![]() Friends called it a “Music Nest.” It was where he and his fellow Futurists produced perhaps the most provocative of the Futurist manifestoes titled “A Slap in the Face of Public Taste.”īurliuk took an active part in avant-garde exhibitions in Kyiv, Moscow, St. The young couple lived in a hotel suite in downtown Moscow where singing and playing music was allowed from 9 a.m. In 1912, he married Marussia Viazemskaya, the woman he always called the love of his life. And he considered his own thirst for creativity a sexual sign, an instinctive urge for self-reproduction. ![]() He liked all women without exception, and the more voluptuous the better. He even took pride in his left glass eye that he had from his early years. His contemporaries wrote that his bombastic face resembled that of a fat lizard. One of his favorites was the legend of Mamai, a Cossack who embodied the artist’s own vision of bravery, self-sufficiency, and rugged individualism.īurliuk’s appearance was uncommon, to say the least: he was short but with a massive and somewhat clumsy body. The name may have been inspired by drawings on old maps that showed Hercules resting by the Dnipro after his victories.īurliuk had a special admiration for Ukrainian folklore. He gathered a group of writers, poets and artists called “Hylaea” – the Greek name of the Scythian lands around the mouth of the Dnipro River, which Herodotus mentioned describing Hercules's feats. His art was an amalgam of Fauvist, Cubist, and Futurist influences, which he absorbed and melded with his love of nature and fascination for the forms and designs of Scythian culture. This is factory rubberstamping!” But Burliuk ignored his teacher’s admonishment and carried on. A shocked teacher told him, “This isn’t art. He spent 20 hours a day drawing or painting and never seemed to be tired. While on a three-month summer vacation in Odesa, he drew more than 350 sketches. His exuberant, extroverted character was recognized by Anton Ažbe, his professor at the Munich Academy who called him “a wonderful wild steppe horse.” Repin said about an exhibition of Burliuk’s paintings: “These followers of Cezanne are ruining paintings with their donkey tails!”ĭuring the first decade of the 20th century, Burliuk studied arts in Odesa and Kazan, at the Munich Royal Academy of Arts, and at École des Beaux-Arts in Paris. ![]() As he wrote later, for the next seven years he was influenced by Repin, Shishkin, Serov, Kuindzhi and other Russian realists, but then his idols became his opponents. His schoolmates called him an artist, and the local art teacher wrote to his mother that the boy had “God-blessed talent.”ĭavid first visited a big museum when he was 15, and it was the Tretyakov Gallery in Moscow. The part of his memoirs where David describes his childhood can be reduced to one phrase: he drew all the time. Two of them, Volodymyr and Lyudmila, also became artists, and David’s brother Mykola became a poet. There were six children in the family with deep Ukrainian Cossack roots on his father's side, and Belarusian on his mother's. David Burliuk was born on July 21, 1882, in a small village near Kharkiv. ![]()
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