Cubo-Futurism was the main school of painting and sculpture practiced by the Russian Futurists. Cubo-Futurism was especially popular in the Russian avant-garde, both in painting and in poetry. In different periods of his creativity in the style of cubofuturism, artists Malevich, Burliuk, Goncharova, Rozanova, Popova, Udaltsova, Exter, Bogomazov, and others worked.

The poetry of Futurism and the painting of Cubo-Futurism (publicly this term was voiced in 1913 by Kornei Chukovsky) is closely intertwined in history. In Russia, “Cubo-Futurism” was also one of the self-names of the poetic group “Gilea”, which contrasted it with the ego-futurism of Igor Severyanin and his followers (and later other futuristic groups such as “Mezzanine poetry” and “Centrifuge”).

When Aristarkh Lentulov returned from Paris in 1913 and exhibited his works in Moscow, the Russian Futurist painters adopted the forms of Cubism and combined them with the Italian Futurists’ representation of movement. Kazimir Malevich developed the style, which can be seen in his The Knife Grinder (signed 1912, painted 1913), though he later abandoned it for Suprematism.

In fact, Giovanni Lista demonstrates that the term “cubo-futurism” was coined in France at the Salon de la Section d’Or in 1912. It is used by Parisian critics, notably to designate the work of the artists of the ” Puteaux “or the creation of Parade, the ballet of Picasso, Satie and Cocteau. It is then Alexandra Exter who, having shared the workshop of the Italian futurist Ardengo Soffici in Paris, introduces the term in Russia.

This movement impulse its ideas towards architecture through its work of movement and plastic dynamism (plane, line and texture.)

The movement’s followers included:Alexander Archipenko, Wladimir Baranoff-Rossine, Alexander Bogomazov, Wladimir Burliuk, Aleksandra Ekster, Natalia Goncharova, Ivan Kliun, Mikhail Larionov, Lyubov Popova, Olga Rozanova, Sonia Terk.

Cubo-Futurist sculptors included Joseph Chaikov, Boris Korolev and Vera Mukhina, all of whom taught at the Soviet state art school in Moscow, Vkhutemas.

Russian cubo-futurism is represented by several works by Lioubov Popova in particular Portrait in 1914.

Painting
Cubofuturism was in demand within the Russian avant-garde , both in painting and in poetry . In different periods of their creativity, the forms of cubofuturism were used by artists Malevich , Burliuk , Goncharova , Rozanov , Popov , Udaltsov , Exter , Bogomazov , and others.

Poetry
The poetry of futurism and the painting of cubofuturism (this term was publicly voiced in 1913 by Korney Chukovsky ) are closely intertwined. In Russia, “cubofuturism” was also one of the self-names of the poetic group “ Gilea ”, opposing it to the ego-futurism of Igor Severyanin and his followers (and later on to other futuristic groups such as Mezzanine Poetry and Centrifuge ). Velimir Khlebnikov , Elena Guro , David and Nikolai Burliuk , Vasily Kamensky , Vladimir Mayakovsky were among the cubofuturist poets., Alexey Kruchenykh , Benedict Livshits . Many of them acted as artists.

Representative
The movement’s followers included

Alexander Archipenko
Wladimir Baranoff-Rossine
Alexander Bogomazov
Wladimir Burliuk
Aleksandra Ekster
Natalia Goncharova
Ivan Kliun
Mikhail Larionov
Lyubov Popova
Olga Rozanova
Sonia Terk
Cubo-Futurist sculptors included Joseph Chaikov, Boris Korolev and Vera Mukhina, all of whom taught at the Soviet state art school in Moscow, Vkhutemas.

New Cubofuturism
Since 1978, the Italian musician and painter William Tode from Gonzaga has revived Cubofutorism in his sculptures, graphics and sculptures, calling his work New Cubofuturism (neo cubofuturismo) .