Zdanevich - iAaDE'hanizes toward)rives it 5y light terraces...

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Unformatted text preview: iAaDE 'hanizes toward )rives it 5y, light terraces onlight, ices off sel, the )hs and , hence 1e sim— *am‘emer incl the :uction g them if they nce of tall. ortion, 3 high, en and rwise.) teatest great- inimal clodic arisian tling), :ation, ses 0f ereas, in the ogy it as no 6 ODE E OF MANIFESTOS 257 1 b ILYA ZDANEVICH (1894—1975) AND MIKHAIL LARIONOV (1881—1964) ‘WHY WE PAINT OURSELVES: A FUTURIST MANIFESTO’ 1913 7798 text of flair Futurist-inspired maxi/euro appeared in t/ae 51‘ Peterrlmrg magazine Argus, in 7973. Za’anew'r/J publiJ/Jea' a book on [be work: of bi; film/1’5 and rolloboraz‘orr Larionov and Natalia Goat/)arozia (we lie/ow) am: like ram, may also interacted in andpromotea’ neoprimifioima Zrlanevic‘ly met Marinetti in Moscow in 7974 and belbea’ to ogam’se a Futun'rt group in Tzflit in 7977-78. In 792 7 bejoiizeo’ Larionov and Gonzbarooa in Pam, when: logy bad alreaa’y fell/6d from 7978. 7793 manyfm‘o appears in jo/m E. Bow/2"; tram/anon (from lJiir revised and enlarged edition of Russian Art of the Avant-Garde, 7988). To the frenzied city of arc lamps, to the streets bespattered with bodies, to the houses huddled together, we have brought our painted faces; we’re off and the track awaits the runners. Creators, we have nOt come to destroy construction, but to glorify and to affirm it. The painting of our faces is neither an absurd piece of fiction, nor a relapse — it is indissolubly linked to the Character of our life and of our trade. The dawn’s hymn to man, like a bugler before the battle, calls to victories over the earth, hiding itself beneath the wheels until the hour of vengeance; the slumbering weapons have awoken and spit on the enemy. The new life requires a new community and a new way of propagation. Our selfipainting is the first speech to have found unknown truths. And the conflagrations caused by it show that the menials of the earth have not lost hope of saving the old nests, have gathered all forces to the defence of the gates, have crowded together knowing that with the first goal scored we are the victors. The course of art and a love oflife have been our guides. Faithfulness to our trade inspires us, the fighters. The sreadfastness of the few presents forces that cannot be overcome. We have joined art to life. After the long isolation of artists, we have loudly summoned life and life has invaded art, it is time for art to invade life. The painting of our faces is the beginning of the invasion. That is why our hearts are beating so. We do not aspire to a single form of aesthetics. Art is not only a monarch, but also a newsman and a decorator. We value both print and news. The synthesis of decoration and illusrration is the basis of our self-painting. We decorate life and preach — that’s why we paint ourselves. Self—painting is one of the new valuables that belong to the people as they all do in our day and age. The old ones were incoherent and squashed flat by money. Gold was valued as an ornament and became expensive. We throw down gold and precious stones from their pedestal and declare them valueleSS. Beware, you who collect them and horde them — you will soon be beggars. It began in ’05. Mikhail Larionov painted a nude standing against a background of a carpet and extended the design onto her. But there was no proclamation. Now Parisians are doing the same by painting the legs of their dancing girls, and ladies 258 THE AVANT-GARDE M powder themselves with brown powder and like Egyptians elongate their eyes. But - Mon that’s old age. We, however, join contemplation with action and Hing ourselves into Loft the crowd. Cone To the frenzied city of arc lamps, to the streets bespattered with bodies, to the houses huddled together, we have not brought the past: unexpected flowers have i The bloomed in the hothouse and they excite us. City dwellers have for a long time been varnishing their nails, using eyeshadow, W0“ rouging their lips, cheeks, hair — but all they are doing is to imitate the earth. PSYC] We, creators, have nothing to do with the earth; our lines and colors appeared with have us. If we were given the plumage of parrots, we would pluck out their feathers to use Th as brushes and crayons. er Ifwe were given immortal beauty, we would daub over it and kill it — we who know NOtk no half measures. your- Tattooing doesn’t interest us. People tattoo themselves once and for always. We 1 are g‘ paint ourselves for an hour, and a change of experience calls for a change of i Proffi painting, just as picture devours picture, when on the other side of a car windshield hone shopwindows flash by running into each other: that‘s our faces. Tattooing is beautiful that but it says little — only about one’s tribe and exploits. Our painting is the newsman. f“ I Facial expressions don’t interest us. That’s because people have grown accustomed 5 She is to understanding them, too timid and ugly as they are. Our faces are like the screech § of the trolley warning the hurrying passers-by, like the drunken sounds of the great For t3 tango. Mimicry is expressive but colorless. Our painting is the decorator. : prote Mutiny against the earth and transformation of faces into a projector ofexperiences. ; herse The telescope discerned constellations lost in space, painting will tell of lost ideas. We paint ourselves because a clean face is offensive, because we want to herald ; Leavr the unknown, to rearrange life, and to bear man’s multiple soul to the upper reaches L outw of reality. Paras 2 MINA Lov (1882—1966) g M“ ; 'FEMINIST MANIFESTO' 1914 5? PM“ ; can ta Eng/id; poet, painter and dran/atirt. Loy rtndied in ll/Innitl), London and Pam and later moved E sexes s to Frame. Her pro/err party (omitted of establishing a feminirt reading of Fntnnkt aext/Jetier and enlturalpolititr (tee alto ‘Fenzinirt Manflrto’ lie/ow). Afler t/oe alignment chata/ixrn witb Pattern) The f. the rejetted tlJe movement. Her play The Pamperers gouty/ante in Dial, 7920) ratin'm lfllulfll‘ if and t, and rel/Cimportant avantgardzknz in general, inelading a partienlar attack on Fatan'rt ‘bifiom’. ?‘ divisit Loft eonrem wit/9 50(la/ tritiqae and toe needfor alternative ideologier ofgender war exprerred in i Cripre: toe n/anyerto—li/eepanp/alet Psycho—Democracy, palz/ixbed in Florente in 7920 and reprinted in E is so Little Review tbefillowingyear. Her roller/ion ofpoelnr, Lunar Baedecker (7923), 4/30 loo/e; E influe atfintale eagoerienee witltin an aertlaetie and politital rontext, wlaile being [Monica/bi innovative and E 15 a pt aleering to Modernirtfonn. Loy '5 more war pan‘imlarél admired and t/aaenpioned la} Ezra Pound E have 2 112/90 raw in oer poetg/ the fulfilment of bi; man ‘logopoeir’ model Her numerator roam/Jillian; to E journal; are rolleeted in Lunar Baedecker and Time—Tables (7958). Last Lunar Baedecker T0 Ob (7 982) i: the eon/plete collection of oerpoetty. 5/76 alto lg? an nntompleted volume entitled Anglo— . [0 ma ...
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