D Burliuk works. Brief biography of Burliuk. Personal publications of David Burliuk

David Davidovich Burlyu to (9 (21) July 1882 , Semirotovka village, Lebedinsky district Kharkov province (now Sumy region of Ukraine) - January 15, 1967, Hampton Bays, Long Island, New York, USA) - Russian poet, artist , one of the founders of the Russianfuturism.

Born on July 9 (21), 1882 in the family of a self-taught agronomist, David Davidovich Burliuk. In childhood brother accidentally lost his eye while playing with a toy gun. 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 with the Slovenian Anton Ashbe and in France, in Paris, at “L’ecole des beaux arts” by Cormon.

Returning to Russia, in 1907-1908 Burliuk became friends with left-wing artists and participated in art exhibitions. In 1911-1914 he studied together 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. 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.

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 and visited the Ufa art circle, 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 with 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 Burliuk and through friends distributed these publications mainly within the USSR. From 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 that existed at the end 1920s - early 1930s groups 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.

In 1962, Burliuk and his wife traveled around Australia and Italy, visited Prague, where his sister lived, and participated in exhibitions in Australia 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 relatives over the waters of the Atlantic from the ferry.

Wife - Burliuk (ur. Elenevskaya) Maria Nikiforovna (1894-1967) - memoirist, publisher.

Burliuk believed: “The true piece of art can be compared to a battery from which the energy of electrical suggestions comes. In each work it is noted as in theatrical action, a certain number of hours for admiring and looking at it. Many works contain reserves of esthete energy for long periods, like mountain lakes, from which great rivers of influences tirelessly flow, and the sources do not dry out. This is the work of N.K. Roerich.”

Burliuk's paintings and drawings are scattered all over the world in museums and private collections. Many of them are reproduced in his books or books about him. “The Father of Russian Futurism,” Burliuk took an active part in the performances of the futurists, being their theorist, poet, artist and critic. The shockingness and anti-aestheticism characteristic of futurism were most clearly manifested in his poems:

...The soul is a tavern, and the sky is trash,

Poetry is a worn-out girl,

And beauty is blasphemous rubbish...

...Stars are worms, drunk with fog...

...I like a pregnant man...

Mayakovsky recalled about him: “My real teacher, Burliuk made me a poet... He gave me 50 kopecks every day. To write without starving.” His memories of futurism and V. Mayakovsky are of great interest.

Proceedings

Poem "Tolstoy"
Poem "Gorky"
Book "Entelechism"
Monograph “Roerich. Life and art"
"Radio Manifesto"
Collection of poems “Burliuk D. 1/2 century” (1932).
Burliuk D. D. Noisy “Benois” and New Russian National Art (Conversation between Mr. Burliuk, Mr. Benois and Mr. Repin about art). St. Petersburg: Schmidt Printing House, 1913. 22 p.

On July 21, 1882, the poet and artist David Burliuk, one of the founders of Russian futurism, was born.

Private bussiness

David Davidovich Burliuk(1882 - 1967) was born on the Semirotovka farm in the Kharkov province, where his father worked as an agronomist. The family had six children. WITH early years the boy showed a penchant for painting. He studied at the Tambov, Tver and Sumy gymnasiums, then at the Kazan and Odessa art schools, then went abroad, where he studied at the Royal Academy in Munich and the School fine arts in Paris. Participated in art exhibitions.

Returning to Russia, in 1907-1908 he became friends with left-wing artists and participated in art exhibitions. He entered the Moscow School of Painting, Sculpture and Architecture, where he met Vladimir Mayakovsky.

In the 1910s, Burliuk became the leader of a group of artists and poets who were looking for new ways to develop art. Soon they chose a name for themselves - futurists.

On the estate of the Mordvinov counts in the village of Chernyanka in the Taurida province, where his father worked as a manager, David founded the colony “Gilea”, which included Velemir Khlebnikov, Vladimir Mayakovsky, Benedikt Livshits, Vasily Kamensky, Alexey Kruchenykh, Elena Guro.

"Gilea" published the almanacs: "A Slap in the Face of Public Taste", "Tank of Judges 2", "Trebnik of Three", "Three", "Dead Moon" (1913), "Milk of Mares", "Gag", "Roaring Parnassus", " The first magazine of Russian futurists" (1914), "Spring counterparty of muses", "Took" (1915). Burliuk and other “Gileans” took part in numerous literary debates, promoting left-wing art. These performances were remembered for the deliberate shocking effect of the audience. In 1914, Burliuk and Mayakovsky were expelled from the school “for participating in public disputes.”

During the First World War, Burliuk was not subject to conscription medical indications. He lived in Moscow, published poetry, contributed to newspapers, and painted pictures. In the spring of 1915, he left for the Ufa province to the Iglino station, where his wife’s estate was located. During the two years he spent there, he created about two hundred paintings.

Returning to Moscow after the revolution, David Burliuk miraculously escaped death during the pogroms. He again went to Ufa and further to Siberia and the Far East, where he gave lectures, organized exhibitions, and sold his paintings.

Burliuk traveled across the whole country - he visited Zlatoust, Ufa, Chelyabinsk, Yekaterinburg, Omsk, Tomsk, Irkutsk, Chita.

In October 1918, in Zlatoust, Burliuk published his first collection of poems, “The Balding Tail” - a small brochure, published in two thousand copies, quickly sold out, and in February 1919 its second edition was published in Kurgan.

David Burliuk's "Great Siberian Tour", which lasted for almost a year, still remains a blank spot in his literary biography. It is known that he gave lectures (“Futurism is the art of modernity”) and reading the works of his literary comrades, organized exhibitions of paintings and promoted new art in the provincial press. Despite difficult circumstances, he managed to publish in April 1919 in Tomsk the second “Newspaper of the Futurists”, with poems by Mayakovsky: Burliuk published the first “Newspaper of the Futurists” in Moscow in March 1918.

On June 25, 1919, Burliuk reached Vladivostok, where he met with S. Tretyakov who was there.

With the arrival of Burliuk, Vladivostok becomes the base of the united futurists of Siberia. Aseev wrote: “In the coming winter season, united futurists are expected to perform in concert, both in the literary field and by organizing art exhibitions, a futurist bookstore, lectures, performances, etc.”

After Vladivostok, Burliuk gave lectures and organized exhibitions in Harbin. From 1920 he lived in Japan, and from 1922 - in the USA. Wrote memoirs about Siberia 1918 - 1919 “Notes common man about very recent days" and published them in several issues of the New York newspaper "Russian Voice" in July 1923. He also wrote collections short prose“Across the Pacific” (New York, 1925) and “Oshima. Japanese Decameron" (1927), based on Japanese impressions. He continued to engage in painting and literature, publishing the magazine “Color and Rhyme”.

In New York he became close to a circle of proletarian writers in North America and took part in the release of the almanac “Captured by Skyscrapers” (1924). In the same year, the almanac “Subway Pipe” and the collection “Today of Russian Poetry” were published. In total, in the 1920s - 1930s, more than twenty books by Burliuk were published in the United States, which, as a rule, contained poems, drawings, theoretical articles, graphic poetry, excerpts from diaries and memoirs. The covers read “D. Burliuk. Poet, artist, lecturer. The Father of Russian Futurism." After the 1930s he worked mainly as an artist. In 1956 and 1965, Burliuk came to the Soviet Union.

What is he famous for?

David Burliuk. 1919

Now David Burliuk is best known not even for his own poetic and pictorial creativity, but for his defining and organizing role in Russian modernist art beginning of the 20th century. It was largely thanks to Burliuk - “a frantic agitator, debater, inventor, compiler of loud statements and manifestos” - that Russian futurism took shape as an independent movement. And the role of Burliuk in fate young poet Mayakovsky is absolutely huge.

What you need to know

Unfortunately, modern viewers little is known about the work of David Burliuk the artist, yet he owns many interesting landscapes, portraits, still lifes and genre paintings, graphic works. There are several paintings by Burliuk in Tretyakov Gallery, but the most interesting collection is in the Bashkir State Art Museum named after Nesterov.

Works created during the American period of David Burliuk's life are in private collection his granddaughter Mary Claire Burliuk.

Direct speech

“A true work of art can be compared to a battery from which comes the energy of electrical suggestions. In each work, like in a theatrical performance, a certain number of hours are marked for admiring and looking at it. Many works contain reserves of esthete energy for long periods of time.”

David Burliuk

“Burliuk appeared at the school. Looks arrogant. Lornetka. Frock coat. Walks around humming. I started to bully. Almost got into trouble. Noble meeting. Concert. Rachmaninov. Dead island. I was running away from unbearable melodic boredom. A minute later and Burliuk. They burst out laughing at each other. They went out to hang out together. Talk. From Rachmaninov’s boredom they switched to school boredom, from school boredom to all classical boredom. David has the anger of a master who has surpassed his contemporaries, I have the pathos of a socialist who knows the inevitability of the collapse of old things. Russian futurism was born. This afternoon I published a poem. Or rather, pieces. Bad. Not printed anywhere. Night. Sretensky Boulevard. I read lines to Burliuk. I add - this is one of my friends. David stopped. He examined me. He barked: “But you wrote it yourself! But you genius poet". The application of such a grandiose and undeserved epithet to me made me happy. I completely lost myself in poetry. That evening, quite unexpectedly, I became a poet. Already in the morning, Burliuk, introducing me to someone, boomed: “Don’t you know? My brilliant friend. The famous poet Mayakovsky." I push. But Burliuk is adamant. He also growled at me, walking away: "Now write. Otherwise you are putting me in a stupid position."

Vladimir Mayakovsky “I myself”

Everyone is young, young, young
There's a damn hunger in my stomach
So follow me...
Behind my back
I shout proudly
This short speech!
Let's eat grass stones
Sweetness bitterness and poison
Let's dig into the void
Depth and height
Birds, animals, monsters, fish,
Wind, clay, salt and swell!
Everyone is young, young, young
There's a damn hunger in my stomach
Everything we meet along the way
Maybe it can be used as food for us.

Artificial eye
covered himself with a lorgnette;
curved mouth in sarcasm
hummed,
it seemed like something polite;
but caustic
mockery
knew how to kill outright.

Nikolay Aseev

“One evening, when I was about to go to bed, Alexandra Exter suddenly knocked on my door. She wasn't alone. Following her, he burst into the room tall a heavy-set man in a wide, long-pile drape coat, according to the fashion of that time. The man who came in looked to be about thirty years old, but the excessive bagginess of his figure and what seemed like a deliberate clumsiness in his movements confused any idea of his age. Holding out a disproportionately small hand to me with too much short fingers, he called himself: - David Burliuk. By bringing him to me, Exter fulfilled not only my long-standing desire, but also her own: to bring me closer to a group of her comrades who occupied with her the extreme left flank in the already three-year struggle against the academic canon.”

Benedict Livshits "The One and a Half Eyed Sagittarius"

“Two years ago, American tourists came to Moscow - David Burliuk and his wife. Burliuk paints in America, earns decent money, has become respectable and handsome; there is no lorgnette, no "pregnant man". Futurism now seems to me much more ancient than Ancient Greece.”

Ilya Erenburg “People, years, life”

11 facts about David Burliuk

One of David Burliuk's brothers, Vladimir, and sister Lyudmila became artists, another brother, Nikolai, became a poet.
As a child, David Burliuk accidentally lost his eye while playing. Later, the monocle with a glass eye became an element of his futurist style.
In Munich, one of David Burliuk's teachers was the outstanding Austro-Hungarian artist of Slovenian origin Anton Azbe. He called Burliuk “an amazing wild steppe horse.”
The poem “Every Young is Young is Young” is a free translation of the poem “Feast of Hunger” (“Fetes de la faim”) by the French symbolist poet Jean-Arthur Rimbaud. This is indicated by the title “I. A.R.,” which means “from Arthur Rimbaud.”
David Burliuk was first called “the father of Russian futurism” by Wassily Kandinsky.
The second personal collection of poems by David Burliuk was published in Japan in 1921 and was called “Climbing Mount Fuji-san.”
After the earthquake that occurred in 1923, which almost completely destroyed Tokyo and Yokohama, Burliuk organized a charity exhibition and sale of his works in New York to raise funds to help the victims.
Burliuk met and accompanied Mayakovsky and Yesenin, who came to the United States in the mid-1920s, on trips around the country.
It was Burliuk who introduced Vladimir Mayakovsky to the Russian emigrant Ellie Jones (née Siebert), who became the mother of Mayakovsky’s only child, Patricia.
During World War II, Burliuk created great job"Children of Stalingrad" (1944), which is sometimes called Burliuk's "Guernica".
Russian poets who continue the traditions of futurism, and researchers (regardless of nationality) studying the Russian avant-garde, are awarded an annual prize - the International Mark in honor of the father of Russian futurism, David Burliuk.

Materials about David Burliuk

Russian poet and artist, one of the founders of Russian futurism. Brother of Vladimir and Nikolai Burlyukov. Born in 1882, Semirotovshchina farmstead, Lebedinsky district, Kharkov province.
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. He studied painting in Kazan art school(1898-99), then at the Odessa Art School (1899-1901, 1909-11), where he received a diploma.

In 1902, after 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 the period when painting of key European centers culture experienced a powerful transformation under the influence of new discoveries, and the “greedy” artist for everything new had the opportunity “first hand” to become familiar with avant-garde movements.

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 progressively thinking 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 into these directions national color, combining them with folk art.

Following its shocking “line”, the association was given an appropriate name - “Donkey’s Tail”.

Burliuk's thoughts on a creative association that would promote new things 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.

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 activity. 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.

Burliuk's artistic evolution took him from post-impressionism (1900-01; which he called impressionism) to neo-primitivism (early 1910s, influenced by Mikhail Larionov), a style in which he created some of his best paintings.

Burliuk David Davidovich - poet, artist, one of the founders of Russian futurism, theorist and promoter of new art.

David Burliuk was born in 1882 in the Semirotovshchina farmstead, Kharkov province, in the family of a landowner estate manager. His brothers Vladimir and Nikolai and sister Lyudmila later also took part in the futurist movement. In 1894-98, David studied at Sumy, Tambov and Tver gymnasiums. While studying at the Tambov gymnasium, he met the artist Konstantinov and soon decided to become a professional artist. He studied at the Kazan (1898-1999) and Odessa (1999-1900, 1910-1911) art schools. In 1902, after an unsuccessful attempt to enter the Academy of Arts, he left for Munich. Studied at the Royal Academy of Munich (1902-1903), at Cormon's studio in Paris (1904), at the Moscow School of Painting and Painting (1911-1914). Since 1908, actively involved in modern artistic life and soon becomes one of the leaders of the literary and artistic avant-garde. Participates in most of the first exhibitions of "new art" ("Link", "Wreath-Stefanos" and "Jack of Diamonds"). In 1908 he published his first declaration, “The Voice of the Impressionist in Defense of Painting.” The estate of Count Mordvinov Chernyanka, where his father worked in the 1900-1910s, became a kind of “headquarters” for young innovators. IN different time Larionov, Khlebnikov, Lifshits, Lentulov and other representatives visited there avant-garde art. It was there that the idea of creating an independent literary and artistic group, focused on creating a new national art, first arose. By 1910, a circle of like-minded people with an original philosophical and aesthetic program was emerging - D. Burliuk, V. Kamensky, M. Matyushin, E. Guro - to whom Khlebnikov gave the name “Budetlyan”. Having met V. Mayakovsky and B. Lifshitz in 1911, David Burliuk creates a new literary association- "Gilea". In 1912, together with Mayakovsky, Kruchenykh and Khlebnikov, he published a programmatic manifesto of futurism, “A Slap in the Face of Public Taste.” Possessing rare organizational skills, David Burliuk quickly accumulates the main forces of futurism. With his direct participation, poetry collections are published, brochures are published, exhibitions are organized and debates are held. For contemporaries, the name of David Burliuk begins to be associated with the most radical speeches of the futurists. In 1913-1914, he organized the famous futurist tour of Russian cities, giving lectures, reading poems and proclamations. As an author and illustrator, he takes part in the publication of futurist books ("Roaring Parnassus", "Trebnik of Three", "Dead Moon", "Collection of the Only Futurists in the World"), and in 1914 - editor of the "First Futurist Magazine". In 1918 he became one of the publishers of the Futurist Newspaper. Member of many literary and artistic associations ("Blue Rider", "Youth Union", "Gilea", "Jack of Diamonds", "Society Fine Arts"). During civil war ends up in Bashkiria, and then in Siberia and the Far East, where he continues to promote futurism. In 1920 he emigrated to Japan. Two years later he moved to the United States, where, together with his wife, he organized a publishing house, under whose brand he published prose, poetry, journalism and memoirs. In the 1920s he worked for the newspaper "Russian Voice" and was a member of literary group"Hammer and sickle". In 1930 he published theoretical work"Entelechism" began publishing the magazine "Color and Rhyme" in the same year. Every year he participates in exhibitions and is engaged in photography. In the 1950s, he opened his own gallery in Hampton Bays, Long Island. Died in 1967 in Long Island (USA).

Exhibitions:

Exhibition in favor of the hungry. Kharkov, 1905

Exhibition of the Union of Russian Artists. St. Petersburg, 1906-1907

17th Exhibition TYURH. Odessa, 1906

18th Exhibition of TYURH, Odessa, 1907

35th Exhibition of the Association of Mobile art exhibitions. Moscow, 1907

Spring exhibition at the Academy of Arts. St. Petersburg, 1907

Stefanos. Moscow, 1907/1908

15th MTX Exhibition. Moscow, 1908

Link. Kyiv, 1908

36th Exhibition of the Association of Traveling Art Exhibitions. Moscow, 1908

Exhibition of modern trends in art. St. Petersburg, 1908

Salon of the Golden Fleece. St. Petersburg, 1909

Salon of S. Makovsky. St. Petersburg, 1909

Impressionists. St. Petersburg, 1909

Impressionists. Vilna (Vilnius), 1909

Wreath-Stephanos. St. Petersburg, 1909

Salons of V. Izdebsky. Odessa, Kyiv, St. Petersburg, Riga 1909-1910

Triangle - Wreath-Stephanos. St. Petersburg, 1910

Youth Union. St. Petersburg, 1910-1913; Riga 1910.

Jack of Diamonds. Moscow, 1910, 1912, 1913, 1916, 1918

Exhibition of the new art society. Munich, 1910

Der Blaue Reiter (The Blue Rider). Munich, 1911, 1912

Salon of P. Kasirer. Berlin, 1911

Exhibition Triangle. St. Petersburg, 1912

Exhibition of paintings by the Artistic Association. St. Petersburg, 1912

15th MTX Exhibition. Moscow, 1912

Contemporary painting. Ekaterinburg, 1912

Exhibition of the Society of Artists Moscow Salon. Moscow, 1913

3rd exhibition Free creativity. Moscow, 1913

35th anniversary exhibition of students of the Moscow School of Art and Culture. Moscow, 1913

The first German autumn salon. Gallery Sturm (Der Sturm). Berlin, 1913

Salon of Independents. Paris, 1914

Exhibition Artists to fellow warriors. Moscow, 1914

Exhibition of paintings of leftist movements. Petrograd, 1915

Exhibition of paintings. Moscow, 1915

World of Art. Petrograd, 1915

Exhibition of contemporary Russian painting. Petrograd, 1916

Exhibition of paintings by David Burliuk. Ufa, 1916

Exhibition of paintings from the Ufa art circle. Ufa, 1916

Personal exhibition of David Burliuk. Samara, 1917

1st exhibition of paintings by the Moscow Art Circle. Moscow, 1918

24th exhibition of paintings by MTH. Moscow, 1918

7th exhibition of paintings Free creativity. Moscow, 1918

Exhibition of Petrograd and Moscow artists. Chita, 1919

The first exhibition of Russian artists in Japan. Tokyo, 1920

Personal exhibition. Osaka, 1921; Nagoya 1921; Tokyo, 1921

The first exhibition of Russian art. Berlin, 1922

Solo exhibition at the New York Arts Center. New York, 1923

Exhibition of Russian art at the Brooklyn Museum. New York, 1923

International exhibition. Philadelphia, 1926

Exhibition of new art at the Brooklyn Museum. New York, 1927/1928

Exhibition of the group "13" and the John Reed Club. Moscow, 1931

(the list of exhibitions after 1920 is not given in full)

Personal publications of David Burliuk:

Leaflet. Regarding "Artistic Letters" by A. Benois. 1910

Noisy "Benois" and new Russian national art. St. Petersburg, 1913

Explanations for the paintings of David Burliuk. Catalog of personal exhibition of paintings. fa, 1916

D.D. Burliuk. Catalog of the exhibition of paintings. Samara, 1917

Balding tail. Kurgan, 1919

Burliuk shakes hands with the Wulforth Building (on the occasion of the 25th anniversary of artistic and literary activity). New York, 1924

Marusya-san. New York, 1925

Climbing Mount Fuji. New York, 1926

A sea story. New York, 1927

Along the Pacific Ocean. From life modern Japan. New York, 1927

Oshima. Japanese Decameron. New York, 1927

Tenth October. New York, 1928

Tolstoy. Bitter. New York, 1929

Entelechism. 20 years of futurism. New York, 1930

1/2 century. New York, 1932

Books and poetry collections with the participation of David Burliuk:

Impressionist studio. St. Petersburg, 1910

Zadok of Judges. St. Petersburg, 1910

A slap in the face to public taste. Moscow, 1912

Die Wilden Russlands // Der Blaue Reiter. Munich, 1912

Zadok of Judges 2. St. Petersburg, 1913

Youth Union. No. 3. St. Petersburg, 1913

Breviary of three. Moscow, 1913

Dead moon. Moscow, 1913

Gag. Kherson, 1913

V. Khlebnikov. Roar! Gloves 1908-1914. St. Petersburg, 1913 (illustrations by D. Burliuk)

A slap in the face to public taste. Leaflet. 1913.

Mares' milk. Kherson, 1914

Roaring Parnassus. St. Petersburg, 1914

The first magazine of Russian futurists, No. 1-2. Moscow, 1914

Dead moon. (second edition). Moscow, 1914

V. Khlebnikov. Collection of poems 1907-1914. St. Petersburg, 1914 (illustrations by D. Burliuk)

V. Kamensky. Tango with cows. Reinforced concrete poems. Moscow, 1914 (illustrations by D. Burliuk)

V. Mayakovsky. Tragedy Vladimir Mayakovsky. Moscow, 1914 (illustrations by D. Burliuk)

Certificates and declarations of Russian futurists. St. Petersburg, 1914

Spring counterparty of muses. Moscow, 1915

I took it. Futurist drum. Petrograd, 1915

Sagittarius 1. Petrograd, 1915

Four birds. Moscow, 1916

Moscow masters. Moscow, 1916

Sagittarius 2. Petrograd. 1916

Futurist newspaper. Moscow, 1918

Captured by skyscrapers. New York, 1924

Subway pipe. New York, 1924

Red Arrow. New York, 1932

Articles by D. Burliuk in periodicals: Handicraft art // Moscow newspaper, February 25, 1913

About Max Linder // Kine-magazine, 1915, No. 1-2

Interesting meetings// Lel, 1919, No. 5-6

Memoirs of Burliuk // Creativity (Vladivostok), No. 1, 1920

From the laboratory to the street (the evolution of futurism) // Creativity (Vladivostok), No. 2, 1920

Vladimir Mayakovsky. // Creativity (Vladivostok), No. 11, 1920

Literature and art in Siberia and on Far East 1919-1922 // New Russian book, No. 2. New York, 1924

Rules of the game // "Kitovras", No. 2, New York, 1924

Revelations in simplicity, colors and lines // Kitovras, No. 3, New York, 1924

Color and Rhyme. N-Y., No. 1 - 60, 1930-1966

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 a large family that 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 at the Kazan Art School (1898-99), then at the Odessa Art School (1899-1901, 1909-11), where he received his 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 about a creative association that 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.

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 of Burliuk’s creative life 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.

Paintings by artist David Burliuk.