Brief biography of Burliuk. Everything interesting in art and not only Books and poetry collections with the participation of David Burliuk
Born David Davidovich Burliuk (July 9 (21), 1882, Semirotovka village, Lebedinsky district, Kharkov province (now Sumy region of Ukraine) - January 15, 1967, Hampton Bays, Long Island, New York, USA) - Russian poet and artist Ukrainian origin, one of the founders of Russian futurism. Brother of Vladimir and Nikolai Burlyukov.
Born on July 9 (21), 1882 in the family of a self-taught agronomist, David Davidovich Burliuk. He had two brothers and three sisters - Vladimir, Nikolai, Lyudmila, Marianna and Nadezhda. Vladimir and Lyudmila were artists, Nikolai was a poet. They were also part of the Futurist movement.
He studied at the Alexander Gymnasium in Sumy. In childhood brother accidentally lost David's eye while playing with a toy gun. Subsequently, he walked around with a glass eye; it became part of his style.
In 1898-1910 he studied at the Kazan and Odessa art schools. He made his debut in print in 1899. He studied painting in Germany, in Munich, at the Royal Academy with Professor Willy Dietz and the Slovenian Anton Ashbe, and in France, in Paris, at the School fine arts Cormona.
Returning to Russia, in 1907-1908 Burliuk became friends with left-wing artists and participated in art exhibitions. In 1911-1914 he studied with V.V. Mayakovsky at the Moscow School of Painting, Sculpture and Architecture. Participant in the futuristic collections “Tank of Judges”, “Slap in the Face of Public Taste”, etc.
First world war Burliuk was not subject to conscription because he did not have a left eye. He lived in Moscow, published poetry, contributed to newspapers, and painted pictures.
In the spring of 1915, Burliuk found himself in the Ufa province (Iglino station of the Samara-Zlatoust railway), where his wife's estate was located. David Burliuk’s mother, Lyudmila Iosifovna Mikhnevich, lived at that time in Buzdyak, 80 km from Ufa. In the two years he spent here before leaving, he managed to create about two hundred canvases. 37 of them constitute a significant and most striking part of the collection of Russian art of the early 20th century, presented at the Bashkir Art Museum. M. V. Nesterova. Today, the museum's collection of works by David Burliuk is one of the most complete and high-quality collections of his paintings in Russia. Burliuk often came to Ufa, visits Ufa art club, which rallied young Bashkir artists around itself. Here he became friends with the artist Alexander Tyulkin, with whom he often makes sketches.
In 1918, Burliuk miraculously escaped death during the pogroms and executions of anarchists in Moscow and again left for Ufa. In 1918-1920 he toured with V. Kamensky and V. Mayakovsky in the Urals, Siberia, and the Far East.
In 1920 he emigrated to Japan, where he lived for two years, studying the culture of the East and painting. Here he painted about 300 paintings on Japanese motifs, the money from the sale of which was enough to move to America. In 1922 he settled in the USA.
In New York, Burliuk became active in pro-Soviet groups and, by writing a poem for the 10th anniversary October revolution, sought, in particular, to gain recognition as the “father of Russian futurism.” He was a regular contributor to the Russian Voice newspaper. Burliuk published his collections, brochures, and magazines together with his wife Maria Nikiforovna and through friends distributed these publications mainly within the USSR. Since 1930, for decades, Burliuk himself published the magazine “Color and Rhyme” (“Color and Rhyme”), partly in English, partly in Russian, ranging from 4 to 100 pages, with his paintings, poems, reviews, reproductions of futurist works etc. Burliuk’s works participated in exhibitions of the group that existed in the late 1920s - early 1930s Soviet artists"13".
In 1956 and 1965 visited the USSR. Despite repeated proposals to publish his works in the USSR, he failed to print a single line.
Wife - Maria Nikiforovna Elenevskaya (1894-1967) - memoirist, publisher. In 1962, the couple traveled around Australia and Italy and visited Prague, where his sister lived. Burliuk's paintings were exhibited in Brisbane.
Died January 15, 1967 in Hampton Bays, New York. His body was cremated according to his will and his ashes were scattered by his relatives over the waters of the Atlantic from the ferry. Elena Schwartz responded to the news of his death with poetry:
O Russian Polyphemus!
Harmony goad
Your eye is burned out
Sweet music ate our eyes,
Like soap, and your moan was not heard
for us.
PHOTOS OF DIFFERENT YEARS:
Nikolai Feshin “Portrait of the artist D. D. Burliuk (D. D. Burliuk gives a lecture)” (1923).
Oil on canvas. 123.1 x 83.4 cm.Museum Collection fine arts PC. New Mexico, Santa Fe New Mexico, USA.
A SELECTION OF THE ARTIST'S WORKS
Portrait of V.V. Mayakovsky 
Portrait of V.V. Mayakovsky
Portrait of a woman in a yellow dress
Black Horse, ChS 
"Rainbow
Portrait of Moses Soyer, ChS
Portrait of S. Eisenstein
Portrait of the futurist poet Vasily Kamensky
Flowers by the Sea, ChS
Osip Mandelstam
Unspeakable sadness
She opened two huge eyes,
Flower woke up vase
And she threw out her crystal.
The whole room is drunk
Exhaustion is a sweet medicine!
Such a small kingdom
So much was consumed by sleep.
A little red wine
A little sunny May -
And, breaking a thin biscuit,
The thinnest fingers white.
Artist David Burliuk, 1954
Still life with a jug
Winter Still Life, 1947 Emergency
Terrace
Sunflowers
Temple gate in Japan
Mythological Scene, 1944 -1945
He came from an old Cossack family. The artist's father, D.F. Burliuk, an agronomist, served as a manager on large estates in the south of Russia; mother, L.I. Mikhnevich, was engaged in painting. First artistic skills received in gymnasiums in Sumy from A.K. Venig (1894) and in Tambov from P.P. Riznichenko (1895–1897). Studied at Kazakh University (1898–1899, 1901–1902) with G.A. Medvedev and K.L. Myufke; at the OSU (1899–1901, 1910–1911) with K.K. Kostandi, G.A. Ladyzhensky, A.A. Popov and L.D. Iorini, in Munich at the Royal Academy of Arts (1902) with Wilhelm von Dietz and in school of Anton Ashbe (1903–1904), in Paris in the studio of Fernand Cormon (1904). From 1911 – in the Moscow School of Painting and Painting with L.O. Pasternak and A.E. Arkhipov (expelled in 1914). Since 1905 he participated in exhibitions and published articles in the newspaper “Yug” (Kherson). In 1906 he took part in the activities of the Association of Kharkov Artists.
Burliuk stood at the origins of the avant-garde. After studying abroad the last word contemporary art considered impressionism (neo-impressionism), the principles of which he actively promoted; He called his first manifesto “The Voice of the Impressionist in Defense of the New Art” (1908). The new attitude to the pictorial form, which he demonstrated at the exhibitions of 1906–1907, was met with hostility (“disastrous fashion,” “wild techniques,” “some dots and circles”).
D.D. Burliuk. Woman with a mirror. Canvas, oil, velvet, lace, mirror glass. 37.8x57.5. RGOKHM
D.D.Burliuk. Portrait of the futurist song fighter Vasily Kamensky. 1916. Oil on canvas, bronze paint. 98×65.5. Tretyakov Gallery
D.D.Burliuk. Svyatoslav (Horseman). 1915–1916. Canvas, oil, plaster, wood, glass, tin, copper. 53.5×67. Tretyakov Gallery
Burliuk's role was especially great in consolidating creative quests and uniting innovative artists. At the exhibitions of 1906–1908 he performed together with his brother V.D. Burliuk and sister L.D. Burliuk. In the fall of 1907, having arrived in Moscow, he met M.F. Larionov, becoming close to him on the platform of neo-impressionism, opposed to the symbolism of the “Blue Rose”. At the end of 1907, he financed the “Stefanos” exhibition organized jointly with Larionov in Moscow, and in 1908, with A.A. Exter, he organized the “Link” exhibition in Kyiv. In the same 1908, together with his brothers, he came to St. Petersburg, where he became close to N.I. Kulbin and V.V. Kamensky, in 1909 - with E.G. Guro and M.V. Matyushin, around 1910 - with V.V. Khlebnikov. In the fall of 1910 in Odessa, he met V.V. Kandinsky and became a participant in his endeavors: exhibitions of the New Munich Art Society, the Blue Horseman society and the author of the almanac of the same name.
Around 1910, Burliuk waged a fight against criticism, accusing it of incompetence and bias, published a leaflet “On the “Artistic Letters” of Mr. A. Benois” (1910) and a brochure-pamphlet “The Noisy “Benois” and the New Russian National Art” ( M., 1913). Burliuk showed the need for avant-garde artists to independently develop theoretical issues. In the article “Wild in Russia” (“Blue Rider”, 1912), he tried to formulate the general principles of the new art: rejection of academic rules and reliance on “barbaric” traditions (art Ancient Egypt), free drawing, combination of angles, “law of coloristic dissonance”, etc.
Burliuk's painting around 1910 evolved to Fauvism, then to the original version of Futurism. In 1912, he undertook a trip to European countries (Germany, France, Switzerland, Italy), during which he mastered French Cubism and Italian Futurism, and upon his return he gave reports in Moscow and St. Petersburg that were scandalous in nature. He expressed his views in a shocking and playful manner, provoking a violent reaction from the public. Burliuk was the creator of the collective image-mask of the avant-garde (in the terminology of the 1910s - futurist), which differed from the image of the decadent not so much in the extravagance of appearance and behavior, but in its proximity to the “culture of laughter”.
Simultaneously with public appearances, Burliuk launched active literary and publishing activities. In 1910 he founded the first futurist literary group"Gilea"; wrote (together with Khlebnikov and V.V. Mayakovsky) and published the manifesto “A Slap in the Face of Public Taste” (M., 1913). Author of texts and illustrations in the poetry collections “Tank of Judges” (St. Petersburg, 1910) and “Tank of Judges II” (St. Petersburg, 1913); “Trebnik of Three” (Moscow, 1913); “Dead Moon” (M., 1913); “Roaring Parnassus” (M., 1913) and others. He published works by Khlebnikov, Mayakovsky, Kamensky and B.K. Livshits; in 1913–1914, with Mayakovsky and Kamensky, he toured the cities of Russia with lectures and poetry readings.
One of the organizers of the “Jack of Diamonds” society (1911), participant in the exhibitions of the same name in 1910–1917. Member of the Youth Union (since 1913) and participant in its exhibitions 1910–1914. In painting, Burliuk gradually gave way to representatives of more radical concepts. Throughout the 1910s, he combined work from life (landscape, portrait) with the creation of futuristic compositions (to which he often gave quasi-scientific “abstruse” names), experimented with texture, without abandoning the techniques of impressionism and traditional realism. All this, including interest in national historical subjects (“Svyatoslav”, “Cossack Mamai”. Both - 1916) and symbolism (“Late Angel of Peace”. 1917) gave former comrades a reason to accuse Burliuk of eclecticism.
In 1915, due to the need to support his family, he went to Bashkiria, where he was engaged in trading military fodder. Lived at Iglino station near Ufa. During a short stay in Moscow at the end of 1917 - beginning of 1918, he resumed futurist actions with Mayakovsky and Kamensky, then returned to the Ufa province, from there he went on a tour of Siberia and the Far East (1918–1919). He held exhibitions and lectures in Zlatoust, Miass, Yekaterinburg, Irkutsk, Troitsk, Omsk, Tomsk, Chita. In 1919–1920 he lived in Vladivostok, where he gathered around him representatives of left-wing art and literature. In August 1920, with V.N. Palmov, he sailed to Japan to show an exhibition of Russian artists. He painted paintings in the spirit of futurism (“Japanese Fisherman.” 1921), natural landscapes and genre scenes, and performed commissioned portraits.
In the fall of 1922, Burliuk and his family moved to the United States (he received citizenship in 1931). He lived in New York, collaborated with the Anonymous Society (Société Anonyme), and worked for the pro-communist newspaper Russian Voice (1923–1940). Together with his wife, M.N. Burliuk, he organized a publishing house (1924) and published the magazine “Color & Rhyme” (1930–1966). In 1941 he settled in Hampton Bays (Long Island) and founded the company of the same name art group(one of the members is Archil Gorky). Made many trips around America. In the 1950s–1960s he traveled through European countries, visited Australia and North Africa, visited the USSR twice (1956 and 1965).
Burliuk's work in the American period is heterogeneous. Throughout the 1920s, he sought to maintain the prestige of an avant-garde artist and created paintings with elements of futurism (The South Sea Fisherman; Workers, 1922), close to expressionism (Workers, 1924), sometimes using symbolism and monumental forms (“The Coming of the Mechanical Man.” 1926). He repeated compositions from the 1910s (“Landscape with a Bridge”, “Portrait of a Mother”, “Cossack Mamai”), created pointless works (“Collage”), putting false dates on them. In the mid-1920s, he proclaimed the discovery of “radio style” (“Hudson”, 1924). In the 1930s, echoes of surrealism (“Heads on the Shore”) appeared in his paintings. However, Burliuk's main products from the 1930s to the 1960s are overtly commercial in nature. In addition to full-scale portraits (mostly of Marusya’s wife) and still lifes, his legacy includes many landscape and genre compositions in a manner imitating naive painting, which he considered to most adequately convey American reality. Many works are dedicated to memories of Russia (rural motifs, animal painting), including historical figures (“Lenin and Tolstoy.” 1925–1930). Late painting Burliuk is distinguished by his flashy colors and closeness to kitsch. But his style is always recognizable, and the name “father of Russian futurism” remains in the history of the avant-garde.
Author of the books: Balding Tail (Kurgan, 1918); Marusya-san. Poems (New York, 1925); Radio Manifesto (New York, 1926); Climbing Mount Fuji (New York, 1926); The Tenth of October (New York, 1927); Russian Art in America (New York, 1928); Gorky (New York, 1929); Father of Russian Futurism (1929, New York); "Entelechism". Theory. Criticism. Poetry. Paintings (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); Associations of Kharkov artists (1906, 1906–1907, 1907); Society named after Leonardo da Vinci (1906. Moscow); TYURH (1906, 1907. Odessa); SRH (1906–1907); MTX (1907, 1912, 1918); TPHV (1907, 1908); “Link” (1908. Kyiv); “Stephanos” (1907–1908. Moscow); “Wreath-Stephanos” (1909. St. Petersburg); Salon of S.K. Makovsky (1909. St. Petersburg); “Wreath” (1909. Kherson); “Impressionists” (in the group “Wreath”; 1909–1910. Vilna-Petersburg); Salon of V.A. Izdebsky (1909–1910. Odessa–Kyiv–Petersburg–Riga); 7th exhibition of the Ekaterinoslav Scientific Society (1910. Ekaterinoslav); Regional South Russian (1910. Ekaterinoslav); “New Munich Art Society” (1910. Munich); Second Salon of Izdebsky (1911, Odessa–Nikolaev); "The Blue Rider" (1911–1912. Munich); “World of Art” (1911. Moscow; 1915, Petrograd); 2nd exhibition of the group “Ring” (1912. Kharkov); student MUZHVZ (1912–1914); modern painting(1912. Yekaterinburg); 1st exhibition of the artistic association (1912. St. Petersburg); "Moscow Salon" (1913); modern art (1913. St. Petersburg); First German Autumn Salon (1913. Berlin); Salon of Independents (1914. Paris); exhibitions in favor of the infirmary of artists (1914. Petrograd), “Exhibition of Painting 1915” (1915. Moscow); leftist currents (1915. Petrograd); modern Russian painting (1916. Petrograd); Association of Independents (1916. Petrograd); 7th exhibition of the “Free Creativity” society (1918. Moscow); The first exhibition of Russian artists in Japan (1920. Tokyo–Yokohama–Osaka); First Russian art exhibition (1922. Berlin); Russian painting and sculpture (1923. New York); international (1926. Philadelphia); International Art (1927. New York); the latest trends in art (1927. Leningrad); "Worker and peasant in pre-revolutionary and Soviet painting"(1930. Samara); group “Thirteen” (1931. Moscow); contemporary Russian art (1932. Philadelphia), in numerous exhibitions of contemporary art in America, as well as Paris, Munich, London, Prague.
Burliuk's lifetime personal exhibitions took place in Kherson (1907, together with V.D. and L.D. Burliuk), Samara (1917), New York (1924, 1924–1925, 1930, 1941, 1943–1944, 1945, 1946 –1947, 1947–1948, 1949, 1954, 1961, 1963, 1964, 1965), Philadelphia (1926), San Francisco (1932–1933); Washington (1939); in Cuba (1955), Long Island (1960), Nashville (1961), London (1966).
"True piece of art can be compared to a battery from which comes the energy of electrical suggestions."
David Burliuk
Portrait of a mother, 1906. Oil on canvas. Tretyakov Gallery
Still life with a bouquet and a book, 1910. Oil on canvas. State Museum Association Art culture Russian North
Landscape with a river, 1910s. Canvas, oil. Collection of Andrei Dzamashvili, Moscow
Blooming acacias, 1911-1912. Canvas, oil. Private collection, Moscow
Landscape with a pink house, 1910s. Canvas, oil. State Museum Association Artistic Culture of the Russian North
Noon on the Dnieper, 1910. Oil on canvas. Serpukhov historical- Art Museum
Blooming Garden, 1913. Oil on canvas. Collection of Andrey Sarabyanov, Moscow
Double-sided study, late 1900s. Paper, oil. Collection of Lyudmila Lisina, Moscow
Fragment
Rose bush, early 1910s. Oil on canvas, tempera. Collection of Peter Aven, Moscow
Oxen, 1908. Oil on canvas. Samara Regional Art Museum
Portrait of Maria Burliuk, 1957. Oil on plywood. Collection of Sergei Denisov, Tambov
Seated nude (Marusya). Canvas, oil.
Bouquet yellow flowers, 1918. Oil on canvas.
Wind. Canvas, oil.
Woman with a mirror. Oil on canvas, velvet, lace, mirror glass
Fragment with a mirror
Portrait of the futurist song fighter Vasily Kamensky, 1916. Tretyakov Gallery
Couple with a horse, mid-50s. Canvas, oil. ABA Gallery Collection, New York
David Burliuk admired folk art and was inspired by him when creating his own works.
Folk picture. Cossack Mamai. Plywood, oil. Collection of Andrey Sarabyanov, Moscow
Red Noon, 1915-1918. Canvas, oil
Cossack. Image from five points of view, 1912. Oil on canvas. Private collection, Moscow
Rainbow, 1916. Oil on canvas. Bashkir State Art Museum named after. M.V. Nesterova
Cossack Mamai, 1916. Oil on canvas. Bashkir State Art Museum named after. M.V. Nesterova
Non-objective composition with the letter F. Oil on canvas. ABA Gallery Collection, New York
Refugees in Ufa, 1916. Oil on canvas. State Museum stories Russian literature named after V.I. Dahl
Family portrait, 1916. Oil on canvas. State Museum of V.V. Mayakovsky
Reaper, 1915. Oil on canvas. Collection of Marina Kashuro and Valery Dudakov, Moscow
Japanese village, 1921-1922. Canvas, oil. Private collection
Rickshaw, 1923. Oil on canvas. ABA Gallery Collection, New York
Mason. Canvas, oil. Private collection, New York
Japanese fisherman, 1921. Oil on canvas. Collection of Maya and Anatoly Bekkerman, New York
Japanese man cutting tuna, 1922. Canvas, oil. Collection of Maya and Anatoly Bekkerman, New York
Peasant woman with a rooster, late 1920s. Wood, coins, carving, coloring. ABA Gallery Collection, New York
Workers, 1924. Oil on canvas. Collection of Maya and Anatoly Bekkerman, New York
Lake near Bear Mountain, 1924. Oil on canvas. ABA Gallery Collection, New York
David Davidovich Burliuk(1882-1967) was born on the Semirotovshchina farm, Kharkov province, into a Cossack family. The father, having sold the farm, worked as a manager in different estates, so the family often moved from place to place, and Burliuk had to study in gymnasiums in different cities: Sumy, Tambov, Tver.
From the age of ten he was interested in painting, studied at the Kazan and Odessa art schools, and at the Munich Royal Academy of Arts. Participated in art exhibitions in Russia and abroad.
In 1909-1910, young poets and artists united around Burliuk, rejecting the aesthetics of symbolism. They were looking for new ways to develop poetry and art. Later they would call themselves futurists. Burliuk’s meeting with Mayakovsky dates back to this time (since 1910, Burliuk, like Mayakovsky, studied at the Moscow art school painting and sculpture), who called him his “true teacher.”
Burliuk's energy, his organizational skills and initiative helped the formation and approval of a new poetic school. The collection “A Slap in the Face of Public Taste” (1912) proclaimed a manifesto in which there was a call to abandon classical traditions (it was proposed to “throw Pushkin, Dostoevsky, Tolstoy off the Steamship of Modernity”). Fierce attacks on the collection followed, which only increased the interest of the reading public in the new school.
During these same years, Burliuk gave public lectures and reports, promoting the principles of futurism in poetry and cubism in painting. In 1914, Burliuk and Mayakovsky were expelled from the school “for participating in public disputes.”
In 1918-1919 he went to Far East, gave lectures in the cities of Siberia, then gave lectures and organized exhibitions in Harbin. From 1920 Burliuk lived in Japan, and from 1922 - in the United States of America. He continued to engage in painting and literature, publishing the magazine "Color and Rhyme". In 1956 Burliuk came to Soviet Union. Died in the USA on January 15, 1967.
Materials used from the book: Russian writers and poets. Brief biographical dictionary. Moscow, 2000.
Burliuk David Davidovich was born in 1882 into a Cossack family. Little David was born in the Kharkov region, but since his father worked as a manager, the family often moved. School years David Burliuk spent time in the Tambov region, and in the Tver province, and in other places.
Unquestioned authority for juniors
There were six children in the family, but David stood out among them for his character. He was persistent, stubborn and had good organizational skills. David Burliuk was a real undeniable authority for his two younger brothers and three sisters. If from his father he inherited a strong physique, heroic shoulders and a strong character, then the mother instilled in her son a love of books, literature, painting and music.
Parents spared no expense on the education of their children. After graduation primary school(gymnasium) David Burliuk enters the then prestigious Odessa Art School (1898). A year later, his first sketches and paintings began to appear in print. Having moved to Munich to study in 1902, David Burliuk exhibited at local European exhibitions.
A born leader
After Bavaria, David studied in Paris and in 1910 returned to his homeland, entering the Moscow School. There they taught the basics of painting, sculpture and architecture. It was at this time that David Burliuk, whose biography is already replete with meetings with many great people, met with Mayakovsky. Thanks to his gift of believing in people and understanding their characters, David immediately notices a talented poet in the inconspicuous, half-starved boy.
Three years later, together with Mayakovsky, David Burliuk was expelled from the school. At that time he was actively involved in public speaking, meetings and debates on the topic of modern painting and poetry.
Thanks to his natural gift as a born leader, David gathers around him many like-minded people. He organizes the first futuristic center "Galeya", which brings together writers and artists. Burliuk becomes the recognized leader of the Russian avant-garde.
Multifaceted personality
As they say, a talented person is talented in many ways. Of course, David Burliuk, whose paintings were known all over the world at that time, was, first of all, a futurist artist. But at the same time, he was a talented decorator and worked in the theater. He took an active part in typographic work.
Thanks to his gift as an organizer, David organized many art exhibitions and collected a large number of With them he travels around the country, traveling through the Urals, Siberia and the Far East.
Futurism to the masses
With talented input, several futuristic collections are being published, in the creation of which, in addition to David Davidovich, Kruchenykh, Mayakovsky and Khlebnikov take part. Helping to get published young writers and for poets who support futuristic sentiments, Burliuk places great emphasis on communication with the people. He tries to organize as much and as often as possible literary meetings and evenings, explaining to his “brothers” in the workshop that this way the poem will quickly go to the masses. Burliuk travels independently educational institutions, giving lectures on the topics of futurism in poetry and painting. Together with Mayakovsky, he traveled to more than 28 cities, including Kazan, Tiflis, Chisinau, etc.
Arriving in new town, friends painted their faces and, like merry jesters, went around advertising their future performances. Their processions resembled a carnival, a comic march of parsleys and street barkers. This method of attracting the masses was invented, accordingly, by David Burliuk. And people followed him, his ideas, Mayakovsky’s poems and futurism, then not yet known to the general public.
It should be noted that the friends gathered not only ordinary listeners, but also quite high ranks. The program was chosen in such a way that it included Mayakovsky’s “scorching” poems, and calm, lyrical musical ballads, and humorous miniatures. The company tried to find the key to the soul of each listener, from an ordinary shoemaker to the governor general.
Moving abroad
In 1921, David Davidovich, having traveled throughout the Far East, organized exhibitions in Harbin. Six months later he moved to Japan for permanent residence. In addition to paintings and graphic sketches, at this time he wrote and published several poetry collections. There are even two prose books being published. Unfortunately, despite proposals to publish at least one line in home country Burliuk never had the chance.
After living a little over a year in Japan, David Davidovich moved to the United States of America. Here he is completely absorbed in the idea of developing and popularizing Russian painting: brochures with paintings are published, exhibitions of Russian artists are organized.
In the sixties in such major cities The United States, such as Washington, San Francisco, New York, Seattle, hosts a number of personal exhibitions of the artist.
Died famous artist, the great genius and founder of Russian futurism at the age of 85 in Southampton Hospital (New York).
The creative expansion of Russian futurists, which reached the peak of its activity at the beginning of the 20th century, did not bypass virtually any area of art, and it is unlikely that this avant-garde movement would have gained such wide popularity if David Davidovich Burliuk, a genius nugget from remote rural outback.
The “first futurist” of Russia was born on July 9 (21), 1882 in large family, which constantly changed its place of residence and, probably, that’s why Burliuk adhered to this “tradition” throughout his life, and the geography of his moves covered both the limits Russian Empire, and countries near and far abroad. At the time of David’s birth, the Burliuk family lived in the village of Semirotovshchina, Kharkov province (now Sumy region).
In Sumy, Tambov, and Tver - cities alternately chosen by the family for residence, David received a gymnasium education, and he studied painting in the Kazan art school(1898-99), then at the Odessa Art School (1899-1901, 1909-11), where he received a diploma.
In 1902, after an unsuccessful attempt to become a student at the Academy of Arts, Burliuk went to Munich to the Royal Academy of Arts, then attended the school of A. Ashbe, and in 1904. begins training in the workshop of F. Cormon in Paris.
The time Burliuk spent in Munich and Paris coincided with a period when the painting of key European cultural centers was undergoing a powerful transformation under the influence of new discoveries, and the “greedy” artist for everything new had the opportunity to become familiar with avant-garde movements “first hand.”
It seems young Russian art, “languished” in anticipation of an extraordinary personality capable of organizing and leading advanced art society, and Burliuk, who returned to Russia in 1907, was most suited to the role of such a “messiah.”
Studying at the Moscow School of Painting and Painting (1910-14) gave the artist a lot, both in terms of artistic education and acquaintance with the same progressive-minded talents - V. Mayakovsky, V. Khlebnikov, N. Guro; Among a complex group of bright individuals, his leadership and authority were absolute. Thanks to Burliuk’s direct participation, the association of painters “Jack of Diamonds” (1910) was created and became popular. The artists of this group did not perceive academicism and realism, focusing more on cubism and post-impressionism, and a little later they introduced elements of national color into these directions, combining them with folk art. Following its shocking “line”, the association was given an appropriate name – “Donkey’s Tail”.
Burliuk's thoughts on creative association, which would promote a new national art, led to the creation of the futurist group “Gilea” in 1908, but they officially heard about it in 1910. Subsequently, the members of the association began to be called Cubo-Futurists.
Promoting cubism in painting, Burliuk considered it his duty to convey the ideals of the new art to the outskirts of Russia, and in 1913-1914. a kind of “propaganda brigade”, which included V. Mayakovsky and V. Kamensky, visited 27 cities of the empire. Lecture activities cost the artist expulsion from the Moscow School of Painting and Painting.
In 1915, Burliuk’s new place of residence became the Ufa province, where he continued to engage in lecturing activities, while painting pictures, some of which critics classified as examples of Russian art.
After visiting Moscow in 1918, almost being shot by anarchists, the artist returned to Bashkiria, and from there he went on another tour of the cities of the Urals and Siberia; in 1920-1922 lives in Japan, where, in parallel with his creativity, he studies the art and customs of the East. Thanks to hard work (about 300 works were created), Burliuk received the financial opportunity to move to America, and from 1922 he became a resident of the New World, successfully assimilating into society and spending the rest of his days here.
In the USA the rhythm creative life Burliuk remains the same - painting, literature, exhibitions, publishing. The artist does not forget about his real homeland; his works participate in exhibitions of Soviet painters.
His advanced years did not affect Burliuk’s ability to work; in the 1960s he visited Australia, where his works were exhibited, after which he went to the Czech Republic and Italy.
In an effort to confirm his originality not only in his work, but also in life, or rather, after it, Burliuk bequeathed to cremate his body and scatter his ashes over the waters of the Atlantic, which was done after his death on January 15, 1967. The place of the artist’s death was the city. Hampton Bays, New York.
Paintings by artist David Burliuk.
