Abstract
The article examines V. Mayakovsky's experimental strategies in poetic and visual creativity, his innovation in the context of the unity of verbal and visual arts, which is associated with the current trend in modern literary criticism of rejecting the ideological assessment of aesthetics and the structure of the poet's creative world. The approach is proposed that allows us to see the poster work of V. Mayakovsky as a field for the implementation of experimental strategies outlined in his early poetic and pictorial works. The authors of the article point to the validity of the study of innovative aesthetics in the poet's work of 1914–1919 based on the principles of projectivity, shifting and enantiosemia, which the art of cubofuturists was based on. The article analyzes the ways of expressing these principles in the Russian avant-garde of the first third of the 20th century and in the works of V. Mayakovsky. The influence of lubok satire, which was widespread during periods of wars and revolutions, despite prohibitions and obstacles from the state, on V. Mayakovsky's poster work is researched. Attention is drawn to the way how Mayakovsky, encouraging his contemporaries to return to the study of folklore and to turn to the “quaint soul” of Russia, developed an original aesthetic concept in which the transformation of visual metaphors into poetic norms and the combination of revolutionary ways of influencing the viewers through certain techniques of traditional art (iconography, ethnic and lubok motifs) became not just an opportunity to develop new artistic forms, but an effective way to democratize culture in general and restore connection between the artist and the people through a revolutionary poster.
Keywords
V. Mayakovsky, avant-garde, experiment, poster, lubok.