page_title: Russian Futurism
section_title: Literature and Typography
hierarchical_section_title: Russian Futurism / Literature and Typography
context_page_description: 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 the modernization and cultural rejuvenation.
  Russian Futurism began roughly in the early 1910s; in 1912, a year after Ego-Futurism began, the literary group "Hylea" - also spelt "Guilée" and "Gylea" - issued the manifesto A Slap in the Face of Public Taste. The 1912 movement was originally called Cubo-Futurism, but this term is now used to refer to the style of art produced. Russian Futurism ended shortly after the Russian Revolution of 1917, after which former Russian Futurists either left the country, or participated in the new art movements.
  Notable Russian Futurists included Natalia Goncharova, Mikhail Larionov, David Burliuk, Kazimir Malevich, Vladimir Mayakovsky, and Velimir Khlebnikov.
context_section_description: 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 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 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 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.
caption: Cyclist (1913) by Natalia Goncharova. This painting is an example of how Russian Futurism affected her later works.
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