“Burliuk”, by Katherine S Dreier. Foreward by Duncan Phillips. Selection of Reproductions by Marcel Duchamp and Katherine Dreier.
Literaturnyi trud Davida D Burlyuka [Literary Works] By Igor Postupalskii Postupalsky (New York 1931) See Markov p.322 “Russian Futurism” (1968) Published by David and Marussia Burliuk at the Atlantic Press New York, 1931.
Original hand made by Burliuk in black ink (he made several such covers – see books “Oshima”, “Entelehism” as examples) and several lithograph illustrations.
Triptych of portraits “My Family.” Oil on three separate wood panels, circa 1930. In one common American 20th century applied ornament and gilded frame with ornate corners and canvas inlaid.
PRICE ON REQUEST.
Garden near the ocean. Oil on canvasboard, signed lower right and inscribed with the title and exhibition # 10 on the back. Circa 1961. 9 x 12 “Provenance: ACA Gallery, New York (label on the back); Exhibited: personal David Burliuk exhibition in the ACA gallery 11-30 December 1961, # 10 of the catalog Bibliography: Norbert Evdaev David Burliuk in America, Moscow Science 2002 is described on p.329.
Original Landscape. Heavy oil impasto on board (The paint was so thickly applied that it is almost like sculpture.) Signed: “Burliuk” on lower left.
Miniabstract. Original oil on board. Signed: “Burliuk” on lower right. Note how the artist is made a crater using the knot in the wood panel. Measurements: Painting: 3 5/8 in. by 4 in .; Frame: 4 1/8 in. by 4 5/8 in. The surface is sound with no restoration. There is a crack in the board. It appears Burliuk traced the dark curved lines with Japan Lacquer.
The Happy Traveler Signed, titled and dated 1955 Oil on board 14.5 x 12cm; 5 x 4 in.
Provenance: Wooley & Wallis, UK, Sale 8.12.2009 lot 504; given by the artist to the previous owner’s father Condition: A small chip to upper right corner, two blisters, one with small crack.
Positano. Oil on canvas, signed low right and inscribed with title and # 5 on the back. 23 1/2 x 16 1/2 inches, 1954.
Japanese Forest Landscape. Oil on board, signed lower left. Circa 1920. 18×12. “Provenance: ACA Gallery, New York (label on the back); Exhibited: Russian Painting and Sculpture. Brooklyn Museum 1923 # 63 Label on the back:” Burliuk Gallery, Marussia Burliuk, Art Director, Hampton Bays, LI, NY, US “Bibliography:” A Time to Gather … RUSSIANART From Foreign Private Collections “, State Russian Museum, Saint-Petersburg, Palace Editions, 2008, illustrated on p.24.
PRICE ON REQUEST.
BIOGRAPHY OF THE ARTIST.
(1882 Semirotovschina Village near Kharkov – 1967 Long Island, New York)
BURLYUK David Davidovich.
9/21 July1882 (Semiotovshchina hamlet of Lebedinsky district of Kharkov province, now Sumy region) – January 15, 1967 (Southampton, Long Island, USA). Painter, graphic artist, artist of the book, writer, organizer of exhibitions of avant-garde art. Father, David Fedorovich Burliuk (1857-1915), from the peasants, served as the manager of landed estates, the author of popular brochures on agronomy. Mother – Lyudmila Fedorovna, nee. Mikhnevich (1860-1923) – a noblewoman, amateur artist, sister of journalist and writer Vladimir Mikhnevich. The elder sister Lyudmila (in the marriage Kuznetsova, 1886-1968) and brother Vladimir (1886-1917) – painters, brother Nikolai (1890-1920) – poet. In 1894-1898 he studied at gymnasiums in Sumy, Tambov and Tver, in 1898-1899 – at the Kazan Art School at KGL.Myufke and G.A. Medvedev, in 1899-1901 – at the Odessa Art College in K. K. Kostandi, GA Ladyzhensky and AA Popov. In Odessa he met with I. I. Brodsky, B. I. Anisfeld, S. F Kolesnikov, M. B. Grekov (Martyschenko). In 1902, after an unsuccessful attempt to enter the IAH, he left for Munich. He studied at the Munich Academy of Arts with V. von Dietz and at the school A. Ashba. In 1904 he came to Paris, visited the studio of F. Cormon. In 1905-1906 he lived in Kharkov; summer spent in the estate Kozyrshina Ekaterinoslav province, then – in the estate of Chernyak, Kherson province, where his father worked as a manager.
He painted portraits and landscapes; from the academic manner came to Impressionism. Since 1906, he participated in exhibitions: the Kharkov Circle of Local Artists (1906), the USSR Academy of Arts (St. Petersburg, Moscow, 1906/1907), TYURH (Odessa, 1906, 1907), TPHV (Moscow, St. Petersburg, 1907), Kharkiv Artists’ Associations (since 1908). In the future, constantly experimenting and reincarnating, adopting different styles and artistic techniques. At the turn of the 1900-1910’s he became one of the leaders of the literary and artistic avant-garde along with MF Larionov, AV Lentulov, AA Exter, NI Kulbin and VV Mayakovsky. He participated in the arrangement of the first avant-garde exhibitions: Stefanos (M., 1907/1908), Zveno (Kiev, 1908, she distributed a leaflet with her declaration “The Voice of the Impressionist in Defense of Painting”), “Wreath-Stefanos” (St. ., 1909), “Exhibition of modern trends in art” (St. Petersburg, 1908), “Triangle – Wreath-Stefanos” (St. Petersburg, 1910). Exhibited works in the Salon by S. K. Makovsky (1909), 1st and 2nd mobile Salons by V. A. Izdebsky (1909-1910 and 1911), at the exhibitions of the Youth Union in St. Petersburg (1910, 1911, 1913) and Riga (1910), the exhibitions “The Jack of Diamonds” (1910, 1912, 1913) and the “Exhibition of Painting of 1915” (1915) in Moscow, the Exhibition of Left Currents (1915) and exhibitions: “The World art “in Petrograd (1915), the New [Munich] artistic society (1910) and the” Der Blaue Reiter “in Munich (1911, 1912), in Salon P. Casierer (1911) and the First German Autumn Salon in Der Sturm Gallery in Berlin (1913), in the Salon of the Independent in Paris (1914).
BILIBIN Ivan Yakovlevich [http://www.artrz.ru/]
In 1910, together with his brothers and with the participation of Kamensky, Kruchenykh and Khlebnikov, he created a futuristic literary and artistic group called “budetlyan” (later – the Gilea group), which opposed the aesthetic canons of symbolism. He organized the release of the first collection of “budetlian” – “Sadok Judges”. In 1912 he published a program collection of the “Bytolyan” “Slap in the face of public taste”, which included the eponymous manifesto (signed by Burliuk, Mayakovsky, Khlebnikov and Kamensky), in which he proclaimed in an eschatating form the renunciation of classical traditions in art and literature. In the same year, with the assistance of V. V. Kandinsky, published in the Munich almanac Der Blaue Reiter an article “Wild Wild Russians” (“Die Wilden Russlands”). In 1913 he published a pamphlet “Screaming” Benua “and a new Russian national art”, in which he declared the artist’s right to freedom of creative search. Later, he participated in the release of futuristic collections “Sadok of Judges II”, “Trebnik of Three”, “The Dead Moon” (all – 1913), “Roaring Parnassus”, “The First Journal of Russian Futurists” (both 1914), “Spring Counteragentship of Muses” (1915), etc. Illustrated books of poetry Khlebnikov (“Milk of mares”, “Izbornik poems”), Kamensky (“Tango with cows”) and Mayakovsky (tragedy “Vladimir Mayakovsky”). November 11, 1913, together with Mayakovsky, Kamensky and Khlebnikov organized in the Polytechnic Museum in Moscow evening “Approval of Russian Futurism.” In December, with Mayakovsky and Kamensky began a tour of Russian cities with reading lectures and poems. He spoke with sharp polemical reports on disputes about contemporary art organized by the “Union of Youth” in St. Petersburg and the “Knave of Diamonds” in Moscow.
In 1910 he returned to the Odessa Art College to receive a certificate of art education. In 1911 he enrolled in MUZHVZ, he studied in the full-scale class at LO Pasternak and AE Arkhipov. In 1914, together with Mayakovsky was expelled from MUZhVZ for promoting futurism (November 21). In 1912 he married Mary Nikiforovna Yelenevskaya (1894-1967), who became his constant assistant in literary work. Their children: David (1913-1991, sculptor and architect) and Nicephorus (Nikolay, 1915-1995, painter and journalist).
In the summer of 1915 he went to her estate near the station Iglino, near Ufa. During World War I he wrote several great allegorical paintings (The Late Angel of Peace, The Execution of Russian Marie Antoinette, and others). In 1916-1917, he participated in three exhibitions of the Ufa Art Circle and the last exhibitions of the Jack of Diamonds in Moscow (November December 1916, November-December 1917), held a solo exhibition in Samara (1917). On his return to Moscow he took part in the design of the “Poets’ Cafe” in Nastasinsky Lane. In 1918 together with Mayakovsky and Kamensky published the only issue of the Futurist Newspaper with the Manifesto of the Futurist Flying Federation and Decree No. 1 on the democratization of art. In the same year he again went to his family in Bashkiria, where he soon found himself behind the line of the Czechoslovak front. In the autumn of 1919 he set off on a journey through the Urals, Siberia and the Far East to promote “leftist” art. He gave lectures, organized poetry concerts and exhibitions. He published collections of poems “Balding Tail”. Collaborated in the Far Eastern literary and art magazine “Creativity”.
In September 1920 he left the Far Eastern Republic for Japan. For two years he created about 500 paintings. He held solo exhibitions in Tokyo, Osaka and Nagoya. He published a collection of poems “Climbing Fuji-san”, wrote books of prose “Oshima. Japanese Decameron “and” On the Pacific: From the Life of Modern Japan “, later published in the United States; was published in local newspapers.
In September 1922 he moved with his family to the United States and settled in New York. In 1930 he accepted American citizenship. He lectured in working clubs, cooperated in communist publications. For many years he published in the newspaper “Russian Voice” reviews of domestic newspapers, propaganda articles and satirical articles in support of socialist transformations in Russia. He was a member of the literary group “Hammer and Sickle” and the John Reed Club. He corresponded with friends in the USSR, met with Soviet cultural figures who came to the USA, including Mayakovsky (1925). He closely communicated with N. K. Roerich, N. S. Tsikovsky, V. V. Bobritsky, N. I. Vasiliev, K. I. Aladzhalov, R. and M. Sawyer, J. Graham (I. G. Dombrovsky) , NI Feshin, BD Grigoriev, writer Ivan Narodny and other emigres.
In the 1920-1930s he often turned to revolutionary-proletarian themes. He performed portraits of N. K. Roerich, V. I. Lenin, V. Mayakovsky, S. M. Eisenstein, symbolic paintings “The Coming of the Mechanical Man” (1927), “Time and Flow of Mankind”, “Lenin and Tolstoy” ( 1930), etc. He held a solo exhibition at the New York Center for the Arts (1923). Participated in exhibitions of Russian art in the Brooklyn Museum in New York (1923), Wilmington (1932), Prague (1935); in the Russian departments of international exhibitions in Philadelphia (1926), New York (1926-1927 and 1930), in the exhibitions of the group “13” and the Club John Reed in Moscow (1931).
Participated in the publication of Russian literary collections “In captivity of skyscrapers”, “Svirel subway” (both – 1924), “Red Arrow” (1932), along with other Russian writers and artists collaborated in the English-language “Pilgrim Almanac” (1925-1926).
Together with his wife founded the “Publishing House M. N. Burliuk”, under the brand of which he produced prose, poetry, journalism and memoirs. In particular, he published the program theoretical work “Entelechism” (1930), in which he proclaimed himself the progenitor of proletarian culture and the “first Bolshevik in literature”, and the book “1/2 Century” dedicated to his 50th birthday (1932). In 1930-1967 he published the magazine Color and Rhyme, in which he published autobiographical materials and diary entries (some of the materials were printed in Russian, some in English, and in 1970 the last issue prepared by his widow was published).
I painted landscapes, portraits, still-lifes, urban and rural scenes, using intensive color schemes and introducing the element of grotesque into paintings. Almost every year he held solo exhibitions in New York’s ASA gallery, in other galleries in New York, Washington, Chicago, Minneapolis, Cleveland and San Francisco.
In the 1950s he built a house in Hampton Bay (Long Island) and opened his own gallery there. In 1949 and 1957 he visited France, met in Paris with NS Goncharova, MF Larionov, L. Aragon and E. Triolet. In 1956 and 1965 he visited the USSR. In 1962 he made a round-the-world tourist cruise; He held solo exhibitions in Brisbane (Australia) and Munich, participated in the retrospective “Der Blaue Reiter” in the Parisian gallery Maeght.
According to the will, the ashes of the artist were scattered over the waters of the Atlantic from the side of the ferry.
In 1974, the artist’s works were exhibited at the exhibition “The Russian View” in Heidelberg. In 1995 the retrospective exhibition was held in the State Russian Museum. In 2008-2009 the works were exhibited in the Russian Museum and the Tretyakov Gallery at the exhibition “American Artists from the Russian Empire”. Presented at the Metropolitan Museum, the Brooklyn Museum and the Whitney Museum of American Art in New York, in many museums of the former USSR, including the State Russian Museum, the State Tretyakov Gallery and the Bashkir State Art Museum. M. V. Nesterov (37 paintings).
* RGALI. F. 336. Op. 7. Unit. hr. 75 (DD Burliuk’s Notebook with diary entries, poems, drawings and photographs, 1898-1899, 1902-1906, other materials)
* Lobanov-Rostovsky; KhN USSR 2 / 118-119; HRH; AI 1/269, 2/247, 3/269, 4/232, 5/116, 6/215, 7/242, 8/240, 9/168, 10/170, 11/152, 12/179, 13 / 176, 14/192, 15/192, 16/107, 17/111, 21/176, 22/139, 25/155; Cummings.
Grabar IE “Union” and “Wreath” / / Libra. 1908. � 1. P. 142.
Benois AN Exhibition “Wreath” / / Speech. 1909. March 22.
Evreinov NN Original about portraitists. M., 1922. P. 72-77.
Gollerbakh EF The art of D. D. Burliuk. New York, 1930.
Gollerbach E. F. Poetry of D. D. Burliuk. New York, 1931.
Posturalsky I. Literary work of David D. Burliuk. New York, 1931.
For proletarian art. 1931. � 6. P. 28-29; � 7. �. 8.
New about Mayakovsky. LIT. inheritance. T. 65. Book. 1. M., 1958. S. 619 (ed.).
Livshits B. The half-eyed Sagittarius: Poems, translations, memoirs. L., 1989.
Pospelov GG Jack of Diamonds: Primitive and urban folklore in Moscow painting of the 1910s. M., 1990. (Decree).
Magomedova DM DD Burliuk // Russian writers: Bibliography. dictionary. T. 1. M., 1990. P. 132-134.
David Burliuk. Texture and color: Works by David Burliuk in the museums of the Russian province: Exhibition Catalog / Intro. Art. S. V. Evseeva. Ufa, 1994.
Selezneva TV DD Burliuk – editor-publisher (the period of emigration: 1920-1967) // Cultural heritage of the Russian emigration 1917-1940: In 2 vols T. 2. M., 1994. S. 441-445 .
David Burliuk. 1882-1967. Exhibition of works from the Russian Museum, museums and private collections in Russia, the United States, Germany / Foreword. E. Petrova. Ingress. Art. E. Basner and N. Vasilyeva. St. Petersburg, 1995.
Kalaushin B. Burliuk: Color and rhyme. Book. 1 // Apollo. T. 2. St. Petersburg., 1995.
The Blue Horseman / Ed. V. Kandinsky and F. Mark (translated and commented by Z. S. Pyshnikova). M., 1996. P. 16-19.
Selezneva TV Burliuk DD // Literary encyclopedia of the Russian Diaspora. 1918-1940: Writers of the Russian Diaspora. M., 1997. P. 90-93.
Khardzhiev NN Articles about the forefront: Archive of the Russian avant-garde / Comp. R. Duganov, Yu. Apryshkin, A. Sarabyanov: In 2 vol. M., 1997. (Decree).
David Burliuk = David Burliuk. NY .: A.B.A. Gallery Inc., 2001.
Stepanian NS The leader of the Russian Futurism. David Burliuk // Art culture of the 20th century: Sat. Art. Ed. VV Vanslova, VP Tolstoy, DO Shvidkovskii. M., 2002.
Garmash T. Burliuk David Davidovich (1882-1967) // Antiquarian Review. 2004. � 1-2. Pp. 36-39.
“Russian Americans” in private collections in New York: the Burliuk brothers, Boris Anisfeld, Nicholas Roerich, Sergei Sudeikin // Pinakothek. 2006. � 22-23. Pp. 17-25.
American artists from the Russian Empire: Almanac. Issue. 208. St. Petersburg, 2008. P. 267.
Krusanov AV Russian Avant-Garde. Combat decade. In 3 vols. Book. 1, 2. M., 2010. (Decree).
Culture of Bashkortostan. 2010. � 10, 11. (Publication on the Internet: Part 1. Part 2. Part 3).
David Burliuk: [Catalog]. A. C. A. Gallery. New York, 1941.
Dreier K.-S. Burliuk. New York, 1944. 182 p., Il.
Baron H. 31 American Contemporary Artists. New York, 1959.
David Burliuk: 1882-1967: Selection from Various Periods / Essay by A. Werner: [Catalog]. A.C.A. Gallery. New York, 1967.
David Burliuk: Years of Transition, 1910-1931: [Catalog]. The Parrish Art Museum. Southampton; New York, 1978.
Bowlt J. E. David Burliuk, the Father of Russian Futurism, Canadian-American Slavic Studies. 1986. Vol. 20. N 1/2.
Futurism and after: David Burliuk, 1882-1967 / curated by Myroslav Shkandrij; essays by Myroslav Shkandrij, Myroslava M. Mudrak, and Ihor Holubizky. Winnipeg: Winnipeg Art Gallery, 2008.
Galloping “Benua” and the new Russian national art. The talk of Mr. Burliuk, Benois and Mr. Repin about art. St. Petersburg., 1913.
Catalog of the exhibition of paintings by David Burliuk. A few words from the artist. Samara, 1917.
Burliuk shakes hands with Wulworth Bilding: Biography and poems: To the 25th anniversary of artistic and literary activity. New York, 1924.
Russian artists in America: Painting, sculpture, theater, music and applied arts: Materials on the history of Russian art. 1917-1928. New York, 1928.
Entelechism: Theory, criticism, poetry, paintings. New York, 1929.
Notes on the artistic life of America / / Art in the masses. 1930. � 8. With. 8.
Roerich: Features of his life and creativity. 1918-1930. New York, 1930.
1/2 century. Russia-America-USSR: To the 50th anniversary of David Burliuk. New York, 1932.
Fragments of memoirs / IE Repin: Art heritage / Ed. I. E. Grabar and I. S. Zilberstein: In 2 vols. M .; L., 1948-1949. Pp. 279-282.
[Memoirs of Gorky] / / Gorky and the artists: Memoirs. Correspondence. Articles / Comp. IA Brodsky. M., 1964. S. 47-54.
Memoirs of the father of Russian Futurism. D. Ya. Severyukhin and OL Leykinda // The past. Issue. 5. Paris, 1988. pp. 7-53.
Fragments from the memoirs of the Futurist: Letters; Poems. SPb., 1994.
David Burliuk, Nikolay Burliuk. Poems. SPb., 2002.
“I was a happy meeting for Mayakovsky. / Publication of DV Karpov // Diaspora: New Materials. Vol.V. SPb .: Phoenix, 2003. C. 628-658.
Manifesto Radio-Style. Universal Camp of Radio-Modernists. New York, 1926.
D. Burliuk – Radio-Futurist, Artist and Poet. Second Manifest. New York, 1927.