This biography from the Archives of AskART:
|  David Burliuk was a central figure in the history of the Russian
avant-garde* movement as an accomplished poet, art critic, and
exhibition organizer. "He was one of the world's first hippies,
and painted the words 'I Burliuk' on his forehead and stood on street
corners reciting poetry."
He was born into a privileged class of
Russian society. His wife was educated with the Czar's children,
and he was well positioned to become an artistic leader. Burliuk
studied at the Kazan School of Fine Arts in 1898, and then studied in
Odessa, Moscow, Munich, and in Paris at the Ecole des Beaux Arts*.
His early works were fauve-like, "violent in color and heavy with
paint" and were exhibited with the Blue Riders in Munich.
In
Russia, as a breaker of artistic tradition, he was expelled in 1911
from the Moscow Institute. With other futurists*, he undertook a
public campaign with lectures, journals and films--all focused on the
craziness of modern, industrial life.
With the advent of World
War I, he left Russia and traveled for four years including to Siberia,
Japan, and the South Seas. To start all over again, he moved to
America in 1922 and settled on Long Island where he continued to paint
until his death there in 1967.
His subjects range from
neo-primitive paintings to peasant life in Russia to futurist
depictions of South Sea fishermen. Much of his painting in Russia
vanished in the Russian Revolution. Throughout his life, Burliuk
was innovative, energetic and upbeat. In the United States, he
developed his "radio style", a style that involved symbolism*,
neo-primitivism, and expressionism*. "But Burliuk's early work in
pre-revolutionary experimental art was his most creative."
Source:
Michael David Zellman, 300 Years of American Art
*For more in-depth
information about these terms and others, see AskART.com Glossary at
http://www.askart.com/AskART/lists/Art_Definition.aspx
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This biography from the Archives of AskART:
|  The following information has been provided by Anthony Capodilupo, who with
associates, is preparing a Catalogue Raisonne of the work of David
Burliuk.
PERIODS :
1. His early Russian period up to 1918.
2. From 1918 – 1922, which was spent in Japan, Siberia and Canada.
3. From 1922 – 1941, the New York period.
4. From 1940s – 1960s in Hampton Bay / Long Island.
STYLES :
1. Early impressionism
2. Embryonic abstract
3. Futurism
4. Cubism
5. Expressionism
6. Folk symbolism [Lubok influence]
7. Realism
8 Symbolism
9 Radio style
10 Fauvism
In many of his works, he incorporated two or more styles in a single painting. Also, Burliuk had a habit of repeating some of his early works, often 20-30-40 years later, as he memorized many of the paintings that he did whilst still in Russia and couldn’t bring with him to the USA.
Slightly confusing for a laymen is that for some reason, Burliuk dated those new versions with the date that he painted the originals.
Burliuk was unique in that he was one of the rare artists who introduced many different styles into a single work with the intention of creating a look and composition that is absolutely balanced.
SUBJECTS :
Landscapes with no figures
Modern Compositions
Complex cubist - futuristic subjects
Russian scenes with peasants
Still life (the sea)
Still life (interiors)
Portraits, often of his wife Marusca
Portraits of friends
Interiors with samovar(s) and cat(s)
Balalaika players
Harbor scenes
Town scenes
Views from various countries
MATERIALS :
Burliuk used all types of materials, especially with his more modern abstract works, when he often used old pieces of wood and metal objects.
The majority of time, he used small artist canvas boards for his Russian style subjects and for the larger paintings, especially still life, he favored burlap and canvases. In some cases he would use wooden panels and masonite boards.
SIGNATURE :
His early signatures are in Cyrilic with the letter ‘U’ written in Russian as I-O- Burliok. There are some signed just Burlik.
His Latin alphabet signatures are distinct with exaggerated letter ‘L’ usually slightly longer at the top or the lower end, below the rest of the letters.
Usually, the signatures are in red, black, white and sometimes red and white together and in very thick layer.
Burliuk sometimes named the places he painted together with the signature on the lower left or lower right side of the painting, and also the dates.
Only on rare occasions he signed or inscribed on the back of the artist boards or panels.
TECHNIQUE :
Burliuk often used very thick impasto paint; in some cases, on his larger works, if one stands to the side of the painting, it almost looks like a relief. Occasionally he would use a palette knife but most of the time, favored the brush, probably medium and large sizes and applied with zest and boldness. There is always certain spontaneous fluidity in his oeuvre.
However there are many of his works which are painted with a thinner and softer palette, and though his choice of colors is usually strong and vivid, some of the landscapes, with no figures, are softer and with pastel tones.
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This biography from the Archives of AskART:
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Information, 2/4/2003, from Ed Dannenburg of New York City:
Founder Member "Die Blaue Reiter" and "Sturm" with Picasso, Kandinsky 1910--14
From 1923 exhibited Brooklyn Museum, Sesquicentennial Philadelphia 1926
One man show at Gallerie Maeght, Paris 1962
Became a USA citizen in 1930
1963 One-man Show at ACA Gallery, 63 E. 57th St. NYC
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