Word: kruchenykh
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...early 20th century Russia from the likes of Abstractionist Wassily Kandinsky, Supremacist Kasimir Malevich, Surrealist Marc Chagall and Constructivist Vladimir Tatlin. But Filonov never stayed with any school except his own, which he called "analytical art." It was in the eulogy to Filonov offered by the poet Alexei Kruchenykh, Futurism's major theoretician, that the exhibition's curators found their title, Witness of the Unseen...
...took up Leonardo da Vinci's belief that an artist should be more than just a mirror that "reflects objects without having any knowledge of them." Filonov wanted to perceive and render the inner nature of things rather than their external appearances. The artist's real objective, as Kruchenykh put it, was "to see through the world." To achieve that, Filonov wrote to a young colleague back in 1940, "An artist must be a thoroughly educated analyst and researcher...
...even if Filonov's work is intellectually driven, his singular style marks it out, beginning with his palette. In works like the gloomy Feast of Kings (1913), as Kruchenykh noted, he used a peculiar combination of "bloody red and greenish brown"; for his optimistic and joyful painting with the Boratesque title Formula of the Universal Shift Into the World Blooming Through the Russian Revolution (1922), he mixed white and reddish pink in a way that is unmistakable...
Olga Rozanova (1886-1918) left behind a legacy of art, poetry and theoretical articles that provides a key to understanding the cultural ferment of the early avant-garde movement in Russia. Her collaboration with the poet Aleksei Kruchenykh sought to overcome the boundaries that separate poetry from art. The two worked together on various projects, mostly editions of lithographic futurist books, enthused by the idea that words should serve as visual symbols that lack any specific meaning...
...chronology of Rozanova's life, the crowning achievement of the work. Gurianova's remarks about the evolution of avant-garde styles from long-standing traditions in art and literature are insightful. In her chapter on "The Futurist Shift," Gurianova draws a connection between Rozanova's lithographs made to embellish Kruchenykh's narrative poem Game in Hell and the "denizens of the underworld" of Gogol and Pushkin. Noting how Rozanova, in one of these lithographs, "Naked Witch with a Broom," plays with physical forms, assigning a witch's head to a devil's body and vice versa, Gurianova develops...
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