User:Orlando the Cat/sandbox

Origin of the term
The term "Cubo-Futurism" first appeared in a lecture in 1913, originally to refer to the poetry style of the writers who belonged to David and Vladimir Burliuk's group, "Hylaea", also spelt "Gylée" and "Gylea".

It was only after the said poets began to display shocking public behaviour (for example wearing absurd clothes and obnoxious poetry readings), when the writers and the movement in general began to be called simply "Russian Futurism".

As a result, "Cubo-Futurism" then began to refer to the artists who were influenced by Cubism and Futurism.

Start of the movement
Thanks to modern technology (transport and telegraphy, for example) and the artists' experience of other countries, the creatives in Russia knew much about the avant-garde events in Europe.

Cubo-Futurism as an art style would only take full form in the years 1912 to 1913. One of the major painters to become a Cubo-Futurist would be Kazimir Malevich, who entered his Cubo-Futurist phase in 1912-13; he termed the works he exhibited at the 1912 "Donkey's Tail" and 1913 "Target" exhibitions "Cubo-Futurist".

For Malevich, Cubo-Futurism would be especially important, because it symbolised the connection between the stillness of conventional Cubism, and the dynamism inherent in Futurism.

End of Cubo-Futurism
By the year 1915, because Cubism and Futurism both began to become exhausted for the painters, though the style itself continued to be in use until roughly 1919, the energies of most of the original participants moved into other styles of painting or writing, for example Constructivism.

William Greengrass
William Greengrass (1898 - 1972) was a wood engraver, sculptor, and one-time curator at the Victoria and Albert Museum. He is best known for his works related to the Grosvenor School of Modern Art.

Returning to the Trenches
Returning to the Trenches is a 1914-1916 series of sketches and drypoint prints by Christopher Richard Wynne Nevinson. It is one of the last works he produced in his Futurist/Vorticist style.

Hyalea
Hyalea was a Russian art movement founded by brothers David and Vladimir Burliuk. Notorious for its shocking customs designed to annoy members of the art establishment, among its members was poet Vladimir Mayakovsky.

History
In 1910, the Burliuk brothers decided to found an avant-garde literary group, which they named "Hylaea".

Legacy
Its members eventually became Futurists.

Anti-neutral suit
The anti-neutral suit was a series of suits designed in the early 1910s by painter and writer Giacomo Balla. Incredibly colourful, they evoked the paintings of the Futurists.

Etymology
The costumes were named as such because their shoes were deliberately designed "to deliver merry kicks to all neutralists".

History
A pamphlet/manifesto outlining the motives of the suit was co-authored by Balla and fellow Futurist Filippo Marinetti in September 1914. It encouraged clothes to be asymmetrical and short-lived.

Images of War
War (Война, Voyna), better known as either Images of War, or Mystical Images of War, is the title of a book and a portfolio of fourteen lithograph s by Natalia Goncharova, published in Moscow in 1914, soon after the start of World War I. They are designed in the woodcut/lubok tradition, and depict scenes of war.

History
Prior to 1914, Goncharova had been living in Paris, with a successful career in stage and costume design for ballet productions; she returned to Moscow at the outbreak of the Great War, where the book was produced. Containing drawings inspired by lubok, the book was created as a patriotic reaction to World War I.

Description
The book itself was printed in Moscow with a yellow cover, and depicts an angel holding a sword. The contents which do not consist of lithographs are a titlepage, a table of contents, and information on where it was printed respectively.

A short description of the images themselves are as follows:

St. George - shows Saint George defeating the Dragon.

The White Eagle - shows a double-headed eagle attacking a smaller, black bird of prey.

The British Lion - simply depicts a lion.

The French Cock - shows a cock crowing amidst flying cannonballs.

Maiden Upon the Beast - depicts a maiden holding a goblet riding on a multi-headed beast, which is striding atop dead soldiers.

Peresvet and Oslyabya - shows the subject matter wielding clubs whilst riding horses.

Archangel Michael - shows Michael riding a horse about to leap over flames, blowing a trumpet and with a pair of scales in his left hand, to where he is also throwing a small book.

Vision in the Clouds -

Devoted Christian Troops -

Angels and Aeroplanes -

The Doomed City -

The Pale Horse -

Communal Grave -

Alexander Nevsky -

Legacy
Copies of the book - and/or its prints - now belong to museums such as the Scottish National Gallery and the MOMA.

Other stuff
File:W. K. Haselden, “How to Paint a Futurist Picture,” Daily Mirror, March 15, 1912.jpg

File:Charles Sykes, The Hysteria Wave Spreads to Art Influence of the Futurist Exhibition on a Bystander Artist, Bystander, March 13, 1912.jpg

File:Charles Harrison, “The New Terror,” Daily Express, March 4, 1912.jpg

Stories in "The Door in the Wall and Other Stories"

 * The Door in the Wall
 * The Star
 * A Dream of Armageddon
 * The Cone
 * The Lord of the Dynamos
 * A Moonlight Fable
 * The Diamond Maker
 * The Country of the Blind

Janet Archer

Lillian Griffith

Edith Alice Andrews

Floris Gillespie

Elizabeth York Brunton

Marie Seymour Lucas

User:Orlando the Cat/sandbox/List of paintings exhibited at the 0,10 Exhibition