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On returning from one of his European trips, David Burliuk , whose brother Vladimir was also a painter, published the manifesto A Slap in the Face of Public Taste (Poshchechina obshchestvennomu
Vkusu) in 1912, together with his friends Khlebnikov , Kruchenykh and Mayakovsky . In a text entitled “Texture,” which was included in the manifesto, he called for rough surfaces in painting that depended exclusively on visual painterly effects. Shortly afterwards this experimental artist, who is described by many as the “fieldmarshal of Russian Futurism ,” organised a “Futurist tour of Russia” in which he engaged in proselytising for the new artistic language.
The Thyssen-Bornemisza Landscape , a simplified view of the local scenery, still bears the mark of his Neo-Primitivist period and is fairly close to the artistic language of the members of Der Blaue
Reiter , whose company he frequented while in Munich .