Russian Futurism is accepted to emerge in 1912, lead by a Moscow based group called Hylaea. Even though Hylaea did not consider themselves as futurists around the time they were formed, by 1912 they issued a manifesto, “A Slap in the Face of Public Taste” which was majorly influenced by Italian Futuristic movement.
The Russian Futurists had much in common with the Italians – they too romanticized technology. But there were differences from the start. Russian Futurism movement was also highly influenced by neo-primitivism and French Cubism, and therefore was also called Cubo-Futurism. Against its Italian counterparts, the Russians saw the future in schematic, distorted figures drawn by anonymous peasant artists. Paintings and book illustrations by Kasimir Malevich and Natalia Goncharova show the influence of Russian folk art, particularly the “lubok”, or woodcut.
Some notable Russian Cubo – Futurists are Kazimir Malevich, Alexander Archipenko, Wladimir Baranoff-Rossine and Aleksandra Ekster. It’s also notable, considering Marinetti’s inclusion of “scorn for woman” in his Futurist Manifesto, that nearly half the Russian Futurists were female – Varvara Stepanova, Olga Rozanova, Lyubov Popova and Natalia Goncharova being the most known.
Russian artists who engaged with cubo-futurism has also originated and/or followed art movements like Suprematism and Russian constructivism. Therefore some of their work reflects the transitions between these latter art movements.