(the cult of the future and discrimination of the past along with the present). Cubism originated in France (Picasso and Braque), futurism - in Italy (Italian poet Filippo Marinetti), and cubo-futurism was most developed in Russia, and here it was especially popular both in painting and poetry. Cubo-futurism had other names: New aesthetics, Russian Cubism. Cubo-futurism lasted only a few years - from 1911 to 1916. and was eclectic (a combination of dissimilar, internally unrelated and, possibly, incompatible views, ideas, concepts, styles). Cubo-futurism became, as it were, a transitional stage to the largest directions created by the Russian avant-garde - the Suprematism of K. Malevich, the constructivism of V. Tatlin, the analytical art of P. Filonov, etc. on new and new paths.
Cubo-futurism in painting
The artists K. Malevich, D. Burliuk, N. Goncharova, O. Rozanova, L. Popova, N. Udaltsova, A. Exter, A. Bogomazov and others worked in the style of cubo-futurism in different periods of their creativity. We will tell you about some of them. in articles on the relevant directions in painting.
In 1910 in Moscow on Vozdvizhenka, in the house of the Economic Society of Officers, the exhibition "Jack of Diamonds" was held, which gave the name to the artistic association. The exhibition enjoyed great interest from the public, but the press caused a mixed reaction: many cartoons, feuilletons and caustic reports about the exhibition appeared.
Mikhail Larionov "Portrait of Natalia Goncharova" (1907)
The art association "Jack of Diamonds" included artists R. Falk, A. Lentulov, I. Mashkov, A. Kuprin, P. Konchalovsky, N. Goncharova, M. Larionov, V. and D. Burliuki, N. Kulbin, K. Malevich and others.
The name of the association was invented by M. Larionov as opposed to the main artistic trends of the early XX century. - modernity and symbolism. It seemed to the members of the new association that the excessive aestheticism and meaningfulness of modernity and symbolism did not correspond to their artistic style. And what was the peculiarity of the creativity of the "Jack of Diamonds" association? In their manner, cubism, fauvism and the traditions of Russian folk art were combined, and above all - popular print, in which it was possible to convey the three-dimensional forms on a plane with the help of color. Members of "Jack of Diamonds" believed that their work was intended not for sophisticated connoisseurs of art, but for everyone. Therefore, their still lifes were simple, like signs in grocery stores, portraits, landscapes, and everyday scenes were the same.
K. Malevich "Cleaning the Rye"
At the exhibitions of "Jack of Diamonds" were exhibited not only the works of the members of the association, but also V. Kandinsky and A. Yawlensky who lived in Munich, foreign artists J. Braque, A. Derain, A. Matisse, P. Picasso, A. Rousseau, P. Signac and others.
The Jack of Diamonds undoubtedly brought together very talented and unique artists. In the future, each of them went their own way, forming their own directions and approving their unique principles of creativity. For example, M. Larionov developed the theory of rayonism, V. Kandinsky - abstractionism, K. Malevich - suprematism. There were other, less well-known concepts. The Jack of Diamonds ceased to exist in 1917.
But already in 1911, some of the members of the association (Goncharova, Larionov, Malevich, etc.) organized an independent association "Donkey's Tail", which existed for about 2 years. Members of "Donkey's Tail" tried to combine in their work all the modern achievements of painting with Russian folk art: popular prints, icon painting, primitivism.
D. Burliuk "In the Church" (1922)
In March-April 1913 in Moscow, in the Art Salon on Bolshaya Dmitrovka, a large exhibition "Target" was held, which was organized by M. Larionov. The exhibition featured works by N. Goncharova, M. Larionov, M. Le-Danteu, K. Malevich, M. Chagall, A. Shevchenko and others. The paintings of self-taught artists were also exhibited, including N. Pirosmanishvili, for whom this the exhibition was the only one during his lifetime, children's drawings, signs, works of unknown primitivist artists. The programmatic provisions of the group were formulated by M. Larionov: “... Recognition of all styles that were before us and are created now, such as: cubism, futurism, orpheism; proclaim all sorts of combinations and mixes of styles. We have created our own style "rayonism", which means spatial forms<...> We strive for the East and pay attention to national art<...> We protest against the slavish subordination to the West, which returns us our own and eastern forms in a vulgarized form and levels everything ... ". This exhibition presented the first painting in the spirit of K. Malevich's cubo-futurism - a semi-abstract composition depicting geometric shapes close to the “machine” rhythm (cylinders, cones, etc.).
Painting by K. Malevich
The art of cubo-futurists was most fully presented at two avant-garde exhibitions: "Tram B" in February 1915 and "0.10", held in December 1915-January 1916, where Malevich first exhibited paintings in the spirit of Suprematism.
K. Malevich "Morning after a thunderstorm"
The artists actively collaborated with the futurist poets from the Gilea group (A. Kruchenykh, V. Khlebnikov, E. Guro), took from them many innovative artistic and aesthetic ideas, for which they received the nickname “abstruse realists”. Sometimes their pictures were absurd and illogical, but K. Malevich considered this a specific feature of Russian Cubism, arguing that "logic always put an obstacle to new subconscious movements and, in order to get rid of prejudices, a course of alogism was put forward."
K. Malevich "Musician"
D. Burliuk "The arrival of spring and summer" (1914)
Thus, Cubo-Futurism in painting can be considered the predecessor of Dadaism and Surrealism.
Contemporary artists also paint in the Cubo-Futurist style.
V. Krotkov "Portrait of V. Mayakovsky" (2012)
Cubo-futurism in literature
The first Russian futurist group was the Budelyane group, which later became the Cubo-Futurist movement.
The term was formed from the word "will" by Velimir Khlebnikov. Initially, this term emphasized the originality of Russian futurism, which did not completely repeat the position of Filippo Marinetti, the ideologist of European futurism. The Will-domination considered itself an independent phenomenon dictated by the times.
Poets Velimir Khlebnikov, David Burliuk, Vasily Kamensky, Vladimir Mayakovsky, Alexei Kruchenykh, as well as artists Nikolai Kulbin, Kazimir Malevich; composers Mikhail Matyushin, Arthur Lurie.
Benedict Livshits
In the summer of 1910, the Budetans, led by David Burliuk, began to call themselves the "Gileya" group; this name of the Russian literary and artistic group of cubo-futurists was proposed by the poet Benedict Livshits.
David Burliuk
The Gilea group was the loudest of all the futuristic groups. It had its own publishing house "EUY", its representatives participated in many literary disputes, promoting the left art. The group published almanacs: in 1913, "A Slap in the Face to Public Taste", "Sadok of Judges 2", "Trebnik of Three", "Three", "Dead Moon"; in 1914 "Milk of mares", "Zatychka", "Roaring Parnassus", "The first magazine of Russian futurists"; in 1915 "Spring contracting agency of muses", "I took".
Elena Guro
The cubo-futurist poets included Velimir Khlebnikov, Elena Guro, David and Nikolai Burliuki, Vasily Kamensky, Vladimir Mayakovsky, Alexey Kruchenykh, Benedict Livshits. Many of them also worked as artists.
D. Burliuk "Portrait of the poet-futurist Vasily Kamensky" (1917)
Creativity "Gilea" was in many ways close to the artists "Jack of Diamonds", "Donkey's Tail", "Target". "Gilea" together with the union of artists "Union of Youth" organized the "Budetlyanin" theater, where they staged the tragedy "Vladimir Mayakovsky" with the author in the lead role (artists P. Filonov and O. Rozanova) and A. Kruchenykh's opera "Victory over the Sun" ( artist K. Malevich, music by M. Matyushin).
Members of the literary and artistic group "Gilea" were distinguished by their defiant behavior and appearance. Here you can recall Mayakovsky's famous yellow blouse, bundles of radishes and wooden spoons in buttonholes, painted faces, shocking antics during performances. Their manifestos caused a scandal, and with literary opponents, they were harsh and irreconcilable.
V. Mayakovsky
Particularly deliberately scandalous was the title "Slap in the face of public taste." It sounded calls to “throw off Pushkin, Dostoevsky, Tolstoy, etc., and so on. from the steamer of our time ”. But at the same time, this manifesto expressed ideas about ways of further development of art. In some ways, their bravado was purely external, because Khlebnikov explained the phrase about Pushkin as follows: "Budetlyanin is Pushkin in the coverage of the World War, in the cloak of the new century, teaching the right of the century to laugh at Pushkin of the 19th century."
But the publication of "Slap" was perceived by the public mostly negatively, as a fact of immorality and bad taste.
M. Larionov "Portrait of V. Khlebnikov"
V. Khlebnikov was actively involved in revolutionary transformations in the field of the Russian language. He wrote: “To find, without breaking the circle of roots, the magic stone of the transformation of all Slavic words into one another, to freely melt Slavic words - this is my first attitude to the word. This is a self-proclaimed word outside of everyday life and life benefits. Seeing that the roots are only ghosts, behind which are the strings of the alphabet, to find the unity of the world languages \u200b\u200bin general, built from the units of the alphabet, is my second attitude to the word. "
Khlebnikov strove to expand the boundaries of the language and its possibilities, worked on the creation of new words. According to his theory, the word loses its semantic meaning, acquiring a subjective coloration: "We understand vowels as time and space (the nature of aspiration), consonants - paint, sound, smell." Some poets produced new words from old roots (Khlebnikov, Kamensky, Gnedov), others split them with rhyme (Mayakovsky), while others, using a poetic rhythm, gave words the wrong stress (Kruchenykh). All this led to the depoethisation of the language.
After syntactic shifts, semantic shifts began to emerge. This was manifested in a deliberate inconsistency of phrases, in the replacement of a word necessary in meaning with an opposite in meaning.
V. Khlebnikov "Grasshopper"
Winging with gold writing
The thinnest lived
The grasshopper put the belly in the back
There are many coastal herbs and verses.
"Pin, pin, pin!" - rattled the zinziver.
Oh, swan!
Oh light up!
Futurists used figurative construction of verse, where they actively used the methods of rhyming not the final, but the initial words, as well as internal rhymes or the way the lines were arranged in a "ladder". Sometimes this construction of words reached the point of absurdity. They attached particular importance to word-creation, "self-made word". In the program article "The Word As Such" abstruse lines were given:
Hole bul schyl ubeshur
skum you so boo
rl ez
Their author, A. Kruchenykh, argued that "in this five verses there is more Russian nationality than in all of Pushkin's poetry." There was a surge in word-creation, which led to the creation of the theory of "abstruse language" - zaumi.
Zaum was one of the basic creative principles of Russian cubo-futurism. In the "Declaration of an abstruse language" V. Khlebnikov, G. Petnikov and A. Kruchenykh defined the essence of zaum as follows: “Thought and speech do not keep pace with the experience of the inspired, therefore the artist is free to express himself not only in a common language ... but also in personal language ... and language that has no definite meaning (not frozen), abstruse. A common language binds, free - allows you to express yourself more fully. Zaum awakens and gives freedom to creative imagination, without offending it with anything specific. "
Futurists have created a number of neologisms that still did not enter the living spoken language. Khlebnikov created 400 new words from the base of the verb "to love", but none of them entered into poetic use.
And here is his poem "The Curse of Laughter":
Oh, laugh, laughing people!
Oh, laugh, laughing people!
That laugh with laughter, that laugh with laughter,
Oh, laugh with a laugh!
Oh, ridiculous laughter - laughter of ridiculous laughter!
Oh, laugh with a laugh, laugh of the insolent laughing!
Smeyevo, smeyevo,
Laugh, laugh, laugh, laugh,
Laughing ones, laughing ones.
Oh, laugh, laughing people!
Oh, laugh, laughing people!
In 1914 the First World War broke out and the Gilea group ceased to exist as a single group. Its members went each their own way. Many futurists left Moscow and Petrograd, hiding from the draft, or, on the contrary, getting to the front. Interest in futurism began to wane. But now we can say with confidence that this art has stood the test of time.
The already mentioned group "Gilea" is of the greatest interest. - the first futuristic group. In the 1910s of the last century, the popularity of the "Gileians" really exceeded the rest of the representatives of this literary movement. Perhaps because their work was most consistent with the canons of the avant-garde. They also called themselves "Cubo-Futurists" or "Budlyans" (this name was proposed by Khlebnikov). The year of its foundation is considered to be 1908, although the main structure was formed in 1909-1910.
Members of the Gilea were Velimir Khlebnikov, Alexey Kruchenykh, Vladimir Mayakovsky, David Burliuk, Vasily Kamensky, and Benedict Livshits, as well as avant-garde artists Elena Guro, Mikhail Larionov, Natalia Goncharova Vladimir and David Burliuki, Kazemir Malevich, Wassily Kandinsky. Many "rechet-creators" were part-time artists, many avant-garde artists, for example Kandinsky, Malevich, Filonov, wrote poetry. The first collection of the group that still bore the name "Budelyane", as well as the first futuristic edition in Russia: "The Trap of Judges" was published (" took off", According to Kruchenykh) in 1910 with a circulation of 300 copies. The text of the collection is printed on the back of the wallpaper, 9 sheets contain illustrations by V. Burliuk.
Cage of Judges. [Issue I]. 9 drawings fecit (Latin he performed) by Vladimir Burliuk.
[SPb. Kügelgen & Co. 1910]. 131 s. The circulation is 300 copies. 12.2х11.8 cm. Works by Vasily Kamensky, E. Nizen, N. Burliuk, E. Guro, S. Myasoedov, D. Burliuk and V. Khlebnikov are on display. The collection is printed on the reverse side of colored wallpapers of several varieties. Text on one side of the sheet. 9 sheets of illustrations by Vladimir Burliuk. In a colored editorial cover made of wallpaper with a printed sticker "Judges' Trap". According to the initiator of the collection, some of the copies of the edition were not bought by the authors from the printing house and, in all likelihood, was destroyed. [informationRARUS'S GALLERY]
In December 1912, the Gilea group released the collection Slap in the Face to Public Taste (circulation: 600 copies). It was this collection that succeeded in achieving what the publishers of The Caddy of Judges hoped for - to attract everyone's attention. After its publication, it caused a real wave of reviews in the press.
The group's manifesto, written by Alexander Kruchenykh and signed by D. Burliuk, Mayakovsky and Khlebnikov, read:
“Only we are the face of our Time. The horn of time trumpets us in verbal art.
The past is tight. The Academy and Pushkin are more incomprehensible than hieroglyphs. Throw Pushkin, Dostoevsky, Tolstoy and so on. and so on. from the steamer of Modernity.
Whoever does not forget his first love will not know the last. " [Quoted. by: 4]
The publication of "Slap" was perceived by the public mostly negatively, as a fact of immorality and bad taste. But the cubo-futurists believed that the publication of this book officially approved futurism in Russia (although the word “futurism” itself was never mentioned in the text).
A slap in the face to public taste. In defense of free art. Poems. Prose. Articles. D. Burliuk, N. Burliuk, A. Kruchenykh, V. Kandinsky, B. Livshits, V. Mayakovsky, V. Khlebnikov.
Moscow: Publishing house. G.L. Kuzmina,. Typo-lithography etc. "I. Dankin and Ya. Khomutov ”, Moscow, B. Nikitskaya. 9. Tel. 199-26. 112, p., In the publisher's cover, covered with burlap. 25 × 19 cm.Circulation 600 copies. "Slap in the face" - the first poetry collection of cubo-futurists (Petersburg poetry group "Gileya"), published on December 18, 1912. Best known for the accompanying manifesto of the same name.[RARUS'S GALLERY information]
"Slap in the face ..." was framed in an extremely ascetic manner, most likely due to lack of funds. The text completely lacks illustrations, which rather positively affected the perception of the works. The cover has a special expressiveness: the set of the title of the book in capital letters (small capitals), a technique that is more typical of newspaper headlines and posters. Undoubtedly this attracted the attention of the public. Moreover, this headline was on the covered with sacking cover. After the publication of "Slap in the Face ...", persecution began on the pages of the literary press. Partly in response to this reaction, partly to further promote his ideas and shock society, Burliuk publishes a leaflet. Its title completely repeats the title of the book, and it ends with the slogan "Stand on the block of the word" we "amid the sea of \u200b\u200bwhistling and indignation."
Benedikt Lifshitz, a member of the Gilea group, recalls those times in his book The Half-Eyed Sagittarius:« On Christmas Day I came to Petersburg again. "Slap in the face to public taste", by this time already printed in Moscow, was about to go on sale. And the brown paper, gray and brown, anticipating the type of newsprint of the twentieth year, and the row cover, and the title of the collection, designed to stun the bourgeoisie, hit right on target. The main trump card was the manifesto ... the text of the manifesto was completely unacceptable to me. I slept with Pushkin under the pillow - am I alone? Did he not continue to disturb those who declared him more incomprehensible than hieroglyphs in a dream? - and to throw him, together with Dostoevsky and Tolstoy, from the "steamer of modernity" seemed to me hypocrisy. I was especially outraged by the style of the manifesto, or rather, the absence of any style ...»
In February 1913, the same publishing house published (also on wallpaper, but in an enlarged format) "Sadok of Judges II" with a circulation of 800 copies. If in the first manifesto it was mainly about the ideology of the futurists, then here it is about poetic techniques that can put these ideas into practice. Like "Slap ..." this book opens with a manifesto. It can be considered one of the most "programmatic" among the works of this kind, released by Russian futurists. Despite the well-known partial dependence of both its very form and many of the provisions contained in it on the Italians' manifestos, it is in it that we first meet with a detailed justification of the "new principles of creativity":
« 5. We characterize nouns not only with adjectives (as they did mainly before us), but also with other parts of speech, also with individual letters and numbers:
a) considering as part of an inseparable work its blots and vignettes of creative expectation;
In the winter of 1911, a young poet Benedict Livshits came to visit the brothers David, Vladimir and Nikolai in the village of Chernyanka, Nizhne-Dneprovsky uyezd, Taurida province, where the Burliuk family lived, to sort out the papers of Khlebnikov, who had recently visited here. “On quarters, on half-sheets, sometimes just on scraps ... recordings of a very different content scattered in all directions ... the understanding of language as an art found eloquent confirmation in the works of Khlebnikov, with the only tremendous proviso that the process, which was still thought of as a function of consciousness of a whole people, was embodied in the work of one person ... - said later B. Livshits, who left quite extensive memories of his stay in Chernyanka: “It was a continuous creative boil that ended only in a dream.” “David continued to engage in complex compositions, in“ landscapes with several points of view, ”putting into practice his doctrine of multiple perspective ... A tender love of material, an attitude to the technique of reproducing an object on a plane as something immanent to the very essence of what is depicted prompted Burliukov to test their strength in all types of painting - oil, watercolors, tempera, from paints to a pencil, etching, engraving ... ".
The ancient Greek name of the area where Chernyanka was located - Gileya - was chosen for the name of the literary group, which, in addition to Burliuk and Livshits, also included Khlebnikov and V. Kamensky. And the next winter - 1912 - a student of the Moscow School of Painting, Sculpture and Architecture D. Burliuk (by that time already a participant in several exhibitions of "new" painting) and a very young student of the same school V. Mayakovsky spend "a most memorable night": "Conversation .... David has the anger of the master who enriched his contemporaries; I have the pathos of a socialist who knows the inevitability of the collapse of old stuff. Russian futurism was born, ”wrote Mayakovsky.
The program of Russian futurism, or rather that of its group, which at first called itself "Gilea", and entered the history of literature as a group of cubo-futurists (almost all the Gilean poets - to one degree or another - were also painters, adherents of Cubism) created manifestos published in The collection Slap in the Face to Public Taste (1912): and Sadok of Judges II (1913)
Only we are the face of our Time ...
Throw Pushkin, Dostoevsky, Tolstoy and so on. and so on. from the Steamer of our time ...
D. Burliuk, Alexander Kruchenykh, V. Mayakovsky, Victor Khlebnikov
(From a slap in the face to public taste)
“... We have put forward for the first time new principles of creativity, which are clear to us in the following order:
We have ceased to consider word-building and word pronunciation according to grammatical rules, having begun to see in letters only guiding speech. We've loosened up the syntax.
We began to add content to words according to their descriptive and phonic characteristics.
- 8. We have broken the rhythms. Khlebnikov put forward the poetic dimension of a living spoken word ...
- 12. We are at the mercy of new themes: uselessness, meaninglessness, the mystery of imperious insignificance have been glorified by us….
- 13.… We are new people of a new life.
David Burliuk, Elena Guro, Nikolay Burliuk, Vladimir Mayakovsky, Ekaterina Nizen, Viktor Khlebnikov, Benedict Livshits, A. Kruchenykh
(From Sadok of Judges II).
Each of the signatories to these manifestos in one way or another reflected their principles in his work. A. Kruchenykh wrote the following verses:
Ta sa may
ha ra bau
Sai this very oak
rainbow mall
Subsequently, he himself called the language of his poems "abstruse" (without putting any negative connotation into this concept). V. Kamensky published "reinforced concrete poems" (poetry), where the painting itself was interspersed with the text, which was also a kind of artistic composition (playing with fonts, the absence of phrases: only words and phrases, etc. fiction).
V. Mayakovsky "immediately blurred the map of everyday life" and became perhaps the most prominent figure in Russian futurism.
This whole group of motley poets and artists was organized and united by D. Burliuk. “He was a good chef of futurism and knew how to“ serve up a poet deliciously ”, - V. Shershenevich later recalled, - he brought Mayakovsky to the audience on a platter, chewed it and put it in his mouth.” D. Burliuk was the organizer of many publications of cubo-futurists: Dead Moon: A Collection of the Only Futurists in the World !! The poets "Gilea" (Moscow, "Gilea", 1913); Gag, (M., "Gileya", 1914); Mare's milk. Collection (M., "Gileya", 1914) and others.
The very title of the collections demonstrated a deliberate anti-aestheticism (disregard for traditional cultural values) of their authors and compilers. This was also emphasized by the appearance of the books. So, on the back cover of the lithographed book by A. Kruchenykh and V. Khlebnikov A Game in Hell (Moscow, 1912), K. Malevich's drawing depicted a devil with horns and hooves.
Russian futurists in every possible way renounced Italian futurism. V. Khlebnikov even suggested abandoning the term "futurism", replacing it with "will-lust", thereby emphasizing the original character of the movement. Undoubtedly, the "Bulyans" owe much to Russian symbolism (which, however, they also refused to recognize). They took up the slogan of the younger Symbolists that poetry should become a new teaching that unites all people. (Unlike the Symbolists, the "people of the future" wanted to bring this future closer as soon as possible and by any means). However, there was undoubtedly much in common between Russian futurism and its Italian counterpart: disregard for the culture of the past, the desire to create not only a new art, but also a new society (a new person), urban motives (especially in the works of V. Mayakovsky and V. Shershenevich) , the slogan of the Italians "words at large" and "self-proclaimed word" in the manifestos of cubo-futurists.
Nationalism among Russian futurists as a whole was less developed and not so aggressive than among Italians, despite the proto-Slavic “Asian” theme of many works by V. Khlebnikov, the folklore coloring of some poems by A. Kruchenykh, V. Kamensky ...
Russian futurists, like Italians. shocked the audience not only with their works, but also with their appearance, demeanor. The newspaper of that time described one of the performances of the futurists: “The curtain is opening. Three "prophets" in clownish outfits are sitting on the stage. In the middle is Mayakovsky in a yellow jacket, black tie, with a flower in his buttonhole. On one side - Burliuk - in a dirty gray frock coat, his cheeks and forehead are painted with blue and red paint. On the other - Kamensky, in a black cloak with shiny stars and an airplane on his forehead. In a strange way, this gentleman obviously wants to inform the public that he not only composes poetry, but also drives planes.
Shouts, whistles, applause "
In the winter of 1913-1914, the futurists go with performances in the south of Russia, everywhere causing scandalous interest. V. Mayakovsky later called this time "Merry Year" in his autobiography I myself. ("Evenings. Lectures. The governorship was alarmed. In Nikolaev we were offered not to touch either the bosses or Pushkin. They were often interrupted by the police in the middle of a report"). As a result of this tour, groups of futurists appeared in many cities of Russia.
St. Petersburg poet Igor Severyanin (Lotarev Igor Vasilyevich) took part in the trip together with the "Gileyans".
Where Gileia (Hylaea) he calls part Scythia behind the mouth Dnipro ... Here, in Tauride province there was an estate Chernyanka, where the Burliuk brothers spent their childhood and youth. IN 2011 year through the efforts of enthusiasts, a house was found in the village of Chernyanka, where the birth of the group took place, which was previously considered not preserved.
Group activities
Among the poetic groups of the early XX century. "Gilea" was the most " left "And the loudest of all futuristic bands. It had its own publishing house "EUY", "Gileytsy" took part in numerous then literary disputes, promoting the left art. The group released almanacs: “ A slap in the face to public taste "," Garden of Judges 2 "," Trebnik of Three "," Three "," Dead Moon "(all in 1913)," Milk of mares "," Gag "," Roaring Parnassus "," The First Journal of Russian Futurists "(all in 1914), "Spring contract of muses", "I took" (both in 1915).
The activities of budetlyan were largely helped by the patron L. I. Zheverzheev ; after he stopped giving money for publications and performances, the association fell apart.
Name existing with 1989 year publishing house " Gilea "Taken in honor of the literary group.
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Literature
- Livshits V... Half-eyed Sagittarius, L., 1933;
- Khardzhiev N. , Trenin V. Poetic culture of Mayakovsky, M., 1970;
- Markov V. Russian futurism: a history, L., 1969
- Lyuboslavskaya T... Chronicle of the Union of Youth Association // Art. 1990. No. 9. S. 57-64;
- A. V. Krusanov Russian avant-garde, 1907-1932: East. overview. SPb., 1996.Vol. 1.
- Severyukhin D. Ya., Leikind OL The Golden Age of Artistic Associations in Russia and the USSR (1820-1932). St. Petersburg .: Chernyshev Publishing House. 1992. ISBN 5-85555-004-4
Links
Excerpt from Giley (group)
- No, I didn't ... I just asked you to read it to all of you. - Simon said indignantly. - If she had not died, would it seem strange !? And is it my fault that I was there? If I had not found THEM, perhaps even now you would not have known what happened to them! ..It was very difficult to condemn him without knowing the truth. They were all Knights of Radomir. The closest combat friends who have traveled a dangerous and long path together ... But no matter how hard the Templars tried to think positively, what happened was alarming - everything coincided very unusually ...
I stood shocked, not wanting to believe that the most wonderful Empire on Earth was destroyed so simply! .. Again, it was a different time. And it was difficult for me to judge how strong people were then. But the Cathars had the purest, never surrendered, proud hearts that allowed them to go, without breaking, on terrible human bonfires. How could they have believed that the Golden Mary would allow such a thing? ..
The idea of \u200b\u200bthe church was, indeed, devilishly ingenious ... At first glance, it even seemed that it brought the "new" Cathars only goodness and love, not allowing them to take someone's life. But this is only at first glance ... In fact, this "bloodless" teaching completely disarmed Qatar, making them helpless against the brutal and bloodthirsty army of the Pope. After all, as far as I understood, the church did not attack while the Cathars were warriors. But after the death of the Golden Mary and the brilliant plan of the "most holy" fathers, the churchmen only had to wait a little while the Cathars would become helpless at will. And then - to attack ... When there is no one to resist. When the Knights of the Temple remain a small handful. And when it will be very easy to defeat Qatar. Without even soiling his gentle, sleek hands in their blood.
These thoughts made me sick ... Everything was too easy and simple. And very scary. Therefore, in order to get away from sad thoughts at least for a minute, I asked:
- Have you ever seen the Key of the Gods, Sever?
- No, my friend, I saw him only through the Magdalene, as you saw now. But I can tell you, Isidora, he cannot fall into the "dark" hands, no matter how many human victims it may cost. Otherwise, there will be no such name anywhere else - Midgard ... This is too much power. And if it falls into the hands of the Thinking Dark Ones, nothing will stop their victorious march through the remaining Lands ... I know how hard it is to understand this with my heart, Isidora. But sometimes we have to think big. We are obliged to think for everyone who comes ... and make sure that they surely have somewhere to come ...
- Where is the Key of the Gods now? Does anyone know this, Sever? - unexpectedly seriously asked Anna, who had not yet spoken.
- Yes, Annushka, partially - I know. But I cannot tell you about this, unfortunately ... One thing I am sure is that the day will come when people will finally prove worthy, and the Key of the Gods will sparkle again on the top of the Northern Country. Only more than one long hundred years will pass before that ...
- But we will die soon, why are you afraid, Sever? Anna asked sternly. - Tell us, please!
He looked at her in surprise and, after waiting a little, answered slowly.
“You're right, honey. I think you deserve to know ... After the cruel death of Golden Mary, Radan took the Key of the Gods to Spain to hand it over to Svetodar. He believed that even being so young, Svetodar would keep the treasure entrusted to him. Even at the cost of your precious life if need be. Much later, as an adult, leaving in search of the Wanderer, Svetodar took with him a wondrous treasure. And after, after six dozen long and difficult years of living, already leaving home, he decided that it would be safer and more correct to leave the Key of the Gods there, in the Northern Country, in order to avoid possible trouble in his native Occitania. He did not know what news awaited him at home. And he did not want to risk the Key of the Gods.
