David Burliuk addresses all the inhabitants of the United States.

"A Horse and an Ancient Tribesman" By DAVID BURLIUK

Property of the famous authority on art, Dr. Christian Brinton, who
has an excellent collection in his house built in a Russian style. (This
picture was made in 1925).

One horse has two heads. An example of decomposition of form-first,
a repetition. The style is picturesque and roughly archaic.

SCIENCE AND MYTH OF THE
PHILOSOPHER'S STONE.

Beginning with the dark ages up to the era
of steel and steam the evolution on life con-
structed in its different stages a mechanical
man. This development occured in the mus-
cles and bones of the human man and the
rougher mechanical elements of man until we
reached a purely physical mechanical man —
the industrial worker of the present, being
replaced by a purely mechanical construction.

Today — the beginning of the historical
radio era, we are witnessing the mechanization
of the human mind or of the mental qualities
of man. This is the beginning of the creation
of a mechanical mentality. The physical side
of philosophical. Speculation of the past is
now complete and the dream of the philo-
sopher's stone or the mechanization of the
human mind is a dream that is not far from
being materially manifested.

THERE IS A WHOLE LITERATURE ABOUT THE RADIO-FUTURIST DAVID BURLIUK, WELL-KNOWN ARTISTS AND JOURNALISTS HAVE WRITTEN ABOUT HIM IN DIFFERENT LANGUAGES.

Among the comments of the American critics it is worth to mention the witty article of Elsie McCormick ("The New York World") — the art articles of the "Ne. York Times and many other publications. Here are some of the comments on Davi¹ Burliuk:

VASSILY KAMENSKY ABOUT
DAVID BURLIUK.

"Rock-Port" By DAVID BURLIUK

"David Burliuk's name is of international fame like the sun in the skies"....

"The merits of David Burliuk before the new art are immortal."

Such is the opinion of the noted Russian poet Vassily Kamensky, the author of "Stenka Rahzin", who will shortly pay a visit to the U. S. A.

"Stenka Rahzin" is a play-legion in 8
pictures translated into English by Ver. O.
Williams.

Those who desire to publish this great play
in America or to produce it on the legitimate
stage or in the cinema are requested to apply
to David Burliuk (see the address at the be-
ginning of the manifesto).

Study from nature, painted in the summer of 1926 (Partial Unan-
nimism).

Radio-epoch and radio-style — is our present!! — asserts David Burliuk.

"Advent of the Mechanical Man" By DAVID BURLIUK

This picture, a fresco of our radio-epoch, is a result of two years work (1925, 1926). It was exhibited under the auspices of Miss Katherine S. Dreier in the Brooklyn Museum, Dec. 1926. at the exposition of the extremists.

On the left side there is motherhood — an atom with its nucleus and electrons; there is a load on it and a lead wire as a simplest foundation of life. A generation of workers at the centre of the canvas are creating scrapers. The red color of the bodies is a symbol of energy; the green worker — a symbol of simplicity (primitiveness). On the right of the scrapers there is a sun eclipse, from which the energy of its rays is radiating on the humanity. (The cross-flowing paint of the picture). The sun eclipse is a symbol of failure of the elementary sources of earthly life. On the right side the platine foot of the Mechanical Man has stepped on the brow of humanity. Below there are generations of men becoming dust; hand and heads; near the atom below — a dry head of a scientist, a sophist. The picture is made partly in a radio-style, invented by David Burliuk in 1926.

BURLIUK'S ART WEARS LAURELS, WHILE HE WEARS EARRINGS.
by PEYTON BOSWELL.

The fame of David Burliuk, a Russian artist, who has been several years in this country, depends not only on his paintings, which command attention with their assertive "modernism," but also on the fact that he is the wearer of a single earring of considerable length and a waistcoat of amazing pattern. He has not only been a conspicuous figure at all gatherings of modern artists because of this attire, but he has been immortalized in it by a very fine portrait by his fellowcountryman, Nicholai Fechin. Although the earring and waistcoat are fascinating, and no doubt excellent "publicity" in establishing his identity, even without them his paintings would be talked about.

The futuristic point of view, to which Burliuk
strictly adheres in a few of these pictures, has always
been difficult for the lay mind to grasp, and when
brilliant color is added the result is something which
every one is bound to notice. Futurism considers

motion where Cubism applies itself mainly to form.
The Futurist suggests motions by combining succeed-
ing aspects of his subject on his canvas. Burliuk's
Japanese wood-cutter seems to have a dozen arms, in
order to render the different phases of the up and
down stroke. When this sort of thing is modified, as
in the splendidly colorful painting of South Sea fisher-
man, now in Museum of Modern Art, (Societe' Ano-
nyme N. Y. C.), the result is more comprehensible,
and the idea suggests itself very forcibly that it is
not so important to suggest motion as it is to create
a homogeneous composition.

Some of Burliuk's paintings are almost purely re-
presentational. One of these was painted in a Siberian
railway coach and others were done in Japan. There
other of a red-roofed pagoda, and, slightly more abs-
is a colorful painting of a Japanese courtyard, an-
tract, of a cottage near Fuji, beatiful in its yellows
and browns. The Cubo-Futurist Burliuk is seen in

“A Horse and an Ancient Tribesman”

By DAVID BURLIUK

Property of the famous authority on art, Dr. Christian Brinton, who has an excellent collection in his house built in Russian style. (This picture was made in 1925).

Beginning with the dark ages up to the era of steel and steam the evolution on life constructed in its different stages a mechanical man. This development occured in the muscles and bones of the human man and the rougher mechanical elements of man until we reached a purely physical mechanical man — the industrial worker of the present, being replaced by a purely mechanical construction.

Today — the beginning of the historical radio era, we are witnessing the mechanization of the human mind or of the mental qualities of man. This is the beginning of the creation of a mechanical mentality. The physical side of philosophical. Speculation of the past is now complete and the dream of the philosopher's stone or the mechanization of the human mind is a dream that is not far from being materially manifested.

Among the comments of the American critics it is worth to mention the witty article of Elsie McCormick ("The New York World") — the art articles of the "New York Times and many other publications. Here are some of the comments on David Burliuk:

"Stenka Rahzin" is a play-legend in 8 pictures translated into English by Ver. O. Williams.

Those who desire to publish this great play in America or to produce it on the legitimate stage or in the cinema are requested to apply to David Burliuk (see the address at the beginning of the manifesto).

“Rock-Port”

By DAVID BURLIUK

Study from nature, painted in the summer of 1926 (Partial Unanimism).

“Advent of the Mechanical Man”

By DAVID BURLIUK

This picture, a fresco of our radio-epoch, is a result of two years work (1925, 1926). It was exhibited under the auspices of Miss Katherine S. Dreier in the Brooklyn Museum, Dec. 1926, at the exposition of the extremists.

On the left side there is motherhood — an atom with its nucleus and electrons; there is a load on it and a lead wire as a simplest foundation of life. A generation of workers at the centre of the canvass are erecting skyscrapers. The red color of the bodies is a symbol of energy; the green worker — a symbol of simplicity (primitiveness). On the right of the skyscrapers there is a sun eclipse, from which the energy of its rays is radiating on the humanity. (The cross-flowing paint of the picture). The sun eclipse is a symbol of failure of the elementary sources of earthly life. On the right side the platine foot of the Mechanical Man has stepped on the brow of humanity. Below there are generations of men becoming dust — hand and heads; near the atom below — a dry head of a scientist, a sophist. The picture is made partly in a radio-style, invented by David Burliuk in 1926.

motion where Cubism applies itself mainly to form. The Futurist suggests motions by combining succeeding aspects of his subject on his canvas. Burliuk's Japanese wood-cutter seems to have a dozen arms, in order to render the different phases of the up and down stroke. When this sort of thing is modified, as in the splendidly colorful painting of South Sea fisherman, now in Museum of Modern Art, (Societe' Anonyme N. Y. C.), the result is more comprehensible, and the idea suggests itself very forcibly that it is not so important to suggest motion as it is to create a homogeneous composition.

Some of Burliuk's paintings are almost purely representational. One of these was painted in a Siberian railway coach and others were done in Japan. There other of a red-roofed pagoda, and, slightly more abstract, a colorful painting of a Japanese courtyard, an-tract, of a cottage near Fuji, beatiful in its yellows and browns. The Cubo-Futurist Burliuk is seen in