Maria Siniakova’s Sensual Futurism
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Marina Dmitrieva
Abstract
This essay explores the work of the Ukrainian-Russian painter Maria Siniakova (in Ukrainian: Mariia Mykhailіvna Syniakova-Urechyna, Krasna Poliana 1890 or 98 - Moscow 1984) in the context of the Futurist movement in Ukraine and Russia. During the First World War and until the early 1920s, the dacha of the Siniakov family, Krasnaia Poliana, became a refuge for left-wing artists and poets from Russia and nearby Kharkiv, a kind of artists’ colony with a uniquely creative atmosphere. These guests included Viktor (Velimir) Khlebnikov, Boris Pasternak, Nikolai Aseyev, Grigori Petnikov, Mikhail Matyushin, Borys Kosarev, Vasyl’ Yermylov (Vasily Ermilov) and others. In the first part of this essay, the topos ‘Krasnaia Poliana’ is investigated in the poetry of Khlebnikov, Aseyev and Pasternak. The second part focusses on Maria Siniakova’s pastoral watercolours of the 1910s and early 1920s. They are interpreted as ‘sensual Futurism’, and particular attention is paid to the artist’s avant-garde attitude towards life, and in particular to free-body culture (nudism). I examine Siniakova’s contacts with the art scene in Russia before the First World War and her involvement with the artistic milieu in Kharkiv in 1918-1921, before her move to Moscow. I shall argue that a special discourse on Futurism was created in Kharkiv. Artists here sought to create a universal art of the future, with components such as Neo- Primitivism, folk art, Oriental art, as well as stylistic devices derived from Western art movements. The essay contributes to the appreciation of the rôle of women in Russian and Ukrainian Futurism, illustrated here by the example of Siniakova’s watercolours and her design of avant-garde books
Abstract
This essay explores the work of the Ukrainian-Russian painter Maria Siniakova (in Ukrainian: Mariia Mykhailіvna Syniakova-Urechyna, Krasna Poliana 1890 or 98 - Moscow 1984) in the context of the Futurist movement in Ukraine and Russia. During the First World War and until the early 1920s, the dacha of the Siniakov family, Krasnaia Poliana, became a refuge for left-wing artists and poets from Russia and nearby Kharkiv, a kind of artists’ colony with a uniquely creative atmosphere. These guests included Viktor (Velimir) Khlebnikov, Boris Pasternak, Nikolai Aseyev, Grigori Petnikov, Mikhail Matyushin, Borys Kosarev, Vasyl’ Yermylov (Vasily Ermilov) and others. In the first part of this essay, the topos ‘Krasnaia Poliana’ is investigated in the poetry of Khlebnikov, Aseyev and Pasternak. The second part focusses on Maria Siniakova’s pastoral watercolours of the 1910s and early 1920s. They are interpreted as ‘sensual Futurism’, and particular attention is paid to the artist’s avant-garde attitude towards life, and in particular to free-body culture (nudism). I examine Siniakova’s contacts with the art scene in Russia before the First World War and her involvement with the artistic milieu in Kharkiv in 1918-1921, before her move to Moscow. I shall argue that a special discourse on Futurism was created in Kharkiv. Artists here sought to create a universal art of the future, with components such as Neo- Primitivism, folk art, Oriental art, as well as stylistic devices derived from Western art movements. The essay contributes to the appreciation of the rôle of women in Russian and Ukrainian Futurism, illustrated here by the example of Siniakova’s watercolours and her design of avant-garde books
Kapitel in diesem Buch
- Frontmatter I
- Contents V
- Editorial IX
- Conventions of dates and transliteration used in this volume XXI
-
10.1515/9783110646238-202
- Marinetti’s Visit to Russia in 1914: Reportage in Russia and in Italy 3
- Futurism in the Russian Far East at the Beginning of the 1920s: The Historical and Cultural Context 35
- Velimir Khlebnikov’s Early Dramatic Production 73
- Maria Siniakova’s Sensual Futurism 122
- Mayakovsky’s Voices: Futurist Performance and Communication in Verse 157
- The New Semiotics of Advertising in Italian and Russian Futurism 188
- Futurist Wrestlers and Constructivist Worker-Sportsmen: The Russian Avant-garde and Heavy Athletics in the 1910s–1920s 214
- Zenitist Cinema: Influences of Marinetti and Mayakovsky 236
- The Futurist Tradition in Contemporary Russian Artists’ Books 269
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Section 2: Archive Reports
- The Futurism Collection at the National Library of Finland in Helsinki 297
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Section 3: Caricatures and Satires of Futurism in the Contemporary Press
- “The Broom of Satire, the Brush of Humour”: Mayakovsky in Caricatures Preserved in the State Literary Museum in Moscow 311
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Section 4: Obituaries
- Daniele Lombardi (1946–2018) 339
- Enrico Crispolti (1933–2018) 349
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Section 5: Critical Responses to Exhibitions, Conferences and Publications
- Futurist Art Post Zang Tumb Tuuum 357
- The Futurist Universe at the Massimo Cirulli Collection 367
- A Hundred Years of Futurism in Portugal: The Conference 100 Futurismo in Lisbon 380
- A Hundred Years of Portuguese Futurism: The International Congress Futurismo Futurismos in Padua 389
- 100 Years of Portugal futurista: An Exhibition and Study Day in Lisbon 400
- Ultraism and the Historical Avant-garde 421
- The Verbo-voco-visual Artists’ Books of the Russian Avant-garde 429
- Evolutions of Russian Futurism in the 1910s and 20s 435
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Section 6: Bibliography
- A Bibliography of Publications on Futurism, 2016–2019 443
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Section 7: Back Matter
- List of Illustrations and Provenance Descriptions 473
- Notes on Contributors 479
- Name Index 487
- Subject Index 527
- Geographical Index 557
Kapitel in diesem Buch
- Frontmatter I
- Contents V
- Editorial IX
- Conventions of dates and transliteration used in this volume XXI
-
10.1515/9783110646238-202
- Marinetti’s Visit to Russia in 1914: Reportage in Russia and in Italy 3
- Futurism in the Russian Far East at the Beginning of the 1920s: The Historical and Cultural Context 35
- Velimir Khlebnikov’s Early Dramatic Production 73
- Maria Siniakova’s Sensual Futurism 122
- Mayakovsky’s Voices: Futurist Performance and Communication in Verse 157
- The New Semiotics of Advertising in Italian and Russian Futurism 188
- Futurist Wrestlers and Constructivist Worker-Sportsmen: The Russian Avant-garde and Heavy Athletics in the 1910s–1920s 214
- Zenitist Cinema: Influences of Marinetti and Mayakovsky 236
- The Futurist Tradition in Contemporary Russian Artists’ Books 269
-
Section 2: Archive Reports
- The Futurism Collection at the National Library of Finland in Helsinki 297
-
Section 3: Caricatures and Satires of Futurism in the Contemporary Press
- “The Broom of Satire, the Brush of Humour”: Mayakovsky in Caricatures Preserved in the State Literary Museum in Moscow 311
-
Section 4: Obituaries
- Daniele Lombardi (1946–2018) 339
- Enrico Crispolti (1933–2018) 349
-
Section 5: Critical Responses to Exhibitions, Conferences and Publications
- Futurist Art Post Zang Tumb Tuuum 357
- The Futurist Universe at the Massimo Cirulli Collection 367
- A Hundred Years of Futurism in Portugal: The Conference 100 Futurismo in Lisbon 380
- A Hundred Years of Portuguese Futurism: The International Congress Futurismo Futurismos in Padua 389
- 100 Years of Portugal futurista: An Exhibition and Study Day in Lisbon 400
- Ultraism and the Historical Avant-garde 421
- The Verbo-voco-visual Artists’ Books of the Russian Avant-garde 429
- Evolutions of Russian Futurism in the 1910s and 20s 435
-
Section 6: Bibliography
- A Bibliography of Publications on Futurism, 2016–2019 443
-
Section 7: Back Matter
- List of Illustrations and Provenance Descriptions 473
- Notes on Contributors 479
- Name Index 487
- Subject Index 527
- Geographical Index 557
