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THBDavid Davidovich Burliuk, Ukrainian 1882-1967, On the Shore, Japan, 1921, Oil on canvas, framed
About Seller
312 Gannett Drive
South Portland, ME 04106
United States
At Barridoff Galleries, we seek out and find compelling, beautiful, relevant works of art. For us, it’s never just another auction. It’s an opportunity to help buyers and sellers of fine art realize their potential by establishing that special connection in their appreciation of fine art. Fine art s...Read more
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About Auction
LiveMar 19, 2022
Barridoff Auction's Spring 2022 International Fine Art Sale Barridoff Auctions fineart@barridoff.com
View Full Catalog (206)
- Lot Description
David Davidovich Burliuk
(Ukrainian 1882-1967)
On the Shore, Japan, 1921
Oil on canvas, framed
Signed and dated l.l.
12 1/2" x 17 1/2" sight, 18 3/4" x 23 3/4" framedProvenance:
Private Collection California to Private Collection Amity, MaineLot Essay:
Though often remembered for his colorful and idyllic paintings of Long Island, the Russian-American painter, poet, and publicist David Burliuk was an essential member of the European avant-garde. Considered the father of the Russian Futurist movement, Burliuk co-wrote that group’s manifesto (A Slap in the Face of Public Taste) in 1912 after graduating from the Art School in Odessa. Burliuk was a radical in an era when non-conformity had very real ramifications; events and exhibitions organized by the Futurists provoked physical violence on more than one occasion.
In 1917 Burliuk exhibited work alongside the suprematist painter Kazimir Malevich in Moscow. During the tense months that preceded the Russian Revolution Burliuk fled Russia, traveling north through Siberia before reaching Japan in 1920. Two weeks later Burliuk co-organized the first exhibition of Futurist paintings in the country. This exposure had a dramatic effect on the Japanese avant-garde at a pivotal moment. Burliuk himself was in a period of transition between 1920 and 1922. Moving from the cubist forms of his earlier geometric paintings, he found inspiration in the coastal landscapes that surrounded him. Works from this period are exceedingly rare and perhaps symbolically, the artist began signing his name using the Latin alphabet at the end of this timeframe around, abandoning the Cyrillic signature as he used on this work he’d used previously.
Even as Burliuk moved further from his native Ukraine, leaving Japan in 1922 for Canada before settling permanently in the United States, he increasingly turned back to the folk-art traditions of his homeland, a direction that also connected him to the neo-primitivist movement more often associated with fellow émigré Marc Chagall. In this way, Burliuk moved through several of the major movements in 20th century art, finding his own style and approach no matter his subject or meter.Further Reading:
Toshiharu Omuka “David Burliuk and the Japanese Avant-Garde” Canadian-American Slavic Studies, Vol 20 (1-2), 1986, pg 111-112Daria Melnikova “What is Futurism? Russia and Japan Exchange Answers” The Art Bulletin, Vol 103, 2021, pg 89-110
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