of Modern Art”. Blast was published only twice, in 1914 and 1915. Writing to Monro, Marinetti said he was saddened by the reviews of Vorticism in the English press unfavorably comparing it with Futurism and would rather have worked in collaboration with the Vorticists. He and Pound later became friends, and in Canto LXXII , written in Italian, Pound meets

8352-421: Was called upon to enjoy what the pre-revolutionary artistic public had for the most part failed to understand. Its pictures are 'art for arts sake', and can not have done more than astonish, and perhaps terrify, the peasants and the workmen of the country towns who had the luck to see them. The "Red Cossack" was quite different. As Burov put it with deep satisfaction, "At first we were in the artists' hands, and now

8448-400: Was cleared of all charges by an obscenity trial. That year, Marinetti discovered some allies in three young painters ( Umberto Boccioni , Carlo Carrà , Luigi Russolo ), who adopted the Futurist philosophy. Together with them (and with poets such as Aldo Palazzeschi ), Marinetti began a series of Futurist Evenings, theatrical spectacles in which Futurists declaimed their manifestos in front of

8544-426: Was declared a universal texture of verse. Khlebnikov, in particular, developed "an incoherent and anarchic blend of words stripped of their meaning and used for their sound alone", known as zaum . With all this emphasis on formal experimentation, some Futurists were not indifferent to politics. In particular, Mayakovsky's poems, with their lyrical sensibility, appealed to a broad range of readers. He vehemently opposed

8640-576: Was his advocacy of James Joyce and T.S. Eliot . Joyce was exposed to Futurism while living in Trieste . The movement's techniques are reflected in Ulysses and in Finnegans Wake , one section of which alludes to “crucial elements of Futurism." Futurism was an important influence upon Lewis's Vorticist philosophy. Vorticism, named by Pound, was founded with the publication of Blast , to which Pound

8736-412: Was nationalistic, rejecting foreign foods and food names. It was also militaristic, seeking to stimulate men to be fighters. Marinetti also sought to increase creativity. His attraction to whatever was new made scientific discoveries appealing to him, but his views on diet were not scientifically based. He was fascinated with the idea of processed food, predicting that someday pills would replace food as

8832-637: 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). The decline of futurism can also be seen in Russia when Kruchenykh attempted to publish Fifteen Years of Russian Futurism 1912-1927 in 1928 and

8928-458: Was published in the Turin Gazzetta del Popolo on 28 December 1930. Arguing that "People think, dress[,] and act in accordance with what they drink and eat", Marinetti proposed wide-ranging changes to diet. He condemned pasta, blaming it for lassitude, pessimism, and lack of virility, — and promoted the eating of Italian-grown rice. In this, as in other ways, his proposed Futurist cooking

9024-404: Was read and debated all across Europe, but Marinetti's first 'Futurist' works were not as successful. In April, the opening night of his drama Le Roi bombance (The Feasting King), written in 1905, was interrupted by loud, derisive whistling by the audience and by Marinetti himself, who thus introduced another element of Futurism, "the desire to be heckled." Marinetti did, however, fight a duel with

9120-590: Was seen as "the mordern Futurist art form par excellence" by Olga Bulgakowa. Bulgakowa theorized how the camera could change one's perceptions of reality and how it could make it seem like time was speeding up or slowing down during the film. In contrast to Marinetti's circle, Russian Futurism was primarily a literary rather than a plastic philosophy. Although many poets (Mayakovsky, Burlyuk) dabbled with painting, their interests were primarily literary. However, such well-established artists as Mikhail Larionov , Natalia Goncharova , and Kazimir Malevich found inspiration in

9216-634: Was the first group of Russian futurism to call themselves "futurist"; shortly afterwards, many other futurists followed in using the term too. The most important group of Russian Futurism may be said to have been born in December 1912, when the Moscow -based literary group Hylaea ( Russian : Гилея [Gileya]) (initiated in 1910 by David Burlyuk and his brothers at their estate near Kherson , and quickly joined by Vasily Kamensky and Velimir Khlebnikov , with Aleksey Kruchenykh and Vladimir Mayakovsky in 1911) issued

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