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Exploding Tongues: Language, Art, and the Russian Avant-garde

Working Backward to the Big Bang: A Timeline of Russian Avant-Garde Book Arts and Their Cultural Impacts

This historical timeline is based upon bi-weekly publishing information in Knizhnaia letopis', and reprinted in Susan Compton. The World Backwards: Russian Futurist Books, 1912-16. It is cited in Getty Research Institute metadata.

The timeline provides a highly granular historical sequence, which allows for intermedia comparison with other cultural phenomena, such as paintings, posters, and sculpture.

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3. Kravtsov, Andrei. Nagoi sredi odetykh (Naked Among the Dressed), 1914 Description based on print version record. Ill. attributed to Kamenskiĭ by Markov, to Kravt︠s︡ov by Compton (1978). Printed on paste side of leaves of colored wallpaper. Upper right corner of each leaf cut at 45-degree angle, producing 5-sided leaves with 3 short sides and 2 long. Title, place and publisher from Knizhnai︠a︡ letopisʹ. Date from Compton 1978 (Knizhnai︠a︡ letopisʹ has 1913). From an ed. of 300 (Knizhnai︠a︡ letopisʹ). Library's copy has 14 leaves, as does the copy reproduced in Compton 1977, rather than 18 as specified in Knizhnai︠a︡ letopisʹ and in Tarasenkov. Library's copy lacks first two leaves of copy in Compton 1977 (front cover with port. of Kravt︠s︡ov on verso, 1st leaf of text headed "Stikhi Kravt︠s︡ova"). It includes two leaves there absent, with Vasiliĭ Kamenskiĭ's ferroconcrete poems "Konstantinopolʹ" and "T︠S︡irk Nikitina". These poems are discussed by Janecek as part of Kamenskiĭ's Tango s korovami, another work on 5-sided sheets of wallpaper published in 1914. Both these leaves are printed on red-ground wallpaper like the others of the present copy, rather than on the ochre-ground wallpaper of Tango s korovami. The two versions of the two poems are typographically identical, except that "kamenskīĭ / vasilīĭ" appears at the upper left of "Konstantinopolʹ" in the present work.
6. Kruchenykh, A. and Khlebnikov, V. Bukh lesinnyi. (Forestly Rapid), 1913
7. Kruchenykh, Aleksei. Dve poemy Pustynniki Pustynnitsa (Two Poems: Hermits, Hermitess), 1913 Handwritten text as well as t.p., cover and 14 ill. by Goncharova are reproduced by lithography. Text written 2 columns per page, bound at right angles to gutter. Kruchenykh said that Mikhail Larionov, not Goncharova, did the cover and 1st ill. (Nikolai Khardzhiev, "K pami︠a︡ti Natalii Goncharovoĭ (1881-1962) i Mikhaila Larionova (1881-1964)." In: Iskusstvo knigi, 5. Moskva: Kniga, 1968. P. 311, note 1). Description based on print version record.
9. Pobi︠e︡da nad solnt︠s︡em : opera A. Kruchenykh
10. Burliuk, D. and N., et al. Poshchechina obshchestvennomu vkusu : stikhi, proza, statʹi (A Slap in the Face of Public Taste: Poetry, Prose, Essays), 1913
11. Sadok sudeĭ Illustrated literary miscellany. Pt. 1 (1910) includes works by D. Burli︠u︡k, N. Burli︠u︡k, A.M. Geĭ (Aleksandr Gorodetskiĭ), E. Guro, V. Kamenskiĭ, V. Khlebnikov, S. Mi︠a︡soedov, E. Nizen (Ekaterina Guro), and ill. by V. Burli︠u︡k. Pt. 2 (1913) includes works by D. Burli︠u︡k, N. Burli︠u︡k, E. Guro, V. Khlebnikov, A. Kruchenykh, B. Livshit︠s︡, V. Mayakovsky, "Milit︠s︡a", E. Nizen, and ill. by D. Burli︠u︡k, V. Burli︠u︡k, N. Goncharova, E. Guro, M. Larionov Burli︠u︡k, David, 1882-1967Burli︠u︡k, Nikolaĭ DavidovichBurli︠u︡k, Vladimir Davidovich, 1886-1917Geĭ, A. M. (Aleksandr Mitrofanovich), 1886-1914Goncharova, Natalii︠a︡ Sergeevna, 1881-1962Guro, Elena, 1877-1913Kamenskiĭ, Vasiliĭ, 1884-1961Khlebnikov, Velimir, 1885-1922Kruchenykh, A. (Alekseĭ), 1886-1969?Larionov, Mikhail Fedorovich, 1881-1964Livshit︠s︡, Benedikt, 1886-1939Mayakovsky, Vladimir, 1893-1930Mi︠a︡soedov, SMilit︠s︡aNizen, E. (Ekaterina)
12. Kruchenykh, A. Starinnaia liubov'; Bukh lesinnyi (Ancient Love; Forest Rapidly), 1913
13. Tė li lė

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In 1912, in parallel to his work on his Rayonist compositions, Mikhail Larionov painted several pictures in the spirit of “Infantile Primitivism”. Among them and affiliated to the Seasons cycle is the canvas “Ha[p]py Autumn”. The artist was captivated by children’s drawings and collected them over the entire course of his lifetime. A spontaneous naivety, borrowed by the artist from these same drawings, is reflected here in the expressive “simplicity” of the colour and the “clumsy” ungrammatical inscriptions. At the same time, the natural drawing of the lips, earrings and letters anticipates Larionov’s later work on Futurist books, where he achieved a similar union of word and image.

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Mikhail Larionov. "Ha[p]py Autumn," 1912 In 1912, in parallel to his work on his Rayonist compositions, Mikhail Larionov painted several pictures in the spirit of “Infantile Primitivism”. Among them and affiliated to the Seasons cycle is the canvas “Ha[p]py Autumn”. The artist was captivated by children’s drawings and collected them over the entire course of his lifetime. A spontaneous naivety, borrowed by the artist from these same drawings, is reflected here in the expressive “simplicity” of the colour and the “clumsy” ungrammatical inscriptions. At the same time, the natural drawing of the lips, earrings and letters anticipates Larionov’s later work on Futurist books, where he achieved a similar union of word and image.