Burluk direction. Brief biography burlyuk
It took from the ancient Cossack kind. The Father of the artist, D.F.Burlyuk, Agronom, served as managers in large estates in the south of Russia; Mother, L.I.Mikhnevich, was engaged in painting. The first artistic skills received in the gymnasiums of the city of Sumy at A.K.Veniga (1894) and in Tambov at P.P. Riznichenko (1895-1897). He studied in Kazhu (1898-1899, 1901-1902) at the city of Medvedeva and K.L. Myufka; in Ohu (1899-1901, 1910-1911) at K.K. Kostandi, G.A. Vyazhensky, A.A. Popova and L.D.Iornini, in Munich in the royal ah (1902) at Wilhelm, von Ditz and in School Anton Ashbe (1903-1904), in Paris in the studio of Fernan Kormon (1904). Since 1911 - in Music from L.O.Pasternak and A.E. Archipova (excluded in 1914). From 1905 he participated in exhibitions, published articles in the newspaper "South" (Kherson). In 1906, participated in the activities of the partnership of Kharkov artists.
Burluk stood at the origins of the avant-garde. After training abroad, the last word of modern art considered impressionism (neo-imaptiveness), the principles of which were actively promoted; His first manifest called "the voice of an impressionist in defense of new art" (1908). A new attitude to the picturesque form, which he demonstrated at the exhibitions 1906-1907, was encountered hostile ("destroying fashion", "wild techniques", "some points and circles").
D.D.Burlyuk. Woman with a mirror. Canvas, oil, velvet, lace, mirror glass. 37.8 × 57.5. RGOCHM
D.D.Burlyuk. Portrait of a Futurist Kamensky Futurist's songbone. 1916. Canvas, oil, bronze paint. 98 × 65.5. GTG
D.D.Burlyuk. Svyatoslav (rider). 1915-1916. Canvas, oil, plaster, wood, glass, tin, copper. 53.5 × 67. GTG
The role of Burluk was especially great in the consolidation of creative quest and unification of artists-innovators. At the exhibitions 1906-1908, he performed together with Brother V.D. Burlyuk and his sister L.D.Burlyuk. In the fall of 1907, having arrived in Moscow, met M.F. Larionov, brings closer to him on the platform of neo-simpressionism, opposed to the symbolism of the Blue Rose. At the end of 1907, Stefanos organized with the Larionic exhibition was financed in Moscow, in 1908 with A.A.Exter organized the exhibition "link" in Kiev. In the same 1908, together with the brothers came to St. Petersburg, where he became close to N.I. Kulbin and V.V. Kamensky, in 1909 - from E.G.Guro and M.V. Matyushin, about 1910 - with V.V. Khlebnikov. In the fall of 1910, in Odessa, he met V.V. Kadinsky and became a member of his undertakings: exhibitions "New Munich Art Society", Society "Blue Horseman" and the author of the same almanac.
About 1910 Burluk led the fight against criticism, accusing it in incompetence and bias, published a leaflet "Regarding the art letters" Mr. A. Benua "(1910) and a pamphlet-pamphlet" Golden "Beno'a" and the new Russian national art "( M., 1913). Burluk showed the need for an avant-garde artists to independently develop issues of theory. In the article "Wild in Russia" ("Blue Rider", 1912), he tried to formulate the general principles of new art: the refusal of academic rules and support for the "barbaric" traditions (the art of ancient Egypt), a free drawing, combining the persons, "The Law of Coloristic Dissonance " etc.
Painting Burliuk around 1910 evolved to foxism, then to the original version of futurism. In 1912, he took a trip to the countries of Europe (Germany, France, Switzerland, Italy), during which the French cubism and Italian futurism mastered, and on his return spoke in Moscow and St. Petersburg with reports that were called the scandal. He looked his views in a shock-forming form, provoking the audible reaction of the public. Burluk was the creator of the collective imaging pattern of the avant-garde (in the terminology of the 1910s - Futurist), which was different from the decadene image, not so much extravagant of the appearance and behavior, how much proximity to the "laughter culture".
Simultaneously with public speeches, Burluk unfolded active literary and publishing activities. In 1910, he established the first futuristic literary group "Gileya"; Posted (together with Khlebnikov and V.V. Mamikovsky) and issued a manifesto "Society to Public Taste" (M., 1913). The author of texts and illustrations in the poetic collections "Sadok judges" (SPB., 1910) and "Sadok Judges II" (SPB., 1913); "CHARRT TROYICH" (M., 1913); "Dusty Moon" (M., 1913); "Rying Parnass" (M., 1913) and others. Missed works by Khlebnikov, Mayakovsky, Kamensky and B.K. Elshitz, in 1913-1914 with Mayakovsky and Kamensky made a tour of the cities of Russia with lectures and reading poems.
One of the organizers of the Bubnov Valet Company (1911), the participant of the same exhibitions of 1910-1917. Member of the union of the "Union of Youth" (from 1913) and a participant in his exhibitions 1910-1914. In painting, Burluk gradually inferiorly inferior to representatives of more radical concepts. Throughout the 1910s, he combined work from nature (landscape, portrait) with the creation of futuristic compositions (which was often given quasi-scientific "inconsimated" titles), experimented with the texture, without refusing to the techniques of impressionism and traditional realism. All this, including interest in national historical plots (Svyatoslav, Kazak Mamay. Both - 1916) and symbolism ("late angel of the world. 1917) gave rise to former associations for accusations of burlyuka in eclecticism.
In 1915, due to the need to maintain a family, went to Bashkiria, where he was engaged in the military fodder trading. He lived at Ilinino stations near Ufa. During the short stay in Moscow at the end of 1917 - early 1918, futuristic shares with Mayakovsky and Kamensky resumed, then returned to the Ufa Gubernia, from there he went to the tour of Siberia and the Far East (1918-1919). He conducted exhibitions and lectures in Zlatoust, Miass, Yekaterinburg, Irkutsk, Troitsk, Omsk, Tomsk, Chita. In 1919-1920, he lived in Vladivostok, where he collected the representatives of the left art and literature around him. In August 1920, with V.N. Palmov, sailed to Japan to show the exhibition of Russian artists. I wrote pictures in the spirit of futurism ("Japanese fisherman." 1921), full-scale landscapes and genre scenes, performed custom portraits.
In the fall of 1922, the ferry with his family moved to the United States (in 1931 received citizenship). He lived in New York, collaborated with anonymous society ("Société Anonym"), worked in the Prommunist newspaper "Russian Voice" (1923-1940). Together with his wife, M.N.Burlyuk, organized a publishing house (1924) and produced the magazine "Color & Rhyme" (1930-1966). In 1941 settled in Hempton Bayiz (Long Island) and founded the artistic group of the same name (one of the members - Archil Gorki). Making many trips in America. In 1950-1960, he traveled through the countries of Europe, visited Australia and North Africa twice visited the USSR (1956 and 1965).
The work of the American period is heterogeneously. Throughout the 1920s, he sought to preserve the prestige of the avant-garde artist and created paintings with elements of futurism ("Fisherman from the South Sea"; "Workers". 1922), close to expressionism ("workers". 1924), sometimes using symbols and monumental forms ("Coming of a mechanical man." 1926). He repeated the compositions of the 1910s ("Landscape with the Bridge", "Portrait of Mother", "Cossack Mamay"), created impreit work ("collage"), putting false dates on them. In the mid-1920s, the discovery of the "Radio" ("Hudson" was proclaimed. 1924). In the 1930s, in his paintings, the echoes of surrealism appear ("heads on the shore"). However, the main products of Burluk 1930-1960s have a frankly commercial nature. In addition to inventory portraits (in the majority of Marusi) and still lifes, his legacy includes many landscape genre compositions in a manner imitating naive painting, which he considered the most adequately transmitting American reality. Many works are devoted to the memoirs of Russia (rural motives, animalism), including historical figures (Lenin and Tolstoy. 1925-1930). Late painting Burluk is distinguished by screaming color gamut and proximity to Kitch. But his style is always recognizable, and the name "Father of Russian Futurism" remained in the history of avant-garde.
The author of the book: A bald tail (Kurgan, 1918); Marusya-san. Poems (New York, 1925); RadioNifeBest (New York, 1926); Climbing Fuji-San (New York, 1926); Tenth October (New York, 1927); Russian art in America (New York, 1928); Gorky (New York, 1929); Father of Russian futurism (1929, New York); "Entechism." Theory. Criticism. Poems. Pictures (to the 20th anniversary of futurism - the art of the proletariat. 1909-1930). (New York, 1930) and others.
Participated in exhibitions of local and non-resident artists (1905. Kherson); Partnerships of Kharkov artists (1906, 1906-1907, 1907); Societies to them. Leonardo da Vinci (1906. Moscow); Turch (1906, 1907. Odessa); SRH (1906-1907); Mth (1907, 1912, 1918); TPHV (1907, 1908); "Link" (1908. Kiev); "Stefanos" (1907-1908. Moscow); "Women-Stefanos" (1909. Petersburg); Salon S.K. Makovsky (1909. SPb.); "Wreath" (1909. Kherson); "Impressionists" (in the group "Wreath"; 1909-1910. Vilna-Petersburg); Salon V.I.Isurinsky (1909-1910. Odessa-Kiev-Petersburg-Riga); 7th exhibition of Ekaterinoslav Scientific Society (1910. Ekaterinoslav); Regional South Russian (1910. Ekaterinoslav); "New Munich Art Society" (1910. Munich); SECOND SALON OF PERIADS (1911, ODESSA-Nikolaev); "Blue Rider" (1911-1912. Munich); "The World of Art" (1911. Moscow; 1915, Petrograd); The 2nd Exhibition of the Ring Group (1912. Kharkov); student men (1912-1914); modern painting (1912. Ekaterinburg); 1st exhibition of the Artistic Association (1912. Petersburg); "Moscow Salon" (1913); contemporary art (1913. Petersburg); The first German autumn salon (1913. Berlin); Independent salon (1914. Paris); Exhibitions in favor of the Lazaret of Artists (1914. Petrograd), "Exhibition of Painting1915 Year" (1915. Moscow); left currents (1915. Petrograd); modern Russian painting (1916. Petrograd); Independent partnerships (1916. Petrograd); 7th exhibition of Society "Free Creativity" (1918. Moscow); The first exhibition of Russian artists in Japan (1920. Tokyo-Iokohama Osaka); The first Russian art exhibition (1922. Berlin); Russian painting and sculptures (1923. New York); international (1926. Philadelphia); international art (1927. New York); the newest currents in art (1927. Leningrad); "A worker and a peasant in pre-revolutionary and Soviet painting" (1930. Samara); group "Thirteen" (1931. Moscow); Modern Russian art (1932. Philadelphia), in numerous exhibitions of contemporary art in America, as well as Paris, Munich, London, Prague.
Lifting Personal Exhibitions Burluk took place in Kherson (1907, together with VD and L.D.Burlyuk), Samara (1917), New York (1924, 1924-1925, 1930, 1944, 1946, 1946 -1947, 1947-1948, 1949, 1954, 1961, 1963, 1964, 1965), Philadelphia (1926), San Francisco (1932-1933); Washington (1939); In Cuba (1955), Long Island (1960), in Neshville (1961), London (1966).
"True artwork can be compared with the battery, which proceeds the energy of electrical suddenness."
David Burluk
Portrait of mother, 1906. Canvas, oil. GTG
Still life with a bouquet and book, 1910. Canvas, oil. State Museum Association Art Culture of the Russian North
Landscape with a river, 1910th. Canvas, oil. Collection of Andrei Dzamashvili, Moscow
Blooming acacia, 1911-1912. Canvas, oil. Private Assembly, Moscow
Landscape with a pink house, 1910th. Canvas, oil. State Museum Association Art Culture of the Russian North
Noon on the Dnieper, 1910. Canvas, oil. Serpukhov Historical and Art Museum
Flowering garden, 1913. Canvas, oil. Collection of Andrei Sarabenova, Moscow
Bilateral etude, end of the 1900s. Paper, oil. Lyudmila Lisina Meeting, Moscow
Fragment
Bush roses, beginning of the 1910s. Canvas, oil, tempera. Collection of Peter Avena, Moscow
Wola, 1908. Canvas, oil. Samara Regional Art Museum
Portrait of Maria Burluk, 1957. Plywood, oil. Collection of Sergey Denisov, Tambov
Sitting naked (Marusya). Canvas, oil.
Bouquet of yellow colors, 1918. Canvas, oil.
Wind. Canvas, oil.
Woman with a mirror. Canvas, oil, velvet, lace, mirror glass
Fragment with a mirror
Portrait of Futurista Vasily Kamensky, 1916. GTG
Couple with horse, mid 50s. Canvas, oil. Collection of Aba Galery, New York
David Burluk admired folk art and was inspired by it when creating their own works.
Folk painting. Cossack Mamay. Plywood oil. Collection of Andrei Sarabenova, Moscow
Red afternoon, 1915-1918. Canvas, oil
Cossack. Image from five points of view, 1912. Canvas, oil. Private Assembly, Moscow
Rainbow, 1916. Canvas, oil. Bashkir State Art Museum. M.V. Nesterova
Cossack Mamai, 1916. Canvas, oil. Bashkir State Art Museum. M.V. Nesterova
Unprecedented composition with the letter F. canvas, oil. Collection of Aba Galery, New York
Refugees in Ufa, 1916. Canvas, oil. State Museum of History of Russian Literature named after V.I. Daly
Family portrait, 1916. Canvas, oil. State Museum V.V. Mayakovsky
Jicial, 1915. Canvas, oil. Collection of Marina Kashuro and Valeria Dudakova, Moscow
Japanese village, 1921-1922. Canvas, oil. Private Assembly
Ricksha, 1923. Canvas, oil. Collection of Aba Galery, New York
Mason. Canvas, oil. Private Assembly, New York
Japanese fisherman, 1921. Canvas, oil. Assembly of Maya and Anatoly Beckerman, New York
Japanese, separating tuna, 1922.Holts, oil. Assembly of Maya and Anatoly Beckerman, New York
Peasant woman with a rooster, the end of the 1920s. Tree, coins, carving, coloring. Collection of Aba Galery, New York
Workers, 1924. Canvas, oil. Assembly of Maya and Anatoly Beckerman, New York
Lake at the Bear Mountain, 1924. Canvas, oil. Collection of Aba Galery, New York
David Davidovich Burluk(1882-1967) Born on the farm Semirotrovna Kharkiv province in the Cossack family. Father, selling the farm, worked as managers in different estates, so the family often moved from place to place, and Burluk had to study in the gymnasiums of different cities: Sumy, Tambov, Tver.
From ten years he was fond of painting, she studied in the Kazan and Odessa artistic columns, in the Munich Royal Academy of Arts. Participated in art exhibitions in Russia and abroad.
In 1909-1910, young poets and artists who denied the aesthetics of symbolism were united around the burlyuk. They were looking for new ways to develop poetry and art. Later they will name themselves with futurists. By this time, the Burluk meeting with Mayakovsky (from 1910 Burliuk, like Mayakovsky, studying in the Moscow Art School of Painting and Sculpture), who called him his "valid teacher."
Burluk energy, its organizational abilities and initiative helped the formation and approval of the new poetic school. In the collection "Society to the public taste" (1912), the manifesto was proclaimed, in which the call sounded to abandon classical traditions (offered "to reset Pushkin, Dostoevsky, Tolstoy from a steamot of modernity"). Furious attacks on the collection followed, which only increased the interest of the reading public to a new school.
On the same years, Burluk appears with public lectures and reports, promoting the principles of futurism in poetry and cubism in painting. In 1914, Burluk and Mayakovsky were excluded from the school "For participation in public disputes".
In 1918-1919, he left for the Far East, performed with lectures in the cities of Siberia, then lectured and arranged exhibitions in Harbin. From 1920, Burluk lived in Japan, and from 1922 - in the United States of America. He continued to engage in painting and literature, published the magazine "Color and Riffs". In 1956, Burluk came to the Soviet Union. He died in the US on January 15, 1967.
Materials KN: Russian writers and poets. Brief biographical dictionary. Moscow, 2000.
Burluk David Davidovich - Poet, artist, one of the founders of Russian futurism, theorist and promoter of new art.
David Burluk was born in 1882 on the farm Semirovovna Kharkiv province, in the family of the manager of the landlord estate. His brothers - Vladimir and Nikolai and Sister Lyudmila later also took part in futuristic movement. In 1894-98, David is studying in Sumy, Tambov and Tver gymnasiums. During his studies in the Tambov gymnasium, I get acquainted with the artist Konstantinov and soon decides to become a professional artist. Learn in Kazan (1898-1999) and Odessa (1999-1900, 1910-1911) artistic columns. In 1902, after an unsuccessful attempt to enter the Academy of Arts leaves for Munich. He is engaged in the Royal Academy of Munich (1902-1903), in the Studio of Kormon in Paris (1904), in Music (1911-1914). Since 1908, it is actively involved in modern fiction and soon becomes one of the leaders of the literary and artistic avant-garde. Participates in most of the first exhibitions "New Art" ("link", "Walk-Stefanos" and "Bubnovaya Valet"). In 1908 publishes his first declaration "Impressionist's voice in defense of painting." The estate of Count Mordvinov Chernyanka, where his father opened in the 1900-190s, it became a kind of "headquarters" of young innovators. At different times, Larionov, Khlebnikov, Lifshitz, Lentulov and other representatives of avant-garde art were visited there. It was there for the first time the idea of \u200b\u200bcreating an independent literary and artistic group, focused on creating new national arts. By 1910, there was a circle of like-minded people with the original philosophical and aesthetic program - D. Berlyuk, V. Kamensky, M. Matyushin, E.Guro - who gave the name "Willly". Having become acquainted in 1911 with V. Markovsky and B. Lifshits, David Burlyuk creates a new literary association - "Giley". In 1912, together with Mayakovsky, twisted and Khlebnikov, produces a futurism software manifesto "Society to public taste". Possessing rare organizational abilities David Burluk quickly accumulates the main forces of futurism. With his direct participation, poetic collections are published, brochures are published, exhibitions are organized and disputes are arranged. For contemporaries, David Burluk begins to be associated with the most radical performances of futurists. In 1913-1914, he organizes the famous tour of futurists in the cities of Russia, stands up with lectures, readings of poems and proclamation. As the author and illustrator take part in the publication of futuristic books ("Rying Parnass", "Troych Troy", "Dusty Luna", "Collection of single futurists in the world"), in 1914 - editor of the "First Futuristic Journal". In 1918, it becomes one of the publishers of the Futurist newspaper. Member of many literary and artistic associations ("Blue Rider", "Union of Youth", "Gileia", "Bubnovaya Valet", "Society of Fine Arts"). During the period of the Civil War, it turns out to be in Bashkiria, and then in Siberia and the Far East, where the propaganda of futurism continues. In 1920, I emigrate Japan. Two years later, the United States moves, where together with his wife organizes a publisher, under whose brand which produced prose, poems, journalism and memoirs. In the 1920s, it works in the Russian voice newspaper, enters the literary group "Sickle and Hammer". In 1930, there is a theoretical work "Entelehism", in the same year it begins to release the magazine "Color and Rhyme". Every year participates in exhibitions, engaged in photo art. In the 1950s, Hampton Beys (Long Island) opened his own gallery. He died in 1967 in Long Island (USA).
Exhibitions:
Exhibition in favor of starving. Kharkov, 1905.
Exhibition of the Union of Russian Artists. St. Petersburg, 1906-1907
17th exhibition of Turkic. Odessa, 1906.
18th exhibition of Turkh, Odessa, 1907
35th exhibition of partnership of mobile art exhibitions. Moscow, 1907.
Spring exhibition in ah. St. Petersburg, 1907
Stefanos. Moscow, 1907/1908
15th exhibition MTX. Moscow, 1908.
Link. Kiev, 1908.
36th exhibition of partnership mobile art exhibitions. Moscow, 1908.
Exhibition of modern trends in art. St. Petersburg, 1908
Salon of the Golden Rune. St. Petersburg, 1909
Salon S. Makovsky. St. Petersburg, 1909
Impressionists. St. Petersburg, 1909
Impressionists. Wilna (Vilnius), 1909
Women-Stefanos. St. Petersburg, 1909
Salons V. Izadadsky. Odessa, Kiev, St. Petersburg, Riga 1909-1910
The triangle is a wreath of Stefanos. St. Petersburg, 1910
Union of youth. St. Petersburg, 1910-1913; Riga 1910.
Jack of Diamonds. Moscow, 1910, 1912, 1913, 1916, 1918
Exhibition of new artistic society. Munich, 1910.
Der Blaue Reiter. Munich, 1911, 1912
Salon P. Casirera. Berlin, 1911.
Exhibition Triangle. St. Petersburg, 1912
Exhibition of Pictures of the Artistic and Artistic Association. St. Petersburg, 1912
15th exhibition MTX. Moscow, 1912.
Modern painting. Ekaterinburg, 1912.
Exhibition of Society of Artists Moscow Salon. Moscow, 1913.
3rd exhibition Free creativity. Moscow, 1913.
35th anniversary exhibition of students of men. Moscow, 1913.
The first German autumn salon. Gallery assault (Der Sturm). Berlin, 1913.
Salon independent. Paris, 1914.
Exhibition of artists - comrades of soldiers. Moscow, 1914.
Exhibition of paintings of the left currents. Petrograd, 1915.
Exhibition of painting. Moscow, 1915.
World of Art. Petrograd, 1915.
Exhibition of modern Russian painting. Petrograd, 1916.
Exhibition Picture of David Burluk. Ufa, 1916.
Exhibition of paintings of the Ufa artistic circle. Ufa, 1916.
Personal exhibition David Burluk. Samara, 1917.
1st exhibition of paintings by the Moscow Art Mug. Moscow, 1918.
24th exhibition of paintings MTX. Moscow, 1918.
7th Paintings Exhibition Free Creativity. Moscow, 1918.
Exhibition of Petrograd and Moscow artists. Chita, 1919.
The first exhibition of Russian artists in Japan. Tokyo, 1920.
Personal exhibition. Osaka, 1921; Nagoya 1921; Tokyo, 1921.
The first exhibition of Russian art. Berlin, 1922.
Personal exhibition in the New York Art Center. New York, 1923
Exhibition of Russian Art in the Brooklyn Museum. New York, 1923
International Exhibition. Philadelphia, 1926.
Exhibition of new art in the Brooklyn Museum. New York, 1927/1928
Exhibition of Group 13 and John Reed Club. Moscow, 1931.
(The list of exhibitions after 1920 is not in full)
Personal publications David Burliuk:
Leaflet. Regarding the "art letters" A. Benua. 1910.
Gondiing "Benois" and new Russian national art. St. Petersburg, 1913
Explanations to the pictures of David Burluk. Catalog of the personalized exhibition of paintings. Fa, 1916.
DD Burliuk. Catalog of the exhibition of paintings. Samara, 1917.
Lying tail. Kurgan, 1919.
Burliuk shakes his hand Vulfort Bilding (to the 25th anniversary of the artistic and literary activity). New York, 1924
Marusya-san. New York, 1925
Climbing Fuji-san. New York, 1926
Sea tale. New York, 1927
By the Pacific Ocean. From the life of modern Japan. New York, 1927
Oshima. Japanese decameron. New York, 1927
Tenth october. New York, 1928
Tolstoy. Bitter. New York, 1929
Entellemism. 20 years of futurism. New York, 1930
1/2 century. New York, 1932
Books and poetic collections with David Burliuk:
Studio Impressionists. St. Petersburg, 1910
Sadok judges. St. Petersburg, 1910
Silence to public taste. Moscow, 1912.
Die Wilden Russlands // Der Blaue Reiter. Munich, 1912.
Sadok judges 2. St. Petersburg, 1913
Union of youth. № 3. St. Petersburg, 1913
Cape three. Moscow, 1913.
Dark moon. Moscow, 1913.
Top. Kherson, 1913.
V. Khlebnikov. Rady! Gloves 1908-1914. St. Petersburg, 1913 (illustration D. Burluk)
Silence to public taste. Leaflet. 1913.
Milk mare. Kherson, 1914.
Parnas. St. Petersburg, 1914
The first magazine of Russian futurists, number 1-2. Moscow, 1914.
Dark moon. (second edition). Moscow, 1914.
V. Khlebnikov. Celebrate of poems 1907-1914. St. Petersburg, 1914 (illustration D. Burluk)
V. Kamensky. Tango with cows. Reinforced concrete poems. Moscow, 1914 (illustration D. Burluk)
V. Mayakovsky. Tragedy Vladimir Mayakovsky. Moscow, 1914 (illustration D. Burluk)
Diplomas and declaration of Russian futurists. St. Petersburg, 1914
Spring counterparty music. Moscow, 1915.
Took. Baraban futurists. Petrograd, 1915.
Sagittarius 1. Petrograd, 1915
Four birds. Moscow, 1916.
Moscow Masters. Moscow, 1916.
Sagittarius 2. Petrograd. 1916.
Futurist newspaper. Moscow, 1918.
In captivity of skyscrapers. New York, 1924
Savier Sabwei. New York, 1924
Red Arrow. New York, 1932
Articles D. Burluk in periodicals: handicraft art // Moscow Gazeta, February 25, 1913
About Max Linder // Kina-magazine, 1915, No. 1-2
Interesting meetings // Lel, 1919, № 5-6
Burliuk memories // Creativity (Vladivostok), № 1, 1920
From the laboratory to the street (the evolution of futurism) // Creativity (Vladivostok), № 2, 1920
Vladimir Mayakovsky. // Creativity (Vladivostok), № 11, 1920
Literature and art in Siberia and the Far East 1919-1922 // New Russian Book, No. 2. New York, 1924
Rules of the game // "Kitovras", No. 2, New York, 1924
Revelations in simplicity, paints and lines // Kitovras, No. 3, New York, 1924
Color and Rhyme. N-y., № 1 - 60, 1930-1966
An exhibition of an amazing artist, a poet, criticism, "Father of Russian Futurism", opened at the Museum of Russian Impressionism. His contradiction and gifted nature caused contemporaries and delight and irritation. Together with his friend, Mikhail Larionov, David Burlyuk raised through the streets with a painted face, Vladimir Mayakovsky considered him his teacher, the legendary Anton Ashbe, who was engaged in a private school in Munich, called him a "beautiful wild steppe horse", and director and playwright Nikolay The Jews introduced into circulation to the "boil", associated with conversations about Futurism in the artistic circles of that time. This brief enumeration allows you to present the place and value of David Burluk in the culture of the Russian and world avant-garde.
The current exhibition is a closer acquaintance with this unique person, because the works of the master in Russia preserved relatively few. Exhibits from 12 state museums and 10 private collections of the 1900-1930s will tell about the diverse creative path of the artist: from impressionism to futurism and further, through the bright intricacies of the Russian avant-garde.
Portrait of mother. 1906. Canvas, oil. GTG
In the fate of the artist, a decisive role was played by the decision of his mother to develop the talent of the Son to drawing, so her portrait performed in impressionistic, and can be said completely logical at the beginning of the exposition, even one can say a poynetic manner in her Russian understanding. Locked, light, transparent palette, lace short and long strokes, general emotionality, the vibration of a picturesque surface transmit a lively and trembling feeling that the master tested to his model.
Owls. 1908. Canvas, oil. Samara Regional Art Museum
Friendship with Mikhail Larionov, the inspirer of Russian avant-gardeists, definitely postponed his imprint and on the work of David Burluk. His oxen is written under the obvious influence of a friend who turned to "low" scenes. The manner itself is very close to Lariona. The same shining light background, the same expressive contour figures of animals, masterfully precisely transmitting volume. In his artistic biography, Burluk seemed to try on the opening of his friends and contemporaries, from each style removing the features close to themselves and their manner.
Noon on the Dnieper. 1910. Canvas, oil. Serpukhov Historical and Art Museum
His tribute to Fovizma is associated with interest in the past of South Russian lands, to the legacy of Scythians, which at that time was perceived through the vague ideas about the Dicar Colorie, the Tahitian discoveries of the Gajen field and Algerian - Henri Matisse. "Noon on the Dnieper" is a bright illustration of these ideas. Dynamic masses of local colors are lit and faced in the chaos of fast multidirectional smears, which creates an emotional and expressive picture of the artist's worldview.
Family portrait. 1916. State Museum of V. V. Mayakovsky
Tribute Burluk Futurism and cubism in conjunction with realistic fragments, as well as the principles of a kind of picturesque photomontage - a family portrait, written in the difficult years of the First World War and as if in the premonition of revolutionary shocks and emigration. Fragments of portraits of his wife, the testa and the artist himself are crushed, as in a broken mirror, interlacing with colored planes, sharp grapes breaking the usual course of life.
Portrait of my uncle. 1910th. Plywood, oil, Merlushka. Irkutsk Regional Art Museum. V. P. Sukacheva
A vivid expressiveness of a plastic pictorial surface, for which the burlyuk came up with his terminology, fascinated him so much that he led to the creation of collages, including fabric, fur, fragments of the mirror. "Zanosy", "hooked", "earthy" and "sink" texture of the picturesque plane create an intense expressive field of its works, saturated and tense.
Energy and elasticity of smears, the power and intensity of lines are inherent in one way or another all the works of David Burluk. But his rolling talent found his brighter and well-known embodiment in the painting of Russian futurism - the direction, striving to curb time and on the canvas plane to portray the movement, captured at different points and in different angles. The will of fate after the revolution Burluk with his family was in Japan, where his work had a loud success.
Japanese, sowing rice. 1920. Canvas, oil. Assembly of Maya and Anatoly Beckerman, New York
In the image of a Japanese, sowing rice, the artist repeated her movement by a multitude of rhythmic lines, creating an almost ritual image of a sacred dance. Uniform and at the same time, the dynamic step of the fan lines seems to be spinning the image, and behind it and the viewer in the hypnotic spiral dance, in which time and space are bizarrely connected into a single pictorial-plastic reality.
Workers. 1924. Canvas, oil. Assembly of Maya and Anatoly Beckerman, New York. Fragment of the picture.
The success that David Burlyuk enjoyed in Japan, inspired him to move to America, where he hoped for the same enthusiastic welcome, but the "father of American futurism" could not become the father. Due to financial difficulties and cramped life conditions, in which large-scale canvases were simply impossible to preserve, some pictures of the period reached our days, such as, for example, the workers 'workers' 1924. The Museum of Russian Impressionism shows along with the preserved fragment of the virtual reconstruction of the picture, created on the preserved black and white photographs of the 1920s, printed in the COLOR AND RHYME magazine ("Color and Rhyme"), which published the spouse of the artist Maria Burluk.
River Harlem. Invidence Park. 1925. Canvas, oil. Assembly of Maya and Anatoly Beckerman, New York
However, material difficulties did not stop the creative stream. The inspired by the idea of \u200b\u200bradio waves filled with space, the burlyuk creates the so-called radios, a kind of analogy of Larionov rays. In the image of the Harlem River, the pulled colored lines cut through the depth of the landscape, creating the impression of a dense invisible medium that fills the space with stressful power fields.
Portrait of Maria Burluk. 1957. Plywood, oil. Collection of Sergey Denisov, Tambov
Another successful innovation of the exhibition in the Museum of Russian Impressionism is the magnifying glass in several paintings, which allow us to consider in detail the pastose picturesque texture. One of these works is the portrait of the wife of the artist Marusi, made on the palette, which very symbolically indicates its role not only the right companion of life and comrade in the works and deprivation, but also the muse, and the artist's biograph. The vibration of a lively and trepal pictorial surface is very bright and expressively conveys the author's emotional attitude to its model. And the brightness of the flavor and the vital freshness of the forms in this late work is not inferior to the energy and expression that we used to see in the works of the young master.
The separate section of the exhibition is the books of futuristic poets illustrated by David Burlyuk, and the collections of his own essays.
David Davidovich Burluk (9 (21) of July 1882, Farm Semirotovka, Lebedinsky County, Kharkiv Province, Russian Empire (now Sumy region, Ukraine) - January 15, 1967, Hampton Bayiz, Long Island Island, New York, USA) - Russian poet and artist of Ukrainian origin, one of the founders of Russian futurism. Brother Vladimir and Nikolai Burlukov.
9 (21) July 1882 was born in the family of agronomet-self-taught Burluk David Davidovich. He had two brothers and three sisters - Vladimir, Nikolay, Lyudmila, Marianne and Hope. Vladimir and Lyudmila were artists, Nikolai - Poet. They were also participants in the movement of futurists.
He studied at the Alexandrovsky gymnasium Sumy (Ukraine). In childhood, a native brother accidentally deprived David's eyes while playing with a toy gun. Subsequently walked with a glass eye, it became part of his style.
In 1898-1910 he studied in the Kazan and Odessa artistic columns. In print, he made his debut in 1899. He studied painting in Germany, in Munich, in the "Royal Academy" at Professor Willy Ditz and Slovenian Anton Ashbe and in France, in Paris, at the School of Fine Arts of Kormon.
Returning to Russia, in 1907-1908, Burluk came down with the left artists and participated in art exhibitions. In 1911-1914 he was engaged in together with V. V. Mayakovsky in the Moscow School of Painting, Scarying and Architecture. Member of futuristic collections "Sadok judges", "Saving to public taste" and others.
In the first world war, Burluk was not subject to call, since he had no left eye. He lived in Moscow, published poems, collaborated in newspapers, wrote pictures.
In the spring of 1915, Burluk found himself in the Ufa province (Ilinino station of Samaro-Zlatoust railway), where his wife was the estate. David Burluka's mother, Lyudmila Josephovna Mikhnevich, lived at this time in Breyak - 80 km from Ufa. For two years, held here before departure, he managed to create about two hundred caved. 37 of them constitute the essential and most striking part of the collection of Russian art of the beginning of the 20th century, presented in the Bashkir Art Museum. M. V. Nesterova. This Museum Assembly of the works of David Burluk is one of the most complete and qualitative assemblies of his painting in Russia. Burluk often came to Ufa, visited the Ufa artistic circle, which blinked around himself with young Bashkir artists. Here he became friends with the artist Alexander Tulkin, with whom he often happens on Etudes.
In 1918, Burlyuk miraculously escaped death during the pogroms and executions of anarchists in Moscow and again went to Ufa. In 1918-1920, he toured together with V. Kamensky and V. Mayakovsky in the Urals, Siberia, the Far East. In June 1919, I got to Vladivostok, the family settled in the working Slobodka on the northeast slope of the hill of the bouss (ul. Shilkinskaya).
In 1920, emigrated to Japan, where he lived for two years, studying the culture of the East and studying painting. Here they are written about 300 paintings on Japanese motifs, the money from the sale of which was enough to move to America. In 1922 settled in the United States.
In New York, Burluk developed activity in the prosecutor's oriented groups and, writing a poem to the 10th anniversary of the October Revolution, sought, in particular, to decline as "Father of Russian Futurism." He was a regular author of the Russian voice newspaper. His collections, brochures, Burluk magazines published together with the wife of Maria Nikiforovna and distributed these editions through friends mostly within the USSR. From 1930, for decades, Burluk himself published the magazine "Color and Rhyme" ("Color and Rhyme"), part of English, part in Russian, the volume of 4 to 100 pages, with its picturesque works, verses, reviews, reproductions of futuristic works etc. Works of Burluk participated in exhibitions that existed in the late 1920s - early 1930s group of Soviet artists "13".
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