I am increasingly sinking into the darkness of misunderstanding.: Confused:

  At the forum about it: http://forum.artinvestment.ru/showthread.php?t=15015
Vladimir, at the expense of the avant-garde hard to say, but it works good.

Look at post number 42 - there is this long lady. And I do not like. And I can not understand how it relates to the Russian avant-garde?

Vladimir, dear qwerty asked: In particular, the artist T. Liandre.
Samvel said all ..
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Am I mistaken the thumbnail on Russian avant-garde? Sorry, dear Maroussia, you believe that Long Queen - it is the vanguard? Well, I'm certainly not art, but Frost Shchukin brothers were not with diplomas.

OK, understood, thanks.

And here I beg your pardon, I just can not agree. Nowhere Jawlensky not too late: his work is simultaneous with the most ambitious artistic search for the beginning of the twentieth century, both in Russia and in Western Europe.
At 30 years old, eq you bent! What do you want him to their wild head painted in 1870. and presented them with the Wanderers? You know, I'm afraid that Ilya Efimych would not approve. Him - Jawlensky - and so tightly had initially, but that would be done with him in 30 years, afraid to imagine ))))))))))))

   

     Posav, indeed, many representatives of the Russian avant-garde did not differ literate techniques in terms of academic education. Some of them had no art education at all. For example, a doctor Nicholas Kulbin.Lissitsky was certified engineer-architect. Many of them do not even finished the artistic educational institutions in which to study. And if you do not have completed the Academy and drawing studios and schools. Aristarchus Lentulov so for all my life and never learned to draw hands. Can enumerate further. But, despite this, these artists and other representatives of the Russian avant-garde, of course, real artists, and the phenomenon Russian avant-garde (the RA) - the brightest pages of the world of art!
    Like any real phenomenon in the arts, RA not be analyzed only in terms of technical performance. I would even have taken the liberty to say that, whether avngardisty academically educated, they may not have been so in the young insolent, greedy, to life and be independent in their work (on the contrary tzhe true)! The phenomenon is inseparable from the Russian avant-garde of the revolutionary era, from the atmosphere, filled with anticipation of great things from some mad general intoxication of faith in the inevitable tomorrow's happiness for all!
    Russian avant-garde, in general, all imbued with a protest against something "old", "academic", "Yesterday", "unnecessary". This protest was in tune with the time, was a natural need of artists of that era, a nervous pulse "of Russian modernism. Scientific discoveries and social changes created a unique creative atmosphere in which even an amateur felt a titanic opportunities! This was the time! And it will never happen again!

Sama "bewitched theme" Today, myself and my fault ...

Maroussia, you do not "jinxed"! Interest in the subject, and thank you, that you opened it ... The artists in question, really talented and unusual for its time. And it's good to know more about them and about others.

     If I understand correctly, in this thread are trying to understand the Russian Avant-garde as a phenomenon, and this inevitably leads to the inclusion in the context of the discussion as the pillars of the avant-garde artists, and those who surrounded them and was part of the unique creative atmosphere.
       It is impossible to study this phenomenon outside of different contexts: historical, literary, musical, scientific, domestic, international art and so on. It is difficult to understand where begins and where it ends Russian Avant-garde, he seems to be specific and imprecise. All refracted and reflected in the Russian Avant-garde. This shows the exceptional value of the phenomenon, its timeless and beyond the spatial values. That is, having a specific meaning, spatial and temporal framework, he seemed to penetrate beyond them.

I think that such speech was not, for connoisseurs of Russian avant-garde art to explain the significance and value of these works, however briefly!

http://terra-futura.com/index.php?op...view&id=76

And LA Mikhnevich-Burliuk was his brother.
  "The brother of my mother Ludmila Yosifovna Mikhnevich-Vladimir Osipovich Mikhnevich known columnist, newsman 80-90-ies, published together with Notovitch" News ", has donated one hundred thousand naosnovanie" Literary Fund 900 -ies, with the inscription: "References to work, pay the literature.
_____________________
D. Burliuk.


But VO Mikhnevich (1841-1899) has bought a plot on Aptekarsky island. It rapolagalis four wooden houses. In place of one of them faces the quay Karpovka, in 1904-1905 he was a stone built two storey house (now the street. Writers, 19).
Here since 1919, he lived until his death in the first winter of the siege in 1941 P. Filonov.
And the house number 10 on Sand Street settled himself VO Mikhnevich with his wife.
Following his wishes, in 1894 to build on the second floor.
In 1899, after the death of Mikhnevich and in accordance with his will, two-thirds of the land with wooden buildings became the property of the Literary Fund, and in 1904 the fund has bought from the widow of the remainder of the plot with the house number 10 on Pesochnaya street.
In October 1912, in this house, in the three-room apartment number 12, located on the second floor (entrance to the apartment. Was separate from the courtyard up the stairs) settled Mikhail Matyushin (1861 -1934) and his wife Elena Guro Genrichovna (1877-1913).

That's how Uncle D. Burlyuk was connected, indirectly, with the Russian avant-garde.:)

Third exhibition "Golden Fleece" (December 27, 1909 - January 31, 1910) consisted only of works of Russian artists, among which there are practically no modernists (left Riabushinskii, Chekhonin, Tarkhov and Ulyanov), but to Goncharova and Larionov joined by such prominent figures in the future as Mashkov, Falk, Kuprin and Konchalovsky. Rows of future innovators matured.
This exhibition "Golden Fleece" was the last, philanthropist Riabushinskii, the means of the same name which was published magazine and arranged these exhibitions, was ruined.
In 1910, the Moscow event should also note the one-day exhibition of Natalia Goncharova. This exhibition is arranged by some Society of Free Aesthetics only for its members and, ideally, would pass unnoticed, but the next day in the newspaper "Voice of Moscow appeared an anonymous article (it later emerged that the author was the famous B. Gilyarovsky), in which the artist was accused of spreading pornography.
The police came and arrested the three pictures (two are depicted ordinary a model, the third - a stone idol with a noticeable phallus). The case went to trial and ended with a December 22, 1910, when a magistrate ruled in favor of Goncharova on the basis that the pictures were shown at the exhibition closed, and therefore could not injure the masses. Only after this artist was able to rescue his paintings.

In the latest issue of "Golden Fleece" 1909, № 11-12 (which is due to financial difficulties emerged only in early 1910) was published a few important notes:
First, a review of Mikhail Larionov, "The newspaper critics in the role of the Vice Squad" for the arrest of three works Goncharova's "The Model with his hands behind his back," "The Model with hands on waist" and "God" on the one-day exhibition, which told the Qwerty.
Secondly, the article by Alexander Kuprin "Transforming the Moscow School of the Academy Zh.V.i Z.".
This article, or rather the events described in it were the impetus for a "Jack of Diamonds".
And it is a small preview of the exhibition, which took place in February 1910 in St. Petersburg:

Youth League
Ongoing exhibition under this name produces extremely slovenly impression. Of those participating in its Goncharova, Larionov and midges put things that were in the "Golden Fleece" and some others of which have issued the first "Migraine", while the second - "Shopgirl waters. These three - the center of the exhibition. In the works of other participants or print hopeless dilettantism (Evseev, Matthew, Spandikov, Shkolnik, Filonov), or far-fetched contrivances, like Bystrenina. There is no sincerity, frankness and wind is no work, shtudirovki. Viscous swamp unfounded smears, and unskillful contours, coarse triumph of the canvas and paints over the intentions of artists - that's disappointing at the exhibition "Youth Union".

Initiative Organization Society of Artists' Union of Youth "in E. Guro and M. Matiushin. The Union has outlined a broad field, and many managed to do: made several theatrical productions, has issued a number of books, published three issues of the magazine. During the four years of the Youth League made a 7 exhibitions: 5 in St. Petersburg, one in Riga and one - with Larionovskim "Donkey's tail" in Moscow. His exhibitions and debates have helped to unite the artistic vanguard of St. Petersburg and Moscow.
At the first exhibition of the Union of Youth "appeared and the first work of Pavel Filonov, who became one of its founding members.

Only scans download does not work: the site refuses to process the request because: "there is no security token." What could it mean?