Many of these women had traveled or lived outside of Russia, where new ideas about equality were flourishing in international and cosmopolitan cities like Paris and Berlin. Artists including Natalia Goncharova, Lyubov Popova, Olga Rozanova, and Maria Siniakov occupied a remarkable and central role in the artistic movement. Some of the most influential and prolific Russian Futurists were women.They drew from a wide range of Russian "primitive" art forms - religious icons and woodcuts, ancient pagan sculpture, folk art and costumes - that they translated into increasingly pure color and abstract forms. Although they vehemently rejected the past, Russian Futurists celebrated traditional Russian heritage, including aspects of folk life and religion.These were general symbols of modernity, but also of a new Russia, leaping out of an agrarian past into an industrial and political revolution. They embraced (and inevitably romanticized) the signifiers of the "new": science, technology, invention, and speed.In their most famous manifesto, A Slap in the Face of Public Taste (1912), the Futurists announced "we alone are the face of our time," and asserted an "insurmountable hatred for the language existing before. Russian Futurism rejected conventional art methods, proposing a new visual and linguistic vocabulary for modern experience.These collaborations between poets and painters offer its most distinctive legacy, one that can be traced into mid-century sound poetry artworks and Conceptual art. Possibly because Russian Futurism first emerged as a predominantly literary movement, some of its most stunning and original works are experimental books. The events of World War I left many artists seeking a profound new meaning for their work and the Futurist vein soon developed into (or was superseded by) movements such as Suprematism and Constructivism. One of their most unusual elements was a latent archaism, or attachment to Russian traditions in spite of an otherwise overwhelming focus on new technologies and forms. Drawing on influences from the West and mingling these with their own Russian heritage, the Futurists celebrated new concepts in psychology, color theory, and linguistics. The individuals practicing as Futurists (whether self-identified or identified as such by critics and the press) shared a passion for exploring new modes of expression in poetry, visual art, music, and performance, while also shattering the distinctions between these mediums. Petersburg and in Moscow, publishing journals, organizing debates, and curating exhibitions of their work. Distinct collaborative groups of Russian Futurists formed in St.
As an ideological umbrella, Russian Futurism was intentionally flexible, accommodating diverse artists and practices during a period roughly dated from 1912 to 1916. The phenomenon that came to be known as Russian Futurism is not an easily defined movement and was entirely separate from Italian Futurism, which was founded in Milan in 1909.
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