Cubofuturism is a literary and artistic movement in Russia in the 1910s. It was the Russian version of European futurism. His influence was experienced by KS. Malevich, V.E. Tatlin, P.N. Filonov, M.F. Larionov, N.S. Goncharova, L.S. Popova, A.V. Lentulov.
In it, the cubist decomposition of forms, learned from the creative method formulated by Picasso and Braque, was combined with artistic techniques of another European trend in art – futurism. Invented by Italian artists and writers, futurism saw the main pathos of modern life in the dynamics of the emerging “electrically-mechanized” civilization, which was to finally oust the entire past humanistic culture.
For the works of futurists characteristic combination of points of view, sharp color contrasts, deformation and multiplication of the contours of objects, the preference for dynamic scenes. In the works of the writer FT Marinnetti, artists J. Ball, U. Bachchoni, K. Carr and a group of like-minded people were born paintings shining with artificial light, filled with rapid movement of the future.
The Russian left, by varying the ratio of the cubist and futuristic components, managed to generate their own original direction in art. Being the most radical artistic direction of the pre-war years, cubofuturism extended to painting and poetry. He did not develop a clear artistic system. The artist’s belonging to this direction most often meant his fascination with plastic installations of cubism and a futuristic utopia for creating a new universal artistic language.
At the initial stage, the cubist-futurists fiercely cleared the way for the new, subverting and subjecting to destructive criticism all the old values of culture as hopelessly “obsolete”. Their outrageous nihilism was programmatically declared in the collection “The slap in the face of public taste”.