This article explores the “Last Futurist Exhibition of Paintings ‘0.10’” (1915) as a key moment when Russian painters began to work seriously in three dimensions, exploring the nature of materials, questioning the relationship between art and reality, and ultimately laying the foundation for the subsequent emergence of the Constructivist movement. The exhibition revealed an important strand in Russian creative thinking and practice concerning sculpture and the nature of artistic materials.
Mikhail Matiushin“O knige Metzanzhe-Gleza ‘Du Cubisme’,”Soiuz molodezhi(St. Petersburg) 3 (March 1913) 25-34; English translation Matyushin “Of the Book by Gleizes and Metzinger Du Cubisme” in Linda Dalrymple Henderson The Fourth Dimension and Non-Euclidean Geometry in Modern Art (Princeton: Princeton Univ. Press 1983) 368-75.
M. Matiushin“K vystavke poslednykh futuristov,”Ocharovannyi strannik(Petrograd) 10 (1916) 16-18; reprinted in Malevich o sebe. Sovremenniki o Maleviche. Pis’ma. Dokumenty. Kritika ed. I. A. Vakar and T. N. Mikhienko vol. 2 (Moscow: RA 1994) 124.
Anon“Po vystavkam. U futuristov,”Petrogradskie vedomosti(Petrograd) 22 December 1915; reproduced in Berninger and Cartier Pougny 57; French translation Berninger and Cartier Pougny 156. Strigalev suggests that the reviewer has mistaken the title and author (Strigalev “An Excursion Around the 0.10 Exhibition” 86).
See Anon“0.10—Posledniaia vystavka futuristov v Petrograde,”Ogonek(Petrograd) 1 (3 January 1916); reproduced in Berninger and Cartier Pougny 65; and Ol’ga Rozanova. “Lefanta chiol . . .” (Moscow: RA 2002) 314.
Charlotte Douglas“The Art of Pure Design: The Move to Abstraction in Russian and English Art and Textiles: A Meditation,” in Russian Art and The West: A Century of Dialogue in Painting Architecture and the Decorative Artsed. Rosalind P. Blakesley and Susan E. Reid (DeKalb, Ill.: Northern Illinois Univ. Press2007) 99-101. Quotation in Douglas “The Art of Pure Design” 100.