Exhibition "David Burliuk: A Word to Me!" 14/08/2018 automatic translate
с 4 Октября
по 27 Января
Музей русского импрессионизма
Ленинградский проспект, д. 15, стр. 11
From October 4, 2018 to January 27, 2019, the Museum of Russian Impressionism will present the exhibition "DAVID BURLYUK. WORD TO ME! ". The exposition will include more than 50 works by the artist from 14 state museums and private collections. Among them there are works that have never been exhibited at the master’s monographic exhibitions.
David Davidovich Burliuk - painter, graphic artist, poet, art critic, "father of Russian futurism" - does not need to be introduced to a narrow circle of connoisseurs and admirers of the Russian avant-garde, but remains almost unknown to the general public.
He was a man of a unique warehouse. Possessing a rare talent to unite people, to be the center of attention, he evoked different and often opposite feelings - from ecstasy to extreme irritation and criticism. Vladimir Mayakovsky called Burliuk his teacher: "A wonderful friend. My real teacher. David made me a poet. He read to me the French and the Germans. Stuck in books. He gave me 50 kopecks a day to write without starving. " The legendary Anton Ashbe, whose Burliuk studied at a private school in Munich, enthusiastically called the pupil "the beautiful wild steppe horse," and Benedikt Livshits beautifully called him "half-eyed archer". Nikolai Evreinov put into circulation a neologism - "burlyukat." The name Burliuk really became a household name.
The exhibition is designed to show the artist’s versatility, to reveal it not only as a "father of Russian futurism", but also as a lyricist, an Impressionist colorist, as a poet. Retrospective of the artist will be a logical continuation of the previous exhibition of the museum "Impressionism in the forefront", after all, David Burliuk came to the forefront through impressionism.
The exposition will feature works of 1900-1930-ies - a kaleidoscope of creative transformations, various painterly experiments of the artist. Looking at some of them, you realize that after almost a century we still do not know David Burliuk. How was he, how did his work develop?
The design of the exhibition is designed to help visitors see the paintings with the author’s own eyes and feel themselves involved in his works and era.
Three main thematic blocks will be highlighted in the exposition. The first part of the exhibition will be represented by open-air landscapes, impressionistic and textural-pictorial expressionist works. Early works by the artist, opening the exhibition, can become an unexpected surprise for visitors.
Like all Russian avant-garde artists, David Burliuk went through a school of new French painting, but impressionism manifested itself in his works throughout his creative life, unlike other masters. In the famous leaflet "The Voice of the Impressionist in Defense of Painting", written in 1908, the artist says: "Impressionism is the hope of Russian revival painting".
One of the central works of this block is the canvas "Mother" (1906) from the collection of the State Tretyakov Gallery. Decorative here harmoniously combined with the naturalistic design - these are the same features that Burliuk in his works called "desperate realism." Nothing in this portrait predicts the rapid transformation of the artist into a bold avant-garde futurist.
Most of the artist’s early impressionistic works are landscapes. Possessing physical strength and inner energy, he worked tirelessly in the open-air. One of his first teachers, Kiriak Kostandi, even criticized Burliuk, saying that it was "not art, but some kind of factory production." But it was this approach that allowed the future master to develop his own recognizable style of painting.
David Burliuk was called omnivorous, and he really was all interesting and curious. He was not afraid to repeat what others had seen: from Van Gogh, Gauguin, Matisse, Picasso, his fellow artists in Russia. For Burliuk, Matisse’s experience proved decisive in the further development. Therefore, at the exhibition, special attention is drawn to the two pictures "Voles" (1908) and "Rose bush" (middle of the 1910s) that get out of the general series. Relatively thin, written on an unpainted canvas - they can be guessed the influence of the French fauvist.
Step by step the visitor will go with Burliuk from Impressionism to Fauvism and enter the era of the avant-garde, he will see futurism as Burlyuk understood him in painting.
Perhaps the most recognizable work of the artist in this block is "Portrait of the songboy futurist Vasily Kamensky" (1916). The artist portrayed the poet, who was also one of the first Russian aviators. Little is known, but it was Kamensky who introduced the word "airplane" into circulation. A muse hovers over him, but quite earthly proportions. Kamensky hands her a rose, perhaps we are seeing the moment of birth of inspiration.
"Portrait of my uncle" (second half of the 1910s) - the only work at the exhibition, which shows the apparent influence of Picasso. It is interesting that during the travel of the artist across Russia in 1918-1920, the author’s repetitions of this painting were sold best, she literally fed the Burliuk family, who needed funds for further travel. About Picasso were heard already in the province. This name evoked both outrage and hot interest. According to the testimony of the artist Yevgeny Spassky, Burliuk "made his [portrait] quickly, in a hotel, pasting pieces of newspaper into a face torn by corners, with three eyes, two noses, and so on."
At the exhibition for the first time after Burliuk’s departure from Russia in 1920, a unique painting "Znitsa" (1915) from a private Moscow collection will be exhibited. Burliuk wrote about her: "A painting with a mirror center, using different types of surface, small and large-shell, hooked, and spiny." The work is very fragile, and the owner decided to exhibit it for the first time, solely for the sake of the artist’s retrospective at the Museum of Russian Impressionism.
A separate story in the artist’s life is the years of his residence in Japan (1921-1922). This period of creativity of David Burliuk is little known in Russia. Even less is known about Japanese futurist artists, with whom David Burliuk organized bright exhibitions.
Before the arrival of Burliuk, the Japanese had an idea of futurism only in terms of articles and text by Tommaso Marinetti. In 1920, a number of young artists created the Futuristic Art Association and hosted the "First Exhibition of Futurist Artists". Among the main representatives of this current Togo Seiji, Fumon Gyo, Kambaray Tai, Asano Moufu, Kinoshita Sayichiro and others. It is quite natural that there was an interest in a Russian artist who called himself "the father of Russian futurism."
In collaboration with Kinoshita Xuichiro, David Burliuk wrote the book "What is Futurism. Answer ", which became for young artists of that time a kind of textbook on art. Not so much the painting of the artist, how much his views on art and style of behavior influenced the development of various areas of Japanese artistic culture.
The Japanese period in the work of David Burliuk, according to documents and testimonies of contemporaries, is diverse and multifaceted. During almost two-year stay in Japan, Burliuk visited Tokyo, Yokohama, Nagoya and other cities, visited the southern islands of Oshima and Ogasawara, went up to Fujiyama. He drew with interest and real Japan, and futuristic compositions, such as "The rice sower", "The Japanese, cutting tuna", "Fisherman" and others.
Leaving Japan to America, the artist believed to be there "the father of American futurism", but this was not meant to come true. In an attempt to win the attention of American critics and the conservative public, Burliuk created several large-scale canvases that have not survived to this day and are known only from photographs and individual rescued fragments. One of these almost disappeared things is the picture "Workers" (1924), from which only the central part has survived to this day. The only time this work was exhibited in 1926 at an exhibition in Philadelphia, where it impressed the audience not only with its size - almost two to three meters, but also stood out as a bright, glorifying technological progress work. The Museum of Russian Impressionism will show the preserved fragment at the exhibition and give visitors a unique chance to see the canvas as it was presented to the American public more than 90 years ago. Virtual reconstruction of the work will present the picture in its full size.
Speaking of David Burliuk, the artist, we can not fail to mention David Burliuk, the poet. The artist wrote: "I’m talking about creativity in poetry. For I am both a poet and an artist. "
The exposition will feature a collection of "Balding Tail" in two versions: the original layout of the book, which Burliuk wanted to see, and a typographical copy of the collection that left without illustrations. In the layout you can see all corrections in the lines made by Burliuk’s hand, as well as black-and-white drawings pasted to the pages. This is the only collection of the artist printed in Russia before his emigration.
He was as good a graphic as the painter. This is perfectly illustrated by the original drawings in several copies of the poetic futuristic collection "Milk of mares". The collection was published by the "Gilea" group established by Burliuk.
At the exhibition, the voice of the artist reading his poems will be heard - audio recordings made during Burliuk’s arrival in Soviet Russia. Then the artist was already over 70. He repeatedly proposed the publication of his literary works, but his idea in the USSR was never implemented.
David Burliuk had an amazing sense of talent, rallied around himself such gifted clever people as Vasily Kamensky, Velimir Khlebnikov, Benedikt Livshits, in different years communicated and collaborated with Kazimir Malevich, Mikhail Larionov, Natalia Goncharova, Alexandra Exter and others. The artist, who did not leave indifferent his contemporaries, remains as interesting after a century.
The exhibition will be published an illustrated catalog, which presents the works of David Burliuk, his poems, drawings, articles.