cubo-futurism

Much of his work has been informed by Cubo-Futurism.

The group was influenced by the Cubo-Futurism movement.

A range of styles - from Rococo to Cubo-Futurism - make their way up the ramp.

Kliun, who abandoned cubo-futurism, was enormously influenced by Malevich.

The scattering of artists during the revolution effectively brought Cubo-Futurism to an end, to be replaced by constructivism.

After his return to Russia in 1912 he became a major influence on what would become the Russian Cubo-Futurism.

Lyubov Popova was one of the first female pioneers in Cubo-Futurism.

They provide a vigorous dose of his homespun, nature-based, frequently awkward brand of Cubo-Futurism.

Schad turned to Cubo-Futurism briefly.

Youtube, Cycling, Cubo-Futurism and the 4th Dimension.

Rozanova's works spanned a wide range of artistic movements in Russia, from Suprematism to Cubo-Futurism.

The work depicts a dynamic capitalist city where Cubo-Futurism collides with the pristine landscapes found in video games like "The Sims."

All three designed and taught cubist sculpture in the distinctively Russian Cubo-Futurism style, radically geometric and highly dynamic.

Having gotten over his interest in Impressionism, during which he painted mainly sketches from life, Malevich took an interest in Cubo-Futurism.

From 9 June to 16 September 2012 the painting was the subject of an exhibition in Venice entitled Cycling, Cubo-Futurism and the 4th Dimension.

Chagall and other artists were hired to produce theater sets and costumes combining Russian folk art with elements of Cubo-Futurism and Constructivism.

Members of Hylaea elaborated the doctrine of Cubo-Futurism and assumed the name of budetlyane (from the Russian word budet 'will be').

The main style of painting was Cubo-Futurism, adopted in 1913 when Aristarkh Lentulov returned from Paris and exhibited his paintings in Moscow.

The Foundation's Russian Modern art section consist various movements of the early twentieth century in Russia: impressionism, fauvism, neo-primitivism, futurism, cubo-futurism, suprematism, and constructivism.

In 2012, one hundred years after it was painted, Metzinger's Vélodrome was showcased in an exhibition entitled Cycling, Cubo-Futurism and the 4th Dimension.

They in turn adapted it to create what became known as Cubo-Futurism, a movement still linked to figuration that also sought to embrace the dynamism of a new machine-driven industrial society.

Though the style grew out of Cubism, it is more closely related to Futurism in its embrace of dynamism, the machine age and all things modern (cf. Cubo-Futurism).

The juxtaposition here with French cubism and Russian cubo-futurism, both of which had formal agendas – exploring limits of representation, possibilities of abstraction – highlights futurism’s limits.

Mikhail Larionov and Goncharova, who like many of their colleagues had practiced both Cubo-Futurism and neo-Primitivism, led an ephemeral movement called Rayonism, an attempt to deconstruct light.

The term covers many separate, but inextricably related, art movements that flourished at the time; namely Suprematism, Constructivism, Russian Futurism, Cubo-Futurism, Zaum and Neo-primitivism.