Mayakovsky’s poetry is in many respects similar to the painting of the beginning of the 20th century, although the tool of the artist of the word and the master of the brush is different. It is known that Vladimir Mayakovsky himself was a talented artist and painter.
Malevich, Kandinsky, Picasso in their search for a new form on the canvas are close to the creative search for the verbal form of Mayakovsky. However, for Mayakovsky, the search for form was not an end in itself. And here is indicative of his criticism of the search for a new form by Khlebnikov. Mayakovsky said: “Khlebnikov is a poet for the producer.”
The roots of Mayakovsky’s innovation can also be found in related art areas, for example, in cinema. He loved to do his poems by editing,
Friends and friends of the poet could not understand why Mayakovsky was “sold to the Bolsheviks”. They did not understand the main thing: the poet himself was a Bolshevik in fact. In the end, all agreed on the “fellow traveler” label, with which Mayakovsky had not parted for the rest of his days.
It is interesting that in an impassioned search for new forms, Mayakovsky himself did not notice how to return to the roots at the end of his creative and life path: Pushkin, Nekrasov, Lermontov. It is indicative of the movement towards classical music in the poem “Fine Philosophy in Deep Fields”:
Not in Tolstoy, but in fat, I eat:
Food, from the heat of the bald,
Who did not philosophize over the sea?
Appeal to the sea is traditionally in Russian classical poetry. Mayakovsky felt the need for harmony in poetry and life. The conversation with the sea is already a real great Russian artist:
That’s life will pass,
How did the Azores
The poet did not have
But it should be so. Poetry is a solitary and highly traditional thing. Innovation in poetry can be realized more in the freshness of feeling, rather than in forms.