Burliuk was the head of which poetic group. Personal editions of David Burliuk
The creative expansion of Russian futurists, which reached the peak of its activity at the beginning of the 20th century, did not bypass practically any area of art, and it is unlikely that this avant-garde movement would have received such wide popularity if David Davidovich Burliuk, a brilliant nugget from deaf rural hinterland.
The “first futurist” of Russia was born on July 9 (21), 1882, in a large family that constantly changed its place of residence, which is probably why Burliuk adhered to this “tradition” throughout his life, and the geography of his travels covered both the borders of the Russian Empire and countries near and far abroad. At the time of the birth of David, the Burliuk family lived on the Semirotovshchina farm in the Kharkov province (now the Sumy region).
In Sumy, Tambov, and Tver, cities alternately chosen by the family for residence, David received a gymnasium education, and he studied painting at the Kazan Art School (1898-99), then at the Odessa Art School (1899-1901, 1909-11), where he received his diploma.
In 1902, after an unsuccessful attempt to become a student of the Academy of Arts, Burliuk went to Munich to the Royal Academy of Arts, then attended the school of A. Ashbe, and in 1904. begins training in the workshop of F. Cormon in Paris.
The time spent by Burliuk in Munich and Paris coincided with the period when the painting of key European centers culture experienced a powerful transformation under the influence of new discoveries, and the "greedy" for everything new artist had the opportunity "first hand" to get acquainted with avant-garde trends.
Seems to be young Russian art, “languished” in anticipation of an extraordinary personality capable of organizing and leading an advanced artistic society, and Burliuk, who returned to Russia in 1907, most suited the role of such a “messiah”.
Studying at MUZhVZ (1910-14) gave the artist a lot, as in terms of art education, and acquaintance with the same progressively thinking talents - V. Mayakovsky, V. Khlebnikov, N. Guro; among a complex group of bright individuals, his leadership and authority were absolute. Thanks to the direct participation of Burliuk, the association of painters "Jack of Diamonds" (1910) was created and became popular. The artists of this group did not perceive academicism and realism, focusing more on cubism and post-impressionism, and a little later they introduced elements of national color into these areas, combining them with folk art. Following its outrageous "line", the appropriate name was chosen for the association - "Donkey Tail".
Burliuk's thoughts about a creative association that would promote a new national art, led to the creation in 1908 of the futuristic group "Gilea", but they officially heard about it in 1910. Subsequently, the members of the association began to be called cubo-futurists.
Promoting cubism in painting, Burliuk considered it his duty to convey the ideals of the new art to the outskirts of Russia, and in 1913-1914. a kind of "propaganda team", which included V. Mayakovsky and V. Kamensky, visited 27 cities of the empire. Lecture activity cost the artist deductions from MUZhVZ.
In 1915, the Ufa province became Burliuk's new place of residence, where he continued to engage in lecture activities, while painting paintings, some of which were attributed by critics to examples of Russian art.
After visiting Moscow in 1918, almost getting shot with anarchists, the artist returns to Bashkiria, and from there he goes on another tour of the cities of the Urals and Siberia; in 1920-1922 lives in Japan, where, in parallel with creativity, he studies the art and customs of the East. Thanks to hard work(about 300 works were created), Burliuk gets the financial opportunity to move to America, and from 1922 he becomes a resident of the New World, having successfully assimilated into society, and spending the rest of his days here.
In the USA the rhythm creative life Burliuk remains the same - painting, literature, exhibitions, publishing activities. The artist does not forget about his real homeland, his works participate in exhibitions of Soviet painters.
The advancing years did not affect Burliuk's performance, in the 1960s he visited Australia, where his works were exhibited, after which he went to the Czech Republic and Italy.
In an effort to confirm his eccentricity not only in creativity, but also in life, or rather, after it, Burliuk bequeathed to cremate his body, and scatter the ashes over the waters of the Atlantic, which was done after his death on January 15, 1967. Hampton Bays, New York.
Paintings by artist David Burliuk.
An attempt at a not-so-serious study
And yet - was David Burliuk a Jew? - acquaintances and friends often ask me when they find out that I am researching the work of the "father of Russian futurism", more precisely, all of his amazing creative family. Well, how can a person with the name David Davidovich be a representative of any other nationality?
“My entry in 1894 into the second grade of a classical gymnasium in the city of Sumy, Kharkov province, immediately gave me the nickname “artist” among the butuzes and naughty class. I don’t mention that David also suffered from them for his “Jewish” name, ”Burliuk wrote in his autobiographical book"Fragments from the Memoirs of a Futurist".
What is there David - relatives and friends called Burliuk Dodichka! Let's take, for example, a fragment from Benedikt Livshits' "One and a half-eyed archer" - from his memoirs of his stay in Chernyanka in the winter of 1911:
“Five days later, after our arrival, Lyudmila Iosifovna recalls me to a far corner ( mother of David Burliuk - approx. author). For some reason, it has great confidence in me and, with tears in its voice, asks me: - Tell me, is all this serious? Didn't Dodichka and Volodichka go too far this time? After all, what they started now, goes beyond all boundaries.
I comfort her. This is completely serious. This is absolutely essential. There is currently no other way and cannot be.
No other than Dodichka called Burliuk and Mayakovsky. Here is a fragment from the memoirs of Mayakovsky Maria Nikiforovna, Marusya Burliuk, the wife of our hero:
“1911, the month of September. Moscow, dusty and tired from the hot summer, met me upon arrival from Yalta with early autumn rains.
In mid-September, Burliuk came to study. In order not to get cold under open sky, I was expecting Burliuk from evening drawing at the entrance of the post office; it was warm there, behind the glass doors that swallowed up crowds of people.
Vladimir Vladimirovich Mayakovsky, who at that time already called Burliuk “Dodichka”, in those evenings often walked with us along the boulevards through Trubnaya Square to Tverskaya and here pressed his black stern eyes to the glass of the shop window with evening telegrams silently screaming about autumn thaws, about snow drifts, through thin information about abroad.
Shemshurin, Burliuk, Mayakovsky
Or let's take, for example, Mayakovsky's letter to Burliuk, then already living in America:
Dear Dodichka!
I take this opportunity to greet you.
I send books.
If you send me a visa, I'll be in New York in two or three months.
My address: Berlin, Kurfürstenstrasse, 105, Kurfürstenhotel, or Moscow, Izvestia, or Lubyansky proezd, d. No. 3, apt. 12, or Vodopyany per., d. No. 3, apt. 4 (Moscow).
I hug you and your entire family.
Kiss you.
Yours V. Mayakovsky
“This is Dodya Burliuk,” Nikolai Aseev ends his essay on Burliuk “October in the Far East”.
Actually, Burliuk himself also called his eldest son David from childhood Dodik, Dodichka.
When did Burliuk get this Odessa Dodya, Dodichka? Perhaps it was in our city, where he first came to study in 1900?
“The second winter in Kazan (1901-1902),” writes Burliuk in his memoirs. “The previous winter, which was the second in my life devoted to the palette and brushes, I spent in Odessa. My parent, having received a place in the south, on an estate near the Dnieper, advised me not to go so far, but to transfer to the Odessa Art School. I obeyed. Went to Odessa. I lived then in Odessa “dusty” ... I settled in house number 9 on Preobrazhenskaya Street just obliquely from the school.
Indeed, there was something in Burliuk's behavior that is naturally inherent in Jews. For example, a commercial vein. Here is what, for example, he himself writes in his memoirs: “In 1915 he settled at the Iglino station near Ufa. 1916, 17 years there: painted a lot - more than 200 paintings. He supplied hay to the army. He was a "model" supplier.
And yet - a pronounced paternal instinct. Always and everywhere he tried to arrange the life of his family, and not only family - friends. The "father of Russian futurism" really showed paternal feelings for his closest associates. Let's give the floor to the same Benedikt Livshits:
“... All the more strange and unexpected were his words:
Baby, let's go with me to Chernyanka!
I was in my twenty-fifth year, and even my parents had not called me that for fifteen years.
Burliuk ran around with Khlebnikov. Helped Mayakovsky. “I always think of David with love. A wonderful friend. My actual teacher. Burliuk made me a poet. He read French and German to me. Shoved books. Walked and talked endlessly. He didn't let go a single step. He gave out 50 kopecks daily. To write without starving. For Christmas I brought him to Novaya Mayachka. He brought the “Port” and something else, ”Mayakovsky recalled.
Stop. Christmas... Our theory crumbles like a house of cards. So who was Burliuk?
When trying to answer this seemingly simple question, we come across a whole array of conflicting information. Moreover, often this information is presented deliberately biased. To establish the truth the best way there will be an appeal to archival data and memoirs of the artist himself.
“While I am writing in Russian, and then, perhaps, in my native Ukrainian language I will pass.<…>Ukraine ... was and remains my homeland. There are the bones of my ancestors. Free Cossacks, who fought for the glory of strength and freedom,” writes David Davidovich in his autobiographical Fragments from the Memoirs of a Futurist. And further: “Grandfather Fyodor Vasilyevich was of a cool disposition. He was angry with my father, David Fedorovich, that he married a city ...<…>He grumbled, and he himself led his three sons (David, Yegor, Evstratiy) and daughters (Vera, Tatyana, Anyuta, Maryana) through the universities ...
Father and mother, living on a farm, decided to lead a working lifestyle. The fragile mother (born Lyudmila Iosifovna Mikhnevich, from Romen, and earlier from Nizhyn) fell ill, tearing her back.
The nest of Burliuks was in Ryabushki. Great-grandfather Vasily laid it down during the Napoleonic invasion. A descendant of the free Cossacks, who never knew serfdom, was engaged in bees.
<…>On the paternal side - Ukrainian Cossacks, descendants of the Cossacks. Our street nickname is "Pisarchuks". We were clerks of "Zaporozhye Viysk"... In our family on the paternal side, only my father's generation went to study regularly in secondary and higher schools. It's off the ground."
“Heredity and suggestion ... The brother of my mother Lyudmila Iosifovna Mikhnevich - Vladimir Osipovich Mikhnevich, a well-known feuilletonist, newspaperman of the 80-90s, published Novosti together with Notovich ... My uncle, the writer, studied at the Academy of Arts, but due to myopia I abandoned art (I inherited from him a passion for the pen and is short-sighted himself).
David Burliuk, 1950
David Davidovich liked to describe his life and the history of his family and did it many times. And after the first meeting after forty years of parting with her sister Lyudmila - this happened in Prague in the autumn of 1967 - she was asked to write down the history of the Burliuk family. These memoirs under the title "Fragments of a Family Chronicle" were published in the 48th issue of the Color & Rhyme magazine published by David and Marusya in America.
But first, let's again give the floor to the master himself. In his autobiographical summary “The Ladder of My Years”, written down from his words by his faithful companion Maria Nikiforovna, he says:
“The entire village of Ryabushki, where the Burliuk family lived and lives, consists of numerous offspring of the same surname. We don't have family members.
Our other (not recorded) “nickname” is “clerks”, for our ancestors were clerks of the Zaporizhzhya free army.<…>My mother, Lyudmila Iosifovna, came from the Polish family of Mikhnevich. The gentry is arrogant and fashionista. Pole - boastful, slightly superficial, but not without subtlety. My uncle Mikhnevich Vl. Ios. - was a notorious feuilletonist of the 90s.
David Burliuk, Portrait of Moses Sawyer
And in the typewritten manuscript "My stay at the Kazan Art School", published in Nobert Evdaev's book "David Burliuk in America", he writes about his father like this:
“... but with my mother, the same “everything is for children” like the good-natured father, the giant Cossack, from Repin’s painting that he sits naked on a barrel ... this is “my father’s spitting image”, if reading these lines a desire visually in front of you to have the image of the parent of a young amateur who decided to become in no time, with the help of the Kazan Art School, a specialist professional artist - a maestro - damn it.
And here is the data from the State Archive of the Odessa region. Among the files of the Odessa Art School (fund 368, inventory 1, item 216) there is a fragment of the personal file of David Burliuk, from which it follows that he, the son of a tradesman (private soldier) of the Kherson province, Orthodox faith, was admitted on September 1, 1900 to the exam in the III class and, according to the results of the exam, was admitted to the III class. He studied at 3 and 4, missed 17 classes, was transferred to grade IV and dropped out on March 24 (May?) with the issuance of a certificate for No. 58.
It would seem that everything is clear. David Davidovich - a direct descendant of the Zaporozhye Cossacks, Ukrainian, Orthodox. True, maternal kinship makes one think, but Burliuk himself wrote that his mother comes from "the Polish gentry." Vladimir Osipovich Mikhnevich lived in St. Petersburg - there was no question of any Pale of Settlement. Yes, and last name this case not an indicator - for example, the full namesake Joseph Grigorievich Mikhnevich (1809-1885) was a theologian, historian, philosopher, graduated from the Kyiv Theological Academy and was a professor there before he moved to the Odessa Richelieu Lyceum.
But it was not there. It turns out that Burliuk was a descendant of the Mongol conquerors! Let's give the floor to Lyudmila Kuznetsova-Burliuk:
“My father’s ancestors were from the Crimea, descendants of Batu Khan. The Burliuks were distinguished by their great stature, they carried salt from the distant Crimea and were engaged in livestock trading, protecting it from robbers, for which they required keen eye and tireless feet. Endless steppe, feather grass...
In the 17th century, one of the Burliuks with his henchmen, Pisarchuk and Rya-bushka, left the village of "Burliuk" ( Blooming garden) on the Alma River in the Crimea. The settlers settled in a long and cozy gully with flooded livades (meadow) in Lebedinsky district and the village became known as "Ryabushki" - after the older settler. In the Crimea, on the mentioned river Alma, under the Soviet regime, a collective farm was founded, bearing the name "Burliuk".
Under Catherine II, these newcomers, free people, were offered service in the tsarist army, for which they were promised nobility in exchange. The Cossacks rejected the deal and remained free without the nobility.
<…>Great-grandfather Vasily lived out his life. In the surviving photograph, he is a very old man, over 90 years old, sitting by round table covered with carpet. His hand with long fingers hangs from the table, a pillar-shaped bald head, tufts of gray hair near the ears, a flattened nose, sparse beards and mustaches ... His origin from Batu Khan is felt in his whole appearance.
And here is what Lyudmila writes about her maternal ancestors:
“Mother Lyudmila Iosifovna Mikhnevich was born on New Year 1861. She was born in the year of the liberation of the peasants from serfdom; she treated the liberation of the peasants ironically. Mother's parents lived in Romny, Poltava province. Father was a Russified Pole, a nobleman, a lawyer by profession; had a private practice. Grandmother Maria Volyanskaya, from an impoverished semi-Polish family, was the second wife. Parents in Romny had a house. As my mother said: the family spoke Russian and studied in Russian educational institutions.
And a little more about the parents:
“Our father married in 1881 Lyudmila I. Mikhnevich in the city of Rom-nah.<…>Marriage to Lyudmila Mikhnevich, a girl six years younger than him, brought happiness. Cheerful, lively, with a tender heart, fanned by the progressive ideas of that time, the young woman helped her husband in his constant striving for self-education and culture. She read to him Chernyshevsky, Belinsky, Dobrolyubov, Herzen and was especially fond of Nekrasov, Pomyalovsky and the raznochintsy writers, whose contemporary she was (Gleb Uspensky, Yakushkin).
The young people settled in Semiro-Tovshchina, allocated by the old Burliuk, where in 1882, on July 22, at 5 pm, the first-born was born, the future Father of Russian Futurism, named after the parent David House.
History takes unexpected turn, is not it? Perhaps, indeed, the Burliuks are the descendants of the descendants of the noble Tatars, or rather, the Mongols who moved into the Zaporozhian Sich?
Did Burliuk, a lover of outrageousness, ask his sister to write down a story about Batu that he himself invented (the similarity between the aged great-grandfather Vasily and Batu Khan is especially touching), or is this really a family legend? This we will never know. However, there are hard facts. Indeed, the Burlyuk winery is still located in the village of Kashtany, Bakhchisaray district in Crimea, and is not just located, but “supplies wine materials to the Inkerman Vintage Wine Factory, ZShV” New World”, “Artyomovsk plant of sparkling wines”, “Koktebel”, Kharkov plant of sparkling wines, Sevastopol winery and others” and produces a wonderful Cahors “Burliuk”. And Burliuk repeatedly mentions the Crimean village in his book “ Crimean War» Evgeny Viktorovich Tarle. And this is not surprising - it was on the Alma River near the village of Burliuk that the Russian and allied Anglo-French armies met on September 8, 1854 - almost one hundred thousand people. The Russian troops were then defeated. And for the first time the village of Burliuk is mentioned in documents Crimean Khanate back in 1621. After the formation of the Tauride region on February 8, 1784, Burliuk was included in the Simferopol district.
According to the Vedomosti about all settlements, in the Simferopol district in 1684 in Burliuk there were 36 households, in which 207 Crimean Tatars and 7 gypsies lived, and the lands belonged to the lieutenant of the Black Sea Fleet Mavromikhali. The maximum value of the number of inhabitants - over 750, reached before the Great Patriotic War, but soon after the liberation, the villagers - Crimean Tatars were deported to Central Asia, and the village itself was renamed Vilino. In the early 1960s, the village of Krasnoarmeiskoye (former Alma-Tarkhan), located on the eastern side, was attached to Vilino.
Why is there a village - in Crimea today there is Mount Burliuk (913 meters high) and the Burliuk River - the right tributary of the Kuchuk-Karasu River. By the way, the Burlyuk River exists today in the Orenburg region - a tributary of the Salmysh, the Ural River basin. Not far from the capital of the Golden Horde, built in the 13th century by Batu, the city of Sarai-Batu.
An interesting attempt to decipher the word "Burliuk" itself. As the omniscient Internet writes, “folk etymology” connects it with the Crimean Tatar word bur- "kidney". In this case, the word formed with the -lük affix burluk can be translated as "something with kidneys", "a place or object on which there are kidneys".
And here is another version: “The surname is Crimean (Tatar in form - Burliuk is directly related to the ancient common Aryan word bur - rotation. Burulma is a bend in the river, Burliuk is twisted, located in the bend of the river). Translated from the Turkic "burma" - twisted.
If everything is so, then the paternal ancestors of the “father of Russian futurism” were once Muslims - after all, the village of Burliuk was purely Tatar, there were no churches in it, but, of course, there was a mosque.
And here is an excerpt from an article in the "Newspaper in Ukrainian". The article is called: "David Burliuk considered himself a descendant of Batu Khan." And further down the line:
“His ancestors allegedly lived in the village of Burlyuk (now Kashtany) near Bakhchisaray in the Crimea and traded cattle. Currently, only the local winery has retained its former name. By family legend, one of the artist's great-great-grandfathers was captured by the Cossacks and became their clerk. When, after the destruction of the Sich, he settled in Slobozhanshchina, in the village of Ryabushki, the Burliuks were street-style called Scribes. Local historian Alexander Kapitonenko investigated the genealogy of Burliuk up to the khans of the Golden Horde - Batu and Mengu-Timur. It is known that one of the ten sons of the latter was named Burliuk. The clerks still live in Ryabushki in the Lebedyn region.”
Interestingly, in one of the enthusiastic articles dedicated to the first solo exhibition of David Davidovich in New York in 1924 and published in the World of New York magazine, it was said: “Burliuk, who founded the futurist movement in Russia, demonstrated the language of speed, showing is an image of the Tatar Khan in an extravagant waistcoat and one earring in his ear.
So, everything seems to be clear. Our hero is a descendant of the Tatar-Mongols who moved to the Zaporizhzhya Sich and gradually became real Cossacks. On the paternal side, all questions have been removed.
It wasn't here! I've come across this on the internet:
"David Burliuk was born on July 21, 1882 in the Pale of Settlement, on the farm Semirotovshchina of the Kharkov province (modern Sumy region) in a wealthy Jewish family." And then the comment: "Of course, the Crimean Jew could well have been a clerk and translator for the Cossacks."
Is it possible?
It turns out it's quite possible. Back in the 1930s, the famous Odessa historian Saul Yakovlevich Borovoy discovered A.A. The Skalkovsky archive of the Zaporizhzhya Sich has many documents in Hebrew. These documents even formed the basis of Saul Yakovlevich's doctoral dissertation. The proportion of the Jewish population among the Cossacks was so significant that in a number of cases they acted as separate Jewish-Cossack detachments.
And here is another small fragment from the memoirs of Lyudmila Kuznetsova-Burliuk - an episode from the childhood of David Davidovich:
“Dodya ran after the retreating britzka. My father was driving a horse, my mother was sitting next to me. The britzka had already disappeared from sight, and the boy continued to run for the fourth verst. His round cheeks burned, stubbornness shone in his eyes. Tired, sobbing, the child sat down by the road next to a bush of sagebrush. The fresh track was flooded with water - it had rained the day before; the earth torn apart by wheels was black and greasy; the road skirted a field of flowering buckwheat... The scent of the plants was carried away by the blowing wind. Sighing, Dodya trudged back. The sound of wheels made the boy turn around. Grandfather is in Mazhar.”
And again "Dodya" ... Okay, let's say it's just a diminutive. Well, Burliuk has no Jewish blood. We drove.
However... The famous Jack of Diamonds artist Aristarkh Lentulov met and became friends with Vladimir Burliuk while studying at the Penza Art College. This acquaintance grew into friendship with the entire Burliuk family. In the summer of 1910 he lived and worked in Chernyanka. In the museum of V.V. Mayakovsky in Moscow, a recording of the conversation of the literary critic V.O. Pertsova with Aristarkh Lentulov about Vladimir Mayakovsky, which took place on January 6, 1939. Lentulov also talks about Burliuk. Here is a snippet of that conversation:
Pertsov: The most striking figure was David?
Lentulov: After all, “Burlyuks” are already like “impressionists”, this is a collective name and a common noun.
Pertsov: Did he have a kindred feeling?
Lentulov: Yes, yes! These are such family people, this is such a Russian, intelligently ornate something, not even quite intelligent, but these are some kind of raznochintsy who have come off something and have not stuck to something. Father was the manager of Count Mordvinov. I was visiting them, visiting them. These are real Ukrainians, although the mother is Jewish.
Mother was a very smart and intelligent woman and a very pleasant person - Maria Davidovna, it seems. An amazingly thin person, a very pleasant, hospitable, magnificent lady, already in a landowner's way - all this good nature moved into her, and energetic, on the other hand. So it's a mixture of mind, culture and some efficiency.
Father, who got money quite easily, he received a huge salary for that time.
One could consider Lentulov's phrase about Lyudmila Iosifovna's Jewishness a mistake - especially since he even mixed up her name. But… While researching the biography of Lyudmila Kuznetsova-Burliuk, I had a chance to repeatedly visit that Prague house where she lived for the last twelve years. happy years own life. Communication with the daughter-in-law and granddaughter of Marianna Burliuk, younger sister David Davidovich - Olga Fialova and Itka Mendeova - gave a lot of interesting information, among which, quite unexpectedly, the "Jewish line" appeared.
Vaclav Fiala. Portrait of David Burliuk
Marianna's husband, the Czech artist Vaclav Fiala, with whom Burliuk met in Vladivostok in August 1919, during the first visit of Burliuk with Marusya to Prague in 1957, executed it famous portrait, replicated later on postcards. In this portrait, David Davidovich is depicted in a headdress that surprisingly resembles a kippah, or yarmulke. Olga Fialova says that this is no coincidence. Arriving in America, Burliuk suddenly realized that his Russian and even Japanese fame had not “reached” America and, in fact, no one really needed him. He writes about this in his memoirs and poems written in the mid-20s. For example, in the poem "I am a beggar in the city of New York." And here are a few lines from the poem "In the apartments of the rich - no one":
In the apartments of the rich - no one!
But in the meadow I make friends with stumps,
With a cheerful onion, with the lightest moth;
I am their stubborn interlocutor.
Over the years I have become smarter, over the years I know with whom to talk
Like a stone with Kemi
I wander around the city like a hermit.
Here loneliness with a huge letter
On signs, on each of the paving slabs Inscribed.
Having understood the environment of the Russian emigration, David Burliuk realized that this was basically an extremely anti-Soviet audience. At the same time, David Davidovich himself tried all his life to be friends with Soviet Union and praised Soviet power. There was only one thing left - to be friends with our emigrants of Jewish nationality. Moreover, the "Russian" Jews were for the most part leftists, and many generally adhered to communist beliefs. And then Burliuk "became a Jew." Still, David Davidovich ...
Interesting story, isn't it?
How much truth is there in it? Let us turn again to the memoirs of David Davidovich.
Here are lines from his notes:
“Me and Marusya with our two young sons, by the grace of fate, ended up in the USA, on the crazy Manhattan cliff in New York on September 8, 1922 - without money, acquaintances and ... language, since I knew only ancient languages, French, German and conversational Japanese.
Our boys, David and Nikisha, went to school under the supervision and guidance of their mother, and I began to look for a crust of bread. A few days later I found out that my Gauguin-type paintings, brought from the islands of the Great Ocean to the USA, are of no interest to anyone, they have no price. The "Russian population" of New York 45 years ago was small. Four newspapers were published: two of a pro-Soviet direction, others clearly hostile to the Soviet system, serving the fragments of the aristocracy that fled here, with the remnants of wealth brought here across the ocean.
I myself couldn’t find a permanent job in workers’ organizations, but I began to earn “something” every week: by lecturing workers about life, affairs and construction in Lenin’s country, which helped to drive the wolf away from our family hearth for a while.
In addition to a purely Russian colony - workers and peasants - in New York 45 years ago there was a huge contingent of Russian-Jewish immigration, among which the still not forgotten Russian speech sounded. Two huge newspapers, Freigeit and Vorvertz, united these immigrants from Russia. The first organ of the Communist Party of the USA - headed by the leader-idealist of the old Russian brand Moses Olgin (Dr. Klumak was in charge of the arts department). Moses Olgin, Minna Harkavy, Dr. Klumak gave me some support at first. After 2 and a half years, the “Russian poet-journalist V.V. Mayakovsky, as he was then advertised, was brought to the USA by Amtorg (Soviet trade representative G. Reht), and his tours here were organized by the Jewish newspaper Freigayt.
Of particular note is our close friendship of many years with the colleague of the Daily Worker, Michael Gold, author of the book Jews Without Money (married to Liza, Stanislavsky's great-niece). The workers don't buy my paintings. In 1942, Michael Gold published, it seems, in three issues of the Daily Worker, articles about Burliuk and Mayakovsky, which improved our financial situation.
By the way, it was Michael Gold who was the first journalist who interviewed Mayakovsky immediately upon his arrival in the United States.
Jewish organizations began to help Burliuk with the organization of exhibitions, Jewish newspapers began to publish his articles. For many years - from 1922 to 1940, David Burliuk worked in the newspaper "Russian Voice", chief editor which David Zakharovich Krinken, and then Alexander Brailovsky. His articles and drawings were published in the Novy Mir newspaper. Burliuk wrote reports on visiting the camp for Jewish workers and their children "Nit Gedayge", where he lectured on modern Russian literature, culture and science. They wrote to Paris to their good friend N.N. Evreinov:
“2 Russian newspapers and 1 (large - 200,000) are waiting for articles about you. For the latter, my article will be translated into the language of the children of Israel, which they use today. It is popular in working circles "Freiheit" (not harmful to the USSR). Write an article in 2 copies.
When Mayakovsky arrived in America in the summer of 1925, most he spent time with Burliuk in the Jewish quarters of New York, communicating with representatives of radical Jewish circles. Of course, David Davidovich shared his already established connections. The Jewish Communist newspaper Freigait not only organized public performance Mayakovsky, not only printed interviews with him and enthusiastic articles about his work, but even published several of his poems, written already in America, translated into Yiddish. Over the weekend, Mayakovsky and Burliuk went to the Nit Gedeige country camp, owned by the newspaper Freigait, located 60 kilometers north of New York. Ellie Jones also went with them, with whom the “poet of the revolution” began an affair, the happy fruit of which was the daughter of Vladimir Mayakovsky, Patricia Thompson, who lives today in New York. In the cycle “Poems about America”, which Vladimir Vladimirovich published after returning from the USA, there is a poem “Kemp “Nit Gedaige”, which begins like this: “It would be completely forbidden for the scoundrel night to release so many star stings from its mouth. I'm lying - a tent in the camp "Nit Gedaige" ... "
It was in "Nit Gedaig" that Mayakovsky and Burliuk painted Ellie together, as they once did Maria Denisova in Odessa. Patricia has a portrait by Burliuk today, reproduced in her book Mayakovsky in Manhattan, which she kindly gave me.
Actually, Burliuk had many friends among the Jews in America. These are the artists Abram Manevich, Rafael and Moses Soyers, Boris Anisfeld, Max Weber, Chaim Gross, Abraham Volkovits, Naum Chakbasov, Luis Lozovik - he even wrote an article about Burliuk in the 33rd issue of the Color and Rhyme magazine published by David and Marusya. The Sawyer brothers (Rafael and Moses), Chaim Gross, Ben Weiss and Joseph Foster always tried to draw the attention of their friends, art lovers to Burliuk's painting, in order to help sell them his work at that difficult time. Burliuk and Moses Sawyer painted portraits of each other, and not only - David Davidovich even composed the poem "The Sawyer Brothers" in 1941. Lucy Manevich, daughter famous artist, a friend of Burliuk Abraham Manevich, in the newspaper "Russian Voice" dated May 3, 1930, she even published an article "Vladimir Mayakovsky in Long Island", which tells how David and Marusya Burliuk brought Vladimir Mayakovsky to visit them.
And the gallery owner Ella Jaffe was considered by the Burliuks as an adopted daughter. Here is what the Burliuks write to their "spiritual son" N.A. Nikiforov in Tambov on July 14, 1961:
"Mis Ella Jaffe. Her address is USA. You want to be familiar with your sister Mis Ella Jaffe. Ella Jaffe - she has two children - sons, 20 goes to the sea. academy and 16. She is very intellectual. Interested in literature, collects books.
Since 1959, in friendship with us, our daughter. Your sister. You can write to her in English. She is very devoted to the art of Burliuk, believes in him, and now, with the help of a friend, she has collected a large call. my works by buying them from me, Marusya, at the ASA gallery and from private individuals.
<…>Mom is calling us. Our close friend (Jewish) Ella Yaffe (Jaffe) is now under our influence… Selflessly working for the name of Burliuk.”
George Constant and David Burliuk in New York
Gradually, a group of intellectual artists gathered around Burliuk - David Davidovich attracted him with his erudition and sociability. In October 1941, the Burliuks bought a house in Hampton Bay on Long Island, near New York, and in 1956 they finally settled there. Burliuk became the leader of the Hampton Bays group, which included Rafael and Moses Sawyer, Nikolai Tsikovsky, John Graham, Milton Avery, Archil Gorky, George Constant.
Moses Sawyer, 1942, Photo by Alfredo Valente
And here is another interesting detail told by the Prague heirs of the youngest of the Burliuk sisters. Arriving in Prague in 1957, David Davidovich continued to pretend to be a Jew. When Vaclav Fiala arranged a gala dinner in the Writers' Club in honor of his arrival, Burliuk took a long time choosing kosher dishes from the menu. At the same time, he ate everything at home and did not observe Jewish traditions.
An interesting detail - when the grandchildren of Lyudmila Kuznetsova first came to Czechoslovakia, to the house of Fiala-Burliuk - it was almost immediately after the death of Lyudmila Davidovna, the first question they asked was the question of David Davidovich's Jewishness. Perhaps they were looking for ways and opportunities to leave the USSR.
Well, reader, have I not yet tired you of the national question? Looks like it's time to end.
All our "Jewish research" is shattered by one small fact, cited by Nobert Evdaev in the book "David Burliuk in America", which we have already quoted earlier. And here's the fact:
“As soon as the Burliuks moved to Hampton Bay, they immediately set off in search of a church where the family could find spiritual refuge, and in addition, they sought to quickly join the local community. The Burliuks found such an episcopal church half an hour's walk from the house and, according to Ellen de Pazzi, very loved one Burlyuks, every Sunday, in any weather, they got to the church on foot and did not miss a single service, with the exception of two or three months a year, when they went to Florida for the winter season or on a long trip.
The Burliuks were very active parishioners and participated in all the events held by the church. When Ellen de Pazzi and her husband arrived from Argentina in Hampton Bays, an elderly couple soon knocked on the door and, posing as representatives from the church, presented a bottle of wine and a small picture as a gift to the new neighbors. They were David and Marusya Burliuks. They extended an invitation to meet with the bishop and parishioners.”
And Maria Nikiforovna herself wrote to N.A. Nikiforov on July 25, 1957: “On July 21, Burliuk and I visited our church (on May 26, 1946, Dodik got married in it, and after that our 4 grandchildren were baptized.<…>Dad sings all the prayers and looks at the order of the service from the book. In the same Episcopal Church, on January 18, 1967, David Burliuk was buried ...
And yet, David Davidovich Burliuk is a real futurist. True left. A descendant of the Tatar-Mongol conquerors and the Zaporozhian Cossacks, Orthodox - he went to the Episcopal, Protestant Church, the most progressive of all churches, of which Catherine Shorey is now the presiding bishop - the first female primate in the Anglican Communion!
In the end - what's the difference? After all, not only housing - the national question can spoil people to a much greater extent. David Burliuk, like a real futurist, was a man of the future. A future where nationality doesn't matter.
In 2005, the Moscow publishing house "Russian Village" published compiled by L.A. Seleznev collection "Interesting meetings". It contains articles and memoirs of David Burliuk, published by him in the Far Eastern press in the period from 1919 to 1922. The collection also contains Burliuk's essay on Sologub, which is very interesting in the light of the topic we are considering. Here are excerpts from the essay:
« <…>I visited Sologub in 1915.
This time was marked by a sensational speech about the equality of Jews in Russia; this speech was signed by Gorky, Sologub and Andreev.
I have never understood anti-Semite phobia as something that can be taken as the basis of state legislation.
The Jewish question in Russia, pre-revolutionary, monarchist Russia, I, personally for myself, judged as something inseparable from overall structure misunderstandings and shortcomings of the state system.
In Russia at that time, and especially in Russia that had been at war for a whole year, I saw so many troubles and sorrows that the troubles and sorrows Jewish people seemed to me to be just links in one unbroken chain.
It even seemed unfair to me to sharply fix the attention of society on a question that, of course, would disappear immediately and of itself, as soon as a fair clause on the equality of all without exception before the law and on the abolition of privileges was introduced into the state order.
On the evening described, Sologub held an emergency meeting on the Jewish question. We were sitting in the dining room when, having finished it, Fyodor Kuzmich came out to us.
I did not dare to tell Sologub frankly my point of view, it could have seemed to him at that time a disguised Judeophobic position.
Also on this occasion, I had to refuse to appear in the press, because my appeal would be considered as a desire to delay and delay the moment when the Jews receive equality in Russia.
It is interesting that Leonid Seleznev, the compiler of the collection himself, who, when reading the comments, can hardly be reproached for being Judaizers, writes: “David Burliuk, in whom there was a particle of Jewish blood on the maternal side, was never either a Russophobe or a Judophile.”
In 1932, on the occasion of David Davidovich's fiftieth birthday, "Maria Burliuk Publishing House" published the collection "1/2 century". At the top of the title there is an inscription: "Father of Russian Soviet Futurism." One of the reviews in the section "Contemporaries about David Burliuk" attracted my attention. Nat Inber, Vera Inber's first husband, wrote: “David Burliuk's right eye is ingenuously oriental, the left eye is cunningly western; right from the clumsy Slavic violence, left from Europe, from culture, from skepticism, from Giotto, from Renoir, from Mallarme.
And indeed it is. Although, given that the left eye was artificial ... And yet, with the right eye looking to the east, through this very East, David Burliuk got to the West.
And a few more thoughts about the Russian-Ukrainian roots of our hero. It is known that the Ukrainian theme is present in the works of David Davidovich - this is a portrait of Taras Shevchenko, and "Cossack Mamai" ... When in 2009 an exhibition of Burliuk opened at the Kiev Museum of Russian Art, it was called: "David Burliuk. Ukrainian father of Russian futurism. And this "Russian" or "Russian" futurism contains a huge collision. At one time, having started a series of articles about the Burliuks, I shared them with the outstanding Ukrainian art critic Dmitry Emelyanovich Gorbachev. He drew my attention to the fact that Burliuk himself called himself the father of "Russian" futurism, without limiting himself to purely "Russian". At one time, Burliuk, who had despaired of exhibiting in Moscow, wrote to D.I. A postcard to Gorbachev, in which he proposed to make an exhibition in Ukraine - "to spite the Muscovites." And indeed - the posters of the Siberian Tour, and on the covers of the magazines Color and Rhyme, and in the titles of the collections published by Burliuk and Marusya, the word "Russian" appears. And at the same time - in 1914 in Moscow, with the active participation of Burliuk, the "First Journal of RUSSIAN Futurists" was published. Did David Davidovich himself attach any importance to this? Who knows…
Born David Davidovich Burliuk (July 9 (21), 1882, Semirotovka farm, Lebedinsky district, Kharkov province (now Sumy region of Ukraine) - January 15, 1967, Hampton Bay, Long Island, New York, USA) - Russian poet and artist Ukrainian origin, one of the founders of Russian futurism. Brother of Vladimir and Nikolai Burliukov.
Born on July 9 (21), 1882 in the family of self-taught agronomist David Davidovich Burliuk. He had two brothers and three sisters - Vladimir, Nikolai, Lyudmila, Marianna and Nadezhda. Vladimir and Lyudmila were artists, Nikolai was a poet. They were also members of the Futurist movement.
He studied at the Alexander Gymnasium in Sumy. In childhood brother accidentally took David's eye out while playing with a toy gun. Subsequently, he went with a glass eye, this became part of his style.
In 1898-1910 he studied at the Kazan and Odessa art schools. He made his debut in print in 1899. He studied painting in Germany, in Munich, at the "Royal Academy" with Professor Willy Dietz and with the Slovene Anton Ashbe and in France, in Paris, at the Cormon School of Fine Arts.
Returning to Russia, in 1907-1908 Burliuk made friends with left-wing artists and participated in art exhibitions. In 1911-1914 he studied with V. V. Mayakovsky at the Moscow School of Painting, Sculpture and Architecture. Member of the futuristic collections "Judges' Garden", "Slap in the face of public taste", etc.
During the First World War, Burliuk was not subject to conscription, since he did not have a left eye. He lived in Moscow, published poetry, collaborated in newspapers, painted pictures.
In the spring of 1915, Burliuk found himself in the Ufa province (station Iglino Samara-Zlatoust railway), where his wife's estate was located. The mother of David Burliuk, Lyudmila Iosifovna Mikhnevich, lived at that time in Buzdyak - 80 km from Ufa. In the two years he spent here before his departure, he managed to create about two hundred canvases. 37 of them make up an essential and most striking part of the collection of Russian art of the early XX century, presented in the Bashkir Art Museum. M. V. Nesterova. To date, the museum collection of works by David Burliuk is one of the most complete and high-quality collections of his paintings in Russia. Burliuk often came to Ufa, visits the Ufimsky art circle, which rallied around itself young Bashkir artists. Here he became friends with the artist Alexander Tyulkin, with whom he often takes sketches.
In 1918, Burliuk miraculously escaped death during the pogroms and executions of anarchists in Moscow and again left for Ufa. In 1918-1920 he toured with V. Kamensky and V. Mayakovsky in the Urals, Siberia, and the Far East.
In 1920 he emigrated to Japan, where he lived for two years, studying the culture of the East and painting. Here he painted about 300 paintings on Japanese motifs, the money from the sale of which was enough to move to America. In 1922 he settled in the USA.
In New York, Burliuk developed activity in pro-Soviet-oriented groups and, writing a poem for the 10th anniversary of October revolution, sought, in particular, to gain recognition as the "father of Russian futurism." He was a regular contributor to the Russian Voice newspaper. Burliuk published his collections, pamphlets, magazines together with his wife Maria Nikiforovna and distributed these publications through friends mainly within the USSR. From 1930, for decades, Burliuk himself published the magazine "Color and Rhyme" ("Color and Rhyme"), partly in English, partly in Russian, from 4 to 100 pages, with his own paintings, poems, reviews, reproductions of futurist works, etc. Burliuk's works participated in exhibitions of the group Soviet artists"13".
In 1956 and in 1965 visited the USSR. Despite repeated proposals for the publication of his works in the USSR, he did not manage to print a single line.
Wife - Maria Nikiforovna Yelenevskaya (1894-1967) - memoirist, publisher. In 1962, the couple traveled to Australia and Italy, visited Prague, where his sister lived. Picturesque works of Burliuk were exhibited in Brisbane.
Died January 15, 1967 in Hampton Bays, New York. His body was cremated according to the will and the ashes were scattered by relatives over the waters of the Atlantic from the ferry. Elena Schwartz responded to the news of his death in verse:
O Russian Polyphemus!
Harmony Goad
Your eye burned out
Sweet music corroded our eyes,
Like soap, and your meek was not audible
for us.
PHOTOS OF DIFFERENT YEARS:
Nikolai Feshin "Portrait of the artist D. D. Burliuk (D. D. Burliuk gives a lecture)" (1923).
Canvas, oil. 123.1 x 83.4 cm.Collection of the Museum of Fine Arts pcs. New Mexico, Santa Fe, pc. New Mexico, USA.
A SELECTION OF THE ARTIST'S WORKS
Portrait of V.V. Mayakovsky 
Portrait of V.V. Mayakovsky
Portrait of a woman in a yellow dress
Black Horse, ChS 
"Rainbow
Portrait of Moses Soyer, ChS
Portrait of S. Eisenstein
Portrait of the futurist poet Vasily Kamensky
Flowers by the Sea, ChS
Osip Mandelstam
Unspeakable sadness
Opened two huge eyes
Flower woke up vase
And threw out her crystal.
The whole room is drunk
Tiredness is sweet medicine!
Such a small kingdom
So much sleep has been consumed.
A little red wine,
A little sunny May -
And, breaking a thin biscuit,
The thinnest fingers are white.
Artist David Burliuk, 1954
Still life with jug
Winter Still Life, 1947 CHS
Terrace
sunflowers
Temple gate in Japan
Mythological Scene, 1944-1945 ES
David Davidovich Burlu to (9 (21) July 1882 , farm Semirotovka, Lebedinsky district Kharkov province (now Sumy region of Ukraine) - January 15, 1967, Hampton Bays, Long Island, New York, USA) is a Russian poet and artist. , one of the founders of the Russianfuturism.
Born on July 9 (21), 1882 in the family of self-taught agronomist David Davidovich Burliuk. As a child, his brother accidentally deprived him of an eye while playing with a toy gun. Walked with a glass eye, it became part of his style. In 1898-1910 he studied at the Kazan and Odessa art schools. He made his debut in print in 1899. He studied painting in Germany, in Munich, at the "Royal Academy" with Professor Willy Dietz and with the Slovene Anton Ashbe and in France, in Paris, at Cormon's "L'ecole des beaux arts".
Returning to Russia, in 1907-1908 Burliuk made friends with left-wing artists and participated in art exhibitions. In 1911-1914 he studied with V. V. Mayakovsky at the Moscow School of Painting, Sculpture and Architecture. Member of the futuristic collections "Judges' Garden", "Slap in the face of public taste", etc. He had two brothers and three sisters - Vladimir, Nikolai, Lyudmila, Marianna and Nadezhda. Vladimir and Lyudmila were artists, Nikolai was a poet. They were also members of the Futurist movement.
During the First World War, Burliuk was not subject to conscription, since he did not have a left eye. He lived in Moscow, published poetry, collaborated in newspapers, painted pictures.
In the spring of 1915, Burliuk found himself in the Ufa province (Iglino station of the Samara-Zlatoust railway), where his wife's estate was located. The mother of David Burliuk, Lyudmila Iosifovna Mikhnevich, lived at that time in Buzdyak - 80 km from Ufa. In the two years he spent here before his departure, he managed to create about two hundred canvases. 37 of them make up an essential and most striking part of the collection of Russian art of the early XX century, presented in the Bashkir Art Museum. M. V. Nesterova. To date, the museum collection of works by David Burliuk is one of the most complete and high-quality collections of his paintings in Russia. Burliuk often came to Ufa, visited the Ufa art circle, which rallied young Bashkir artists around him. Here he became friends with the artist Alexander Tyulkin, with whom he often takes sketches.
In 1918, Burliuk miraculously escaped death during the pogroms and executions of anarchists in Moscow and again left for Ufa.
In 1918-1920 he toured with V. Kamensky and V. Mayakovsky in the Urals, Siberia, and the Far East.
In 1920 he emigrated to Japan, where he lived for two years, studying the culture of the East and painting. Here he painted about 300 paintings on Japanese motifs, the money from the sale of which was enough to move to America. In 1922 he settled in the USA.
In New York, Burliuk became active in pro-Soviet-oriented groups and, writing a poem for the 10th anniversary of the October Revolution, sought, in particular, to win recognition as the "father of Russian futurism." He was a regular contributor to the Russian Voice newspaper. Burliuk published his collections, pamphlets, and magazines together with his wife, Maria Nikiforovna Burliuk, and through friends distributed these publications mainly within the USSR. From 1930, for decades, Burliuk himself published the journal Color and Rhyme” (“Color and Rhyme”), partly in English, partly in Russian, from 4 to 100 pages, with his paintings, poems, reviews, reproductions of futurist works, etc. Burliuk’s works participated in exhibitions that existed at the end 1920s - early 1930s, the group of Soviet artists "13".
In 1956 and in 1965 visited the USSR. Despite repeated proposals for the publication of his works in the USSR, he did not manage to print a single line.
In 1962, Burliuk and his wife traveled to Australia and Italy, visited Prague, where his sister lives, and participated in exhibitions in Australia in Brisbane.
Died January 15, 1967 in Hampton Bays, New York. His body was cremated according to the will and the ashes were scattered by relatives over the waters of the Atlantic from the ferry.
Wife - Burliuk (ur. Yelenevskaya) Maria Nikiforovna (1894-1967) - memoirist, publisher.
Burliuk believed: "The true piece of art can be compared to a battery from which the energy of electrical suggestions comes. In each work, as in a theatrical action, a certain number of hours for admiring and looking at it is marked. Many works contain reserves of aesthetic energy for long periods, like mountain lakes, from which great rivers of influences tirelessly flow, and the sources do not dry out. Such is the work of N. K. Roerich.
Burliuk's paintings and drawings are scattered all over the world in museums and private collections. Many of them are reproduced in his books or books about him. "The father of Russian futurism", Burliuk took an active part in the speeches of the futurists, being their theorist, poet, artist and critic. The outrageousness and anti-aestheticism inherent in futurism were most clearly manifested in his poems:
... The soul is a tavern, and the sky is a dud,
Poetry is a frayed girl
And beauty is blasphemous rubbish...
…Stars are worms drunk with mist…
…I like a pregnant man…
Mayakovsky recalled about him: “My real teacher, Burliuk made me a poet ... He gave out 50 kopecks daily. To write without starving. Of great interest are his memoirs about futurism and V. Mayakovsky.
Proceedings
- Poem "Tolstoy"
- Poem "Bitter"
- Book "Entelechism"
- Monograph “Roerich. Life and art"
- "Radio Manifesto"
- Collection of poems "Burliuk D. 1/2 century" (1932).
- Burliuk D. D. Noisy "Benois" and the New Russian National Art (Conversation between Mr. Burliuk, Mr. Benois and Mr. Repin about art). St. Petersburg: Schmidt Book Printing, 1913. 22 p.
Burliuk David Davidovich - poet, artist, one of the founders of Russian futurism, theorist and propagandist of the new art.
David Burliuk was born in 1882 on the Semirotovshchina farm in the Kharkov province, into the family of a landowner's estate manager. His brothers - Vladimir and Nikolai and sister Lyudmila later also took part in the futurist movement. In 1894-98 David studied at the Sumy, Tambov and Tver gymnasiums. While studying at the Tambov gymnasium, he met the artist Konstantinov and soon decided to become professional artist. He studies at the Kazan (1898-1999) and Odessa (1999-1900, 1910-1911) art schools. In 1902, after an unsuccessful attempt to enter the Academy of Arts, he left for Munich. He studied at the Royal Academy of Munich (1902-1903), at the Cormon studio in Paris (1904), at the Moscow School of Painting and Art (1911-1914). Since 1908, actively included in the modern artistic life and soon becomes one of the leaders of the literary and artistic avant-garde. Participates in most of the first exhibitions of "new art" ("Link", "Wreath-Stefanos" and "Jack of Diamonds"). In 1908 he published his first declaration, "The Voice of the Impressionist in Defense of Painting". The estate of Count Mordvinov Chernyanka, where his father worked in the 1900-1910s, became a kind of "headquarters" for young innovators. IN different time Larionov, Khlebnikov, Lifshits, Lentulov and other representatives of avant-garde art. It was there that the idea of creating an independent literary and artistic group, focused on the creation of a new national art, first arose. By 1910, a circle of like-minded people with an original philosophical and aesthetic program was formed - D. Burlyuk, V. Kamensky, M. Matyushin, E. Guro - to whom Khlebnikov gave the name "budetlyans". Acquainted in 1911 with V. Mayakovsky and B. Lifshitz, David Burliuk creates a new literary association - "Gileya". In 1912, together with Mayakovsky, Kruchenykh and Khlebnikov, he published the program manifesto of futurism "A Slap in the Face of Public Taste". Possessing rare organizational skills, David Burliuk quickly accumulates the main forces of futurism. With his direct participation, poetry collections are published, brochures are published, exhibitions are organized and disputes are arranged. For contemporaries, the name of David Burliuk begins to be associated with the most radical performances of the futurists. In 1913-1914, he organizes the famous tour of the Futurists in the cities of Russia, delivers lectures, poetry readings and proclamations. As an author and illustrator, he takes part in the publication of futuristic books ("Roaring Parnassus", "Trebnik", "Dead Moon", "Collection of the only futurists in the world"), in 1914 - editor of the "First Futurist Magazine". In 1918 he became one of the publishers of the Futurist Newspaper. Member of many literary and artistic associations ("Blue Rider", "Union of Youth", "Gileya", "Jack of Diamonds", "Society Fine Arts"). During civil war ends up in Bashkiria, and then in Siberia and the Far East, where he continues to promote futurism. In 1920 he emigrated to Japan. Two years later, he moved to the United States, where, together with his wife, he organized a publishing house, under the brand name of which he published prose, poetry, journalism and memoirs. In the 1920s, he worked in the newspaper "Russian voice", included in literary group"Hammer and sickle". In 1930 he published the theoretical work "Entelechism", in the same year he began to publish the magazine "Color and Rhyme". Annually participates in exhibitions, is engaged in photography. In the 1950s, he opened his own gallery in Hampton Bays, Long Island. He died in 1967 in Long Island (USA).
Exhibitions:
Exhibition in favor of the hungry. Kharkov, 1905
Exhibition of the Union of Russian Artists. St. Petersburg, 1906-1907
17th Exhibition TYURH. Odessa, 1906
18th TYURH Exhibition, Odessa, 1907
35th Exhibition of the Association of Travelers art exhibitions. Moscow, 1907
Spring Exhibition at the Academy of Arts. St. Petersburg, 1907
Stefanos. Moscow, 1907/1908
15th MTX Exhibition. Moscow, 1908
Link. Kyiv, 1908
36th Exhibition of the Association of Traveling Art Exhibitions. Moscow, 1908
Exhibition modern trends in art. Saint Petersburg, 1908
Salon of the Golden Fleece. Saint Petersburg, 1909
Salon S. Makovsky. Saint Petersburg, 1909
Impressionists. Saint Petersburg, 1909
Impressionists. Vilna (Vilnius), 1909
Wreath-Stefanos. Saint Petersburg, 1909
Salons of V. Izdebsky. Odessa, Kyiv, St. Petersburg, Riga 1909-1910
Triangle - Wreath-Stefanos. St. Petersburg, 1910
Youth Union. St. Petersburg, 1910-1913; Riga 1910.
Jack of Diamonds. Moscow, 1910, 1912, 1913, 1916, 1918
Exhibition of new art society. Munich, 1910
Der Blaue Reiter (The Blue Rider). Munich, 1911, 1912
Salon P. Casirera. Berlin, 1911
Exhibition Triangle. Saint Petersburg, 1912
Exhibition of paintings by the Artistic Association. Saint Petersburg, 1912
15th MTX Exhibition. Moscow, 1912
contemporary painting. Yekaterinburg, 1912
Exhibition of the Society of Artists Moscow Salon. Moscow, 1913
3rd exhibition Free creativity. Moscow, 1913
35th anniversary exhibition of MUZhVZ students. Moscow, 1913
The first German autumn salon. Gallery Sturm (Der Sturm). Berlin, 1913
Salon of Independents. Paris, 1914
Exhibition Artists - Comrade Soldiers. Moscow, 1914
Exhibition of paintings of the left movements. Petrograd, 1915
Painting exhibition. Moscow, 1915
World of Art. Petrograd, 1915
Exhibition of contemporary Russian painting. Petrograd, 1916
Exhibition of paintings by David Burliuk. Ufa, 1916
Exhibition of paintings by Ufimsky artistic circle. Ufa, 1916
Personal exhibition of David Burliuk. Samara, 1917
1st exhibition of paintings by the Moscow Art Circle. Moscow, 1918
24th exhibition of paintings MTH. Moscow, 1918
7th exhibition of paintings Free creativity. Moscow, 1918
Exhibition of Petrograd and Moscow artists. Chita, 1919
The first exhibition of Russian artists in Japan. Tokyo, 1920
Personal exhibition. Osaka, 1921; Nagoya 1921; Tokyo, 1921
The first exhibition of Russian art. Berlin, 1922
Solo exhibition at the New York Art Center. New York, 1923
Exhibition of Russian art at the Brooklyn Museum. New York, 1923
International exhibition. Philadelphia, 1926
New Art Exhibition at the Brooklyn Museum. New York, 1927/1928
Exhibition of the group "13" and the club of John Reed. Moscow, 1931
(the list of exhibitions after 1920 is not given in full)
Personal editions of David Burliuk:
Leaflet. Concerning "Artistic Letters" by A. Benois. 1910
Noisy "Benois" and new Russian national art. Saint Petersburg, 1913
Explanations for the paintings of David Burliuk. Catalog of the personal exhibition of paintings. fa, 1916
D.D. Burliuk. Catalog of the exhibition of paintings. Samara, 1917
Bald tail. Kurgan, 1919
Burliuk shakes hands with Vulfort Bilding (on the occasion of the 25th anniversary of his artistic and literary activity). New York, 1924
Marusya-san. New York, 1925
Climbing Fuji-san. New York, 1926
Sea story. New York, 1927
By Pacific Ocean. From life modern Japan. New York, 1927
Ohshima. Japanese Decameron. New York, 1927
Tenth October. New York, 1928
Tolstoy. Bitter. New York, 1929
Entelechism. 20 years of futurism. New York, 1930
1/2 century. New York, 1932
Books and poetry collections with the participation of David Burliuk:
Impressionist studio. St. Petersburg, 1910
Garden of Judges. St. Petersburg, 1910
A slap in the face of public taste. Moscow, 1912
Die Wilden Russlands // Der Blaue Reiter. Munich, 1912
Garden of Judges 2. St. Petersburg, 1913
Youth Union. No. 3. St. Petersburg, 1913
Book of three. Moscow, 1913
Dead moon. Moscow, 1913
Plug. Kherson, 1913
V. Khlebnikov. Roar! Gloves 1908-1914. St. Petersburg, 1913 (illustrated by D. Burliuk)
A slap in the face of public taste. Leaflet. 1913.
Mare's milk. Kherson, 1914
Roaring Parnassus. St. Petersburg, 1914
The first magazine of Russian futurists, no. 1-2. Moscow, 1914
Dead moon. (second edition). Moscow, 1914
V. Khlebnikov. Collection of poems 1907-1914. St. Petersburg, 1914 (illustrated by D. Burliuk)
V. Kamensky. Tango with cows. Concrete Poems. Moscow, 1914 (illustrated by D. Burliuk)
V. Mayakovsky. Tragedy Vladimir Mayakovsky. Moscow, 1914 (illustrated by D. Burliuk)
Diplomas and declarations of Russian futurists. Saint Petersburg, 1914
Spring counterparty of muses. Moscow, 1915
I took it. Futurist drum. Petrograd, 1915
Sagittarius 1. Petrograd, 1915
Four birds. Moscow, 1916
Moscow masters. Moscow, 1916
Sagittarius 2. Petrograd. 1916
Newspaper of the Futurists. Moscow, 1918
Captured by skyscrapers. New York, 1924
Subway flute. New York, 1924
Red Arrow. New York, 1932
Articles by D. Burliuk in periodicals: Handicraft art // Moscow newspaper, February 25, 1913
About Max Linder // Kine-Journal, 1915, No. 1-2
Interesting meetings // Lel, 1919, No. 5-6
Burliuk's memories // Creativity (Vladivostok), No. 1, 1920
From the laboratory to the street (the evolution of futurism) // Creativity (Vladivostok), No. 2, 1920
Vladimir Mayakovsky. // Creativity (Vladivostok), No. 11, 1920
Literature and art in Siberia and Far East 1919-1922 // New Russian Book, No. 2. New York, 1924
Rules of the game // "Kitovras", No. 2, New York, 1924
Revelations in simplicity, colors and lines // Kitovras, No. 3, New York, 1924
Color and Rhyme. N-Y., No. 1 - 60, 1930-1966
