1925-1932, Leningrad

Members: V. D. Avles, K. V. Vakhrameev, S. V. Gankevich, T. N. Glebov, Y. V. Gubatova, B. I. Gurvich, . I. Evgrafov, S. L. Zaklikovskaya, P. J. Salzman, L. A. Ivanova, . V. Ivanov, Y. G. Kapitanova (Arapov), E. A. Kibrik, P. M. Kondrat'ev, D. P. Nettle, V. Merchants, V. I. Kurdov, R. M. Leviton, K. V. Livchak, . G. Willow, J. K. Lukstini, V. K. Luppian, A. M. Landsberg, M. K. Makarov, A. E. Mordvinov, S. Nikolayev, G. A. Novikov, M. I. Polozov, A. I. Poret, S. L. Rabinovich, A. T. Sashin, I. I. Suvorov, V. A. Sulima-Самуйлло, L. N. Tagriny, E. A. Tennisman, P. N. Filonov, Y. B. Hrzhanovsky, M. P. Tsybasov, I. A. Chuang and others.

Exhibitions: 1-я (1927, Leningrad), "Modern Leningrad artistic groups" (1928/1929, Leningrad), 1-я citywide exhibition of fine arts (1930, Leningrad), "Artists of the RSFSR XV years" (1932/1933, Leningrad, Moscow), "Filonov and his school" (1990, Leningrad, retrospective).

One of the largest schools of the avant-garde; the team was made up of students P. N. Filonov. The beginning formation was initiated in the summer of 1925, when Filonov he taught in Vhuteine. Later classes were held in the apartment P. N. Filonov on the street Writers, 19. Members of MAI at different times were more than 70 people. In addition, Filonov were given personally and in writing advice for artists who lived outside of Leningrad.

April 17, 1927 in the Leningrad House of the press opening of the first exhibition MAI (until may 17), after which the band acquired an official status.

Creative method was based on a theoretical Filonov, developed in the Manifesto "Made picture" (PG., 1914), the "Declaration of World prosperity" ("Life of art", 1923, No. 20, p. 13), in the manuscript "the Ideology of analytical art and the principle of madeness" and several other works.

In the "Brief explanation" that accompanied one of the exhibitions, p. N. Filonov wrote: "the masters of analytical art perceive any phenomenon of the world in its intrinsic importance, seeking as possible, for maximum hold and Supreme study and comprehension of the object are not satisfied with potpisivanjem "facade", "form" objects with no sides and no back, is blank inside, as occurs today in the visual arts, as in art made and consecrated for centuries to admire the color but the shape of the surface of the object and look at the insides how does a research scientist in any scientific discipline..." Method of rejected sketches and sketches and strove for unity of attitude. Students of the school were United by the principle of collective creativity: collaborative work on a series of paintings of "the Death of capitalism", the design of the play "the government Inspector" (both — 1927), illustrations for the Finnish epic "Kalevala" by request of publishing house Academia (1932-1933; published: Leningrad, 1933).

1-й an exhibition displayed 22 paintings, including a series of panels on the theme of "Death of capitalism", and painted sculpture. In parallel to the printing-House was staged plays of N. V. Gogol "the government Inspector" (Director I. G. Terentyev) in the design of the members of the MAI. Was published the poster "Give way to analytic art".

Apart from the already mentioned exhibitions and after they held a small exhibition in the halls of the MAIAcademy of fine arts and the Palace of culture. A. M. Gorky in Leningrad (not mentioned in the guide: Exhibitions of Soviet art. M. 1965, vol. 1).

the Theory and practice of staff MAI, and the creativity of the Filonov, were not taken official criticism and was harshly attacked in the press; the nature of the charges often took on political overtones. Thus, the "Yearbook of literature and art in 1929" reported: "the"Analytical method" Filonova reduced to metaphysical subjectivism, stemming from sensations and "experiences" of the artist, creating a new reality where randomly mixed skulls, houses, tentacles (so. — AI.) octopus and everything that can come up with sick imagination of the artist... This mystical subjectivism, trying to play under the flag of an objective "cosmic", "biological" and "natural" qualities of man, under the guise of perfectly legitimate techniques of "analytic" art", — on the matter is just one of the most extreme expressions of the attitude of the decadent layers of the petty bourgeoisie and the intelligentsia."

In the 1930s, due to ideological differences in the team was split. It resulted in the output of the MAI "minority group" headed P. N. Filonov (T. N. Glebov, S. L. Zaklikovskaya, L. A. Ivanova, Y. G. Kapitanova, A. I. Poret, L. N. Tagriny) and the creation of new enterprises with the same name. Old team MAI (B. I. Gurvich, . I. Evgrafov, E. A. Kibrik, A. E. Mordvinov, A. T. Sashin, V. A. Sulima-Самуйлло, Y. B. Hrzhanovsky and others) continued to exist; between two groups of contacts were maintained.

Later E. A. Kibrik were in the newspaper "Soviet art" and the magazine "Young proletarian" and sharply criticized the teacher.

After the decree of the Central Committee of the CPSU (b) "On restructuring literary-художественных organizations" (1932), the society officially ceased to exist, but the classes in the workshop P. N. Filonov continued until his death in 1941.