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Article

Ester Coen

(b Fondo, Val di Non, Trentino, March 30, 1892; d Rovereto, Nov 29, 1960).

Italian painter, stage designer, illustrator, decorative artist and writer. After difficult years of study, during which he made his first artistic experiments, he travelled to Turin in 1910 and worked as an apprentice decorator at the Esposizione Internazionale. In spite of spending a year as apprentice to a marble-worker, on his return to Rovereto, he decided to become a painter, choosing subjects associated with Symbolism and social realism. Shortly after publishing Spezzature–Impressioni: Segni e ritmi (Rovereto, 1913), a collection of poetry, prose and illustrations, he moved to Rome, where he met Filippo Tommaso Marinetti at the Galleria Permanente Futurista, run by Giuseppe Sprovieri; through Marinetti he met the Futurists, with whom he exhibited at the same gallery in the spring of 1914 (see Furttenbach [Furtenbach; Furttembach], Josef [Joseph], the elder). This was followed by a one-man show at Trento in July 1914, which closed after a few days because of the outbreak of World War I. He succeeded in returning to Rome, where he was officially welcomed into the ...

Article

Fillia  

Daniela De Dominicis

[Colombo, Luigi]

(b Revello, Oct 4, 1904; d Turin, Feb 1, 1936).

Italian painter, sculptor and writer. He moved to Turin and in 1922 began his literary career by contributing to a booklet of poems entitled 1+1+1=1 Dinamite (Turin, 1922). He started painting as a self-taught artist, using his mother’s surname as a pseudonym. In 1923 he founded the Turin Futurist group, whose other later adherents included the Bulgarian-born painter and architect Nicolay Diulgheroff (1901–82) and the Italian sculptor Mino Rossi (1904–63), with the publication of the manifesto Futurista torinese—Sindacati artistici. Through this group he assumed an important role in the ‘second Futurism’ (see Furttenbach [Furtenbach; Furttembach], Josef [Joseph], the elder).

The inspiration for Fillia’s earliest paintings was ‘mechanical life’, which he portrayed by abstracting from the subject using geometrical forms and a lively range of colours. He was clearly aware not only of the work of Giacomo Balla and Fortunato Depero, but also of the contemporary Constructivist art promoted in the periodicals ...

Article

Charlotte Humphreys

(Yeliseyevich)

(b Olevka, Kherson province, 1886; d Moscow, 1968).

Russian poet and critic of Ukrainian birth. He is best known for his creation of Russian Futurist books between 1912 and 1916 in collaboration with the avant-garde artists Natal’ya Goncharova, Mikhail Larionov, Kazimir Malevich and Ol’ga Rozanova. These books, some of which were written with Velimir Khlebnikov, are characterized by deliberate mistakes and misprints, bold handwriting or irregular typefaces and printed on differently textured paper or wallpaper. The accompanying illustrations were executed in a coarse and primitive style to match the harsh and dissonant tones of the poetry. The books include Igra v adu (‘A game in Hell’; Moscow, 1912 and 1914), Mirskontsa (‘The world backwards’; Moscow, 1912), Pomada (Moscow, 1913), Utinoye gnezdyshko…durnykh slov (‘A duck’s nest…of bad words’; St Petersburg, 1913), Te Li Le (St Petersburg, 1914), Zaumnaya kniga (‘Transrational book’; Moscow, 1915), Voyna (‘War’; Petrograd, 1915) and Vselenskaya voyna (‘Universal war’; Petrograd, ...

Article

Anthony Parton

(Fyodorovich)

(b Tiraspol, Moldova, June 3, 1881; d Fontenay-aux-Roses, nr Paris, May 10, 1964).

Russian painter, stage designer, printmaker, illustrator, draughtsman and writer of Moldovan birth. He was a leader of the Russian avant-garde before World War I but came to prominence in the West through his work for Serge Diaghilev and the Ballets Russes. During the 1920s he played a significant role within the Ecole de Paris and continued to live and work in France until his death.

He was the son of Fyodor Mikhailovich Larionov, a doctor and pharmacist, and Aleksandra Fyodorovna Petrovskaya, but he grew up in his grandparents’ home in Tiraspol. He completed his secondary education at the Voskresensky Technical High School in Moscow and in 1898 entered the Moscow School of Painting, Sculpture and Architecture. Here he studied under Valentin Serov and Konstantin Korovin, and he also became friendly with Natal’ya Goncharova who was to remain his lifelong companion and colleague. Larionov’s work soon caught the imagination of collectors and critics. In ...