Comparison of Italian Futurism vs. Russian Futurism?

Question by Jack, Man Candy for Mephisto: Comparison of Italian Futurism vs. Russian Futurism; does anyone champion Russian claims of originality?
I’ve always been intrigued by those twin strains of Futurism, Italian and Russian. The fact that they were art movements that had a political influence(especially Italian Futurism), the fact that they were crystallized in poetic thought, the fact that they took as their cue the speed of change in industrialized society, all of this amazes me. Italian Futurism, being first on the scene, claimed proprietary rights over the Russian brand; that is, on a purely artistic–not political–basis, and this was a claim volubly disputed by Mayakovsky, Lunacharsky, Kulbin, Burliuk, and most of the rest of the Russian Futurists. In fact, when F.T. Marinetti visited Russia, he was not well received. I must, however, give credit for the original ideas of Futurism to the Italians. Marinetti’s Futurist Manifesto predated the Russian’s “Slap To The Public’s Taste”(The Russian Futurist Manifesto) by two years. Are there any partisans for the Russian claims, and what reasons do they give?

Answers and Views:

Answer by Please go on, everyone cares
Personally, I strongly dislike Russian Futurism, mostly because it dominated poetry during the Soviet era to a ridiculous extent. They considered themselves better than one of the giants of philosophy and literature, F. Dostoevsky and arguably the best poet of the entire Russian history, A.S. Pushkin. Well, it’s no surprise that Russian poetry and art deteriorated rapidly in the 20th century.
My parents had to memorize Mayakovski’s and other talentless poets’ literary garbage. It’s a shame it was preferred to Lermontov, Nekrasov, etc.
Also, regarding the originality, there’s no doubt it started in Italy, but then again, the ideas were not exactly revolutionary, the sentiments expressed have existed for a long time, finally culminating in the Futurist Manifesto. Thus, one could technically argue that the fascist and anarchist components were just part of the Zeitgeist. The Italians only gave them structure and applied the concepts to literature, and to a lesser extent, art.

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