The most important Italian avant-garde art movement of the 20th century, Futurism celebrated advanced technology and urban modernity. Committed to the new, its members wished to destroy older forms of culture and to demonstrate the beauty of modern life - the beauty of the machine, speed, violence and change. Although the movement did foster some architecture, most of its adherents were artists who worked in traditional media such as painting and sculpture, and in an eclectic range of styles inspired by Post-Impressionism. Nevertheless, they were interested in embracing popular media and new technologies to communicate their ideas. Their enthusiasm for modernity and the machine ultimately led them to celebrate the arrival of the First World War. By its end the group was largely spent as an important avant-garde, though it continued through the 1920s, and, during that time several of its members went on to embrace Fascism, making Futurism the only twentieth century avant-garde to have embraced far right politics.
The Futurists were fascinated by the problems of representing modern experience, and strived to have their paintings evoke all kinds of sensations - and not merely those visible to the eye. At its best, Futurist art brings to mind the noise, heat and even the smell of the metropolis.
Unlike many other modern art movements, such as Impressionism and Pointillism, Futurism was not immediately identified with a distinctive style. Instead its adherents worked in an eclectic manner, borrowing from various aspects of Post-Impressionism, including Symbolism and Divisionism. It was not until 1911 that a distinctive Futurist style emerged, and then it was a product of Cubist influence.
The Futurists were fascinated by new visual technology, in particular chrono-photography, a predecessor of animation and cinema that allowed the movement of an object to be shown across a sequence of frames. This technology was an important influence on their approach to showing movement in painting, encouraging an abstract art with rhythmic, pulsating qualities.
Most Important Art
Futurism Artworks in Focus:
The City Rises (1910)
Artist: Umberto Boccioni
The City Rises is often considered to be the first Futurist painting. Here, Boccioni illustrates the construction of a modern city. The chaos and movement in the piece resemble a war scene as indeed war was presented in the Futurist Manifesto as the only means toward cultural progress. The large horse races into the foreground while several workers struggle to gain control, indicating tension between human and animal. The horse and figures are blurred, communicating rapid movement while other elements, such as the buildings in the background, are rendered more realistically. At the same time, the perspective teeters dramatically in different sections of the painting. The work shows influences of Cubism, Impressionism, and Post-Impressionism, revealed in the brushstrokes and fractured representation of space.Read More ...
Futurism Overview Continues Below
Futurism began its transformation of Italian culture on February 20th, 1909, with the publication of the Futurist Manifesto, authored by writer Filippo Tommaso Marinetti.
It appeared on the front page of Le Figaro, which was then the largest circulation newspaper in France, and the stunt signaled the movement's desire to employ modern, popular means of communication to spread its ideas. The group would issue more manifestos as the years passed, but this summed up their spirit, celebrating the "machine age", the triumph of technology over nature, and opposing earlier artistic traditions. Marinetti's ideas drew the support of artists Umberto Boccioni, Giacomo Balla, Gino Severini, and Carlo Carrà, who believed that they could be translated into a modern, figurative art which explored properties of space and movement. The movement initially centered in Milan, but it spread quickly to Turin and Naples, and over subsequent years Marinetti vigorously promoted it abroad.
Concepts and Styles
The Italian group was slow to develop a distinct style. In the years prior to the emergence of the movement, its members had worked in an eclectic range of styles inspired by Post-Impressionism, and they continued to do so. Severini was typical in his interest in Divisionism, which involved breaking down light and color into a series of stippled dots and stripes, and fracturing the picture plane into segments to achieve an ambiguous sense of depth. Divisionism was rooted in the color theory of the 19th century, and the Pointillist works of painters such as Georges Seurat.
In 1911, Futurist paintings were exhibited in Milan at the Mostra d'arte libera, and invitations were extended to "all those who want to assert something new, that is to say far from imitations, derivations and falsifications." The paintings featured threadlike brushstrokes and highly keyed color that depicted space as fragmented and fractured. Subjects and themes focused on technology, speed, and violence, rather than portraits or simple landscapes. Among the paintings was Boccioni'sThe City Rises (1910), a picture which can claim to be the first Futurist painting by virtue of its advanced, Cubist-influenced style. Public reaction was mixed. French critics from literary and artistic circles expressed hostility, while many praised the innovative content.
Boccioni's encounter with Cubist painting in Paris had an important influence on him, and he carried this back to his peers in Italy. Nevertheless, the Futurists claimed to reject the style, since they believed it was too preoccupied by static objects, and not enough by the movement of the modern world. It was their fascination with movement that led to their interest in chrono-photography. Balla was particularly enthusiastic about the technology, and his pictures sometimes evoke fast-paced animation, with objects blurred by movement. As stated by the Technical Manifesto of Futurist Painting, "On account of the persistency of an image upon the retina, moving objects constantly multiply themselves; their form changes like rapid vibrations in their mad career. Thus a running horse has not four legs, but twenty, and their movements are triangular." Rather than perceiving an action as a performance of a single limb, Futurists viewed action as the convergence in time and space of multiple extremities.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
In 1913, Boccioni used sculpture to further articulate Futurist dynamism. Unique Forms of Continuity in Space (1913) exemplifies vigorous action as well as the relationship between object and environment. The piece was a breakthrough for the Futurist movement, but after 1913 the movement began to break apart as its members developed their own personal positions. In 1915, Italy entered World War I; by its end, Boccioni and the Futurist architect Antonio Sant'Elia perished. Following the war, the movement's center shifted from Milan to Rome; Severini continued to paint in the distinctive Futurist style, and the movement remained active in the 1920s, but the energy had passed from it.
Nevertheless, Futurism sparked important developments outside Italy. A synthesis of Parisian Cubism and Italian Futurism was particularly influential in Russia from around 1912 until 1920, inspiring artists including Kazimir Malevich, Liubov Popova, Natalia Goncharova and David Burliuk. The developments in Russia made the movement very distinct from the Italian strain, and different aspects of it are often described as Rayonist, or Cubo-Futurist. Cubo-Futurism was also an influence on English art, where it gave rise to the Vorticist movement, which embraced philosopher T.E. Hulme, poet Ezra Pound, and artists Christopher Nevinson, Wyndham Lewis, David Bomberg and Jacob Epstein. Although the impact of Italian Futurism was concentrated in the visual arts, it did inspire artists in other media: Vladimir Mayakovsky was important in developing a Futurist literature in Russia; the Italian architect Antonio Sant'Elia developed a Futurist architecture, and is said to have penned a manifesto on the subject (his designs may have influenced the sets of Ridley Scott's film Bladerunner (1982)); and Luigi Russolo shifted from painting to creating musical instruments, and later wrote the manifesto "The Art of Noises" (1913), which has been a significant reference point for avant-garde music ever since. Although much of the energy had left the movement by the 1920s, the Futurist aesthetic also became part of the mix of modernist styles that inspired Art Deco.
This article is about the art movement. For other uses, see Futurism (disambiguation).
Not to be confused with Futures studies.
Futurism (Italian: Futurismo) was an artistic and social movement that originated in Italy in the early 20th century. It emphasized speed, technology, youth, and violence, and objects such as the car, the aeroplane, and the industrial city. Although it was largely an Italian phenomenon, there were parallel movements in Russia, England, Belgium and elsewhere. The Futurists practiced in every medium of art, including painting, sculpture, ceramics, graphic design, industrial design, interior design, urban design, theatre, film, fashion, textiles, literature, music, architecture, and even Futurist meals. Its key figures were the Italians Filippo Tommaso Marinetti, Umberto Boccioni, Carlo Carrà, Gino Severini, Giacomo Balla, Antonio Sant'Elia, Bruno Munari, Benedetta Cappa and Luigi Russolo, the Russians Natalia Goncharova, Velimir Khlebnikov, Igor Severyanin, David Burliuk, Aleksei Kruchenykh and Vladimir Mayakovsky, the Belgian Jules Schmalzigaug and the Portuguese Almada Negreiros. It glorified modernity and aimed to liberate Italy from the weight of its past.Cubism contributed to the formation of Italian Futurism's artistic style. Important Futurist works included Marinetti's Manifesto of Futurism, Boccioni's sculpture Unique Forms of Continuity in Space, and Balla's painting Abstract Speed + Sound (pictured). To some extent Futurism influenced the art movements Art Deco, Constructivism, Surrealism, Dada, and to a greater degree Precisionism, Rayonism, and Vorticism.
Futurism is an avant-garde movement founded in Milan in 1909 by the Italian poet Filippo Tommaso Marinetti. Marinetti launched the movement in his Futurist Manifesto, which he published for the first time on 5 February 1909 in La gazzetta dell'Emilia, an article then reproduced in the French daily newspaper Le Figaro on Saturday 20 February 1909. He was soon joined by the painters Umberto Boccioni, Carlo Carrà, Giacomo Balla, Gino Severini and the composer Luigi Russolo. Marinetti expressed a passionate loathing of everything old, especially political and artistic tradition. "We want no part of it, the past", he wrote, "we the young and strong Futurists!" The Futurists admired speed, technology, youth and violence, the car, the airplane and the industrial city, all that represented the technological triumph of humanity over nature, and they were passionate nationalists. They repudiated the cult of the past and all imitation, praised originality, "however daring, however violent", bore proudly "the smear of madness", dismissed art critics as useless, rebelled against harmony and good taste, swept away all the themes and subjects of all previous art, and gloried in science.
Publishing manifestos was a feature of Futurism, and the Futurists (usually led or prompted by Marinetti) wrote them on many topics, including painting, architecture, religion, clothing and cooking.
The founding manifesto did not contain a positive artistic programme, which the Futurists attempted to create in their subsequent Technical Manifesto of Futurist Painting (1914). This committed them to a "universal dynamism", which was to be directly represented in painting. Objects in reality were not separate from one another or from their surroundings: "The sixteen people around you in a rolling motor bus are in turn and at the same time one, ten four three; they are motionless and they change places. ... The motor bus rushes into the houses which it passes, and in their turn the houses throw themselves upon the motor bus and are blended with it."
The Futurist painters were slow to develop a distinctive style and subject matter. In 1910 and 1911 they used the techniques of Divisionism, breaking light and color down into a field of stippled dots and stripes, which had been originally created by Giovanni Segantini and others. Later, Severini, who lived in Paris, attributed their backwardness in style and method at this time to their distance from Paris, the centre of avant-garde art. Severini was the first to come into contact with Cubism and following a visit to Paris in 1911 the Futurist painters adopted the methods of the Cubists. Cubism offered them a means of analysing energy in paintings and expressing dynamism.
They often painted modern urban scenes. Carrà's Funeral of the Anarchist Galli (1910–11) is a large canvas representing events that the artist had himself been involved in, in 1904. The action of a police attack and riot is rendered energetically with diagonals and broken planes. His Leaving the Theatre (1910–11) uses a Divisionist technique to render isolated and faceless figures trudging home at night under street lights.
Boccioni's The City Rises (1910) represents scenes of construction and manual labour with a huge, rearing red horse in the centre foreground, which workmen struggle to control. His States of Mind, in three large panels, The Farewell, Those who Go, and Those Who Stay, "made his first great statement of Futurist painting, bringing his interests in Bergson, Cubism and the individual's complex experience of the modern world together in what has been described as one of the 'minor masterpieces' of early twentieth century painting." The work attempts to convey feelings and sensations experienced in time, using new means of expression, including "lines of force", which were intended to convey the directional tendencies of objects through space, "simultaneity", which combined memories, present impressions and anticipation of future events, and "emotional ambience" in which the artist seeks by intuition to link sympathies between the exterior scene and interior emotion.
Boccioni's intentions in art were strongly influenced by the ideas of Bergson, including the idea of intuition, which Bergson defined as a simple, indivisible experience of sympathy through which one is moved into the inner being of an object to grasp what is unique and ineffable within it. The Futurists aimed through their art thus to enable the viewer to apprehend the inner being of what they depicted. Boccioni developed these ideas at length in his book, Pittura scultura Futuriste: Dinamismo plastico (Futurist Painting Sculpture: Plastic Dynamism) (1914).
Balla's Dynamism of a Dog on a Leash (1912) exemplifies the Futurists' insistence that the perceived world is in constant movement. The painting depicts a dog whose legs, tail and leash —and the feet of the woman walking it —have been multiplied to a blur of movement. It illustrates the precepts of the Technical Manifesto of Futurist Painting that, "On account of the persistency of an image upon the retina, moving objects constantly multiply themselves; their form changes like rapid vibrations, in their mad career. Thus a running horse has not four legs, but twenty, and their movements are triangular." His Rhythm of the Bow (1912) similarly depicts the movements of a violinist's hand and instrument, rendered in rapid strokes within a triangular frame.
The adoption of Cubism determined the style of much subsequent Futurist painting, which Boccioni and Severini in particular continued to render in the broken colors and short brush-strokes of divisionism. But Futurist painting differed in both subject matter and treatment from the quiet and static Cubism of Picasso, Braque and Gris. Although there were Futurist portraits (e.g. Carrà's Woman with Absinthe (1911), Severini's Self-Portrait (1912), and Boccioni's Matter (1912)), it was the urban scene and vehicles in motion that typified Futurist painting—e.g. Boccioni's The Street Enters the House (1911), Severini's Dynamic Hieroglyph of the Bal Tabarin (1912), and Russolo's Automobile at Speed (1913)
In 1912 and 1913, Boccioni turned to sculpture to translate into three dimensions his Futurist ideas. In Unique Forms of Continuity in Space (1913) he attempted to realise the relationship between the object and its environment, which was central to his theory of "dynamism". The sculpture represents a striding figure, cast in bronze posthumously and exhibited in the Tate Modern. (It now appears on the national side of Italian 20 eurocent coins). He explored the theme further in Synthesis of Human Dynamism (1912), Speeding Muscles (1913) and Spiral Expansion of Speeding Muscles (1913). His ideas on sculpture were published in the Technical Manifesto of Futurist Sculpture In 1915 Balla also turned to sculpture making abstract "reconstructions", which were created out of various materials, were apparently moveable and even made noises. He said that, after making twenty pictures in which he had studied the velocity of automobiles, he understood that "the single plane of the canvas did not permit the suggestion of the dynamic volume of speed in depth ... I felt the need to construct the first dynamic plastic complex with iron wires, cardboard planes, cloth and tissue paper, etc."
In 1914, personal quarrels and artistic differences between the Milan group, around Marinetti, Boccioni, and Balla, and the Florence group, around Carrà, Ardengo Soffici (1879–1964) and Giovanni Papini (1881–1956), created a rift in Italian Futurism. The Florence group resented the dominance of Marinetti and Boccioni, whom they accused of trying to establish "an immobile church with an infallible creed", and each group dismissed the other as passéiste.
Futurism had from the outset admired violence and was intensely patriotic. The Futurist Manifesto had declared, "We will glorify war —the world's only hygiene —militarism, patriotism, the destructive gesture of freedom-bringers, beautiful ideas worth dying for, and scorn for woman." Although it owed much of its character and some of its ideas to radical political movements, it was not much involved in politics until the autumn of 1913. Then, fearing the re-election of Giolitti, Marinetti published a political manifesto. In 1914 the Futurists began to campaign actively against the Austro-Hungarian empire, which still controlled some Italian territories, and Italian neutrality between the major powers. In September, Boccioni, seated in the balcony of the Teatro dal Verme in Milan, tore up an Austrian flag and threw it into the audience, while Marinetti waved an Italian flag. When Italy entered the First World War in 1915, many Futurists enlisted. The experience of the war marked several Futurists, particularly Marinetti, who fought in the mountains of Trentino at the border of Italy and Austria-Hungary, actively engaging in propaganda. The combat experience also influenced Futurist music.
The outbreak of war disguised the fact that Italian Futurism had come to an end. The Florence group had formally acknowledged their withdrawal from the movement by the end of 1914. Boccioni produced only one war picture and was killed in 1916. Severini painted some significant war pictures in 1915 (e.g. War, Armored Train, and Red Cross Train), but in Paris turned towards Cubism and post-war was associated with the Return to Order.
After the war, Marinetti revived the movement. This revival was called il secondo Futurismo (Second Futurism) by writers in the 1960s. The art historian Giovanni Lista has classified Futurism by decades: "Plastic Dynamism" for the first decade, "Mechanical Art" for the 1920s, "Aeroaesthetics" for the 1930s.
This section needs expansion. You can help by adding to it.(November 2010)
Further information: Futurist architecture
The Futurist architect Antonio Sant'Elia expressed his ideas of modernity in his drawings for La Città Nuova (The New City) (1912–1914). This project was never built and Sant'Elia was killed in the First World War, but his ideas influenced later generations of architects and artists. The city was a backdrop onto which the dynamism of Futurist life is projected. The city had replaced the landscape as the setting for the exciting modern life. Sant'Elia aimed to create a city as an efficient, fast-paced machine. He manipulates light and shape to emphasize the sculptural quality of his projects. Baroque curves and encrustations had been stripped away to reveal the essential lines of forms unprecedented from their simplicity. In the new city, every aspect of life was to be rationalized and centralized into one great powerhouse of energy. The city was not meant to last, and each subsequent generation was expected to build their own city rather than inheriting the architecture of the past.
Futurist architects were sometimes at odds with the Fascist state's tendency towards Roman imperial-classical aesthetic patterns. Nevertheless, several Futurist buildings were built in the years 1920–1940, including public buildings such as railway stations, maritime resorts and post offices. Examples of Futurist buildings still in use today are Trento's railway station, built by Angiolo Mazzoni, and the Santa Maria Novella station in Florence. The Florence station was designed in 1932 by the Gruppo Toscano (Tuscan Group) of architects, which included Giovanni Michelucci and Italo Gamberini, with contributions by Mazzoni.
Main articles: Russian Futurism and Cubo-Futurism
Russian Futurism was a movement of literature and the visual arts. The poet Vladimir Mayakovsky was a prominent member of the movement. Visual artists such as David Burlyuk, Mikhail Larionov, Natalia Goncharova and Kazimir Malevich found inspiration in the imagery of Futurist writings and were poets themselves. It has also a larger impact on the all suprematism movement. Other poets adopting Futurism included Velimir Khlebnikov and Aleksey Kruchenykh. Poets and painters collaborated on theatre production such as the Futurist opera Victory Over the Sun, with texts by Kruchenykh and sets by Malevich.
The main style of painting was Cubo-Futurism, adopted in 1913 when Aristarkh Lentulov returned from Paris and exhibited his paintings in Moscow. Cubo-Futurism combines the forms of Cubism with the representation of movement. Like their Italian predecessors the Russian Futurists were fascinated with dynamism, speed and the restlessness of modern urban life.
The Russian Futurists sought controversy by repudiating the art of the past, saying that Pushkin and Dostoevsky should be "heaved overboard from the steamship of modernity". They acknowledged no authority and professed not to owe anything even to Marinetti, whose principles they had earlier adopted, obstructing him when he came to Russia to proselytize in 1914.
The movement began to decline after the revolution of 1917. Some Futurists died, others emigrated. Mayakovsky and Malevich became part of the Soviet establishment and the Agitprop movement of the 1920s. Khlebnikov and others were persecuted. Mayakovsky committed suicide on April 14, 1930.
Futurism in music
Main article: Futurism (music)
Futurist music rejected tradition and introduced experimental sounds inspired by machinery, and would influence several 20th-century composers.
Francesco Balilla Pratella joined the Futurist movement in 1910 and wrote a Manifesto of Futurist Musicians in which he appealed to the young (as had Marinetti), because only they could understand what he had to say. According to Pratella, Italian music was inferior to music abroad. He praised the "sublime genius" of Wagner and saw some value in the work of other contemporary composers, for example Richard Strauss, Elgar, Mussorgsky, and Sibelius. By contrast, the Italian symphony was dominated by opera in an "absurd and anti-musical form". The conservatories was said to encourage backwardness and mediocrity. The publishers perpetuated mediocrity and the domination of music by the "rickety and vulgar" operas of Puccini and Umberto Giordano. The only Italian Pratella could praise was his teacher Pietro Mascagni, because he had rebelled against the publishers and attempted innovation in opera, but even Mascagni was too traditional for Pratella's tastes. In the face of this mediocrity and conservatism, Pratella unfurled "the red flag of Futurism, calling to its flaming symbol such young composers as have hearts to love and fight, minds to conceive, and brows free of cowardice."
Luigi Russolo (1885–1947) wrote The Art of Noises (1913), an influential text in 20th-century musical aesthetics. Russolo used instruments he called intonarumori, which were acousticnoise generators that permitted the performer to create and control the dynamics and pitch of several different types of noises. Russolo and Marinetti gave the first concert of Futurist music, complete with intonarumori, in 1914. However they were prevented from performing in many major European cities by the outbreak of war.
Futurism was one of several 20th-century movements in art music that paid homage to, included or imitated machines. Ferruccio Busoni has been seen as anticipating some Futurist ideas, though he remained wedded to tradition. Russolo's intonarumori influenced Stravinsky, Arthur Honegger, George Antheil, Edgar Varèse,Stockhausen and John Cage. In Pacific 231, Honegger imitated the sound of a steam locomotive. There are also Futurist elements in Prokofiev's The Steel Step and in his Second Symphony.
Most notable in this respect, however, is the American George Antheil. His fascination with machinery is evident in his Airplane Sonata, Death of the Machines, and the 30-minute Ballet Mécanique. The Ballet Mécanique was originally intended to accompany an experimental film by Fernand Léger, but the musical score is twice the length of the film and now stands alone. The score calls for a percussion ensemble consisting of three xylophones, four bass drums, a tam-tam, three airplane propellers, seven electric bells, a siren, two "live pianists", and sixteen synchronized player pianos. Antheil's piece was the first to synchronize machines with human players and to exploit the difference between what machines and humans can play.
Other composers offered more melodic variants of Futurist music, notably Franco Casavola, who was active with the movement at the invitation of Marinetti between 1924 and 1927, and Arthur-Vincent Lourié, the first Russian Futurist musician, and a signatory of the St Petersburg Futurist Manifesto in 1914. His five Synthèses offer a form of dodecaphony, while Formes en l'air was dedicated to Picasso and is a Cubo-Futurist concept. Born in Ukraine and raised in New York, Leo Ornstein gave his first recital of 'Futurist Music' at the Steinway Hall in London on 27 March 1914. According to the Daily Sketch newspaper "one listened with considerable distress. Nothing so horrible as Mr Ornstein's music has been heard so far. Sufferers from complete deafness should attend the next recital."
Futurism in dance
The Futuristic movement also influenced the concept of dance. Indeed, dancing was interpreted as an alternative way of expressing man's ultimate fusion with the machine. The altitude of a flying plane, the power of a car's motor and the roaring loud sounds of complex machinery were all signs of man's intelligence and excellence which the art of dance had to emphasize and praise. This type of dance is considered futuristic since it disrupts the referential system of traditional, classical dance and introduces a different style, new to the sophisticated bourgeois audience. The dancer no longer performs a story, a clear content, that can be read according to the rules of ballet. One of the most famous futuristic dancers was the Italian Giannina Censi (it). Trained as a classical ballerina, she is known for her "Aerodanze" and continued to earn her living by performing in classical and popular productions. She describes this innovative form of dance as the result of a deep collaboration with Marinetti and his poetry. Through these words, she explains: " I launched this idea of the aerial-futurist poetry with Marinetti, he himself declaiming the poetry. A small stage of a few square meters;... I made myself a satin costume with a helmet; everything that the plane did had to be expressed by my body. It flew and, moreover, it gave the impression of these wings that trembled, of the apparatus that trembled,... And the face had to express what the pilot felt."
Futurism in literature
Main article: Futurism (literature)
Futurism as a literary movement made its official debut with F.T. Marinetti's Manifesto of Futurism (1909), as it delineated the various ideals Futurist poetry should strive for. Poetry, the predominate medium of Futurist literature, can be characterized by its unexpected combinations of images and hyper-conciseness (not to be confused with the actual length of the poem). The Futurists called their style of poetry parole in libertà (word autonomy) in which all ideas of meter were rejected and the word became the main unit of concern. In this way, the Futurists managed to create a new language free of syntax punctuation, and metrics that allowed for free expression.
Theater also has an important place within the Futurist universe. Works in this genre have scenes that are few sentences long, have an emphasis on nonsensical humor, and attempt to discredit the deep rooted traditions via parody and other devaluation techniques. There are a number of examples of Futurist novels from both the initial period of Futurism and the neo-Futurist period, from Marinetti himself to a number of lesser known Futurists, such as Primo Conti, Ardengo Soffici and Giordano Bruno Sanzin (Zig Zag, Il Romanzo Futurista edited by Alessandro Masi, 1995). They are very diverse in style, with very little recourse to the characteristics of Futurist Poetry, such as 'parole in libertà'. Arnaldo Ginna's 'Le locomotive con le calze'(Trains with socks on)plunges into a world of absurd nonsense, childishly crude. His brother Bruno Corra wrote in Sam Dunn è morto (Sam Dunn is Dead) a masterpiece of Futurist fiction, in a genre he himself called 'Synthetic' characterized by compression, and precision; it is a sophisticated piece that rises above the other novels through the strength and pervasiveness of its irony.
Futurism in film
See also: Italian Futurism (cinema)
When interviewed about her favorite film of all times, famed movie critic Pauline Kael stated that the director Dimitri Kirsanoff, in his silent experimental filmMénilmontant "developed a technique that suggests the movement known in painting as Futurism".
Futurism in the 1920s and 1930s
Many Italian Futurists supported Fascism in the hope of modernizing a country divided between the industrialising north and the rural, archaic South. Like the Fascists, the Futurists were Italian nationalists, radicals, admirers of violence, and were opposed to parliamentary democracy. Marinetti founded the Futurist Political Party (Partito Politico Futurista) in early 1918, which was absorbed into Benito Mussolini's Fasci di combattimento in 1919, making Marinetti one of the first members of the National Fascist Party. He opposed Fascism's later exaltation of existing institutions, calling them "reactionary", and walked out of the 1920 Fascist party congress in disgust, withdrawing from politics for three years; but he supported Italian Fascism until his death in 1944. The Futurists' association with Fascism after its triumph in 1922 brought them official acceptance in Italy and the ability to carry out important work, especially in architecture. After the Second World War, many Futurist artists had difficulty in their careers because of their association with a defeated and discredited regime.
Marinetti sought to make Futurism the official state art of Fascist Italy but failed to do so. Mussolini was personally uninterested in art and chose to give patronage to numerous styles and movements in order to keep artists loyal to the regime. Opening the exhibition of art by the Novecento Italiano group in 1923, he said, "I declare that it is far from my idea to encourage anything like a state art. Art belongs to the domain of the individual. The state has only one duty: not to undermine art, to provide humane conditions for artists, to encourage them from the artistic and national point of view." Mussolini's mistress, Margherita Sarfatti, who was as able a cultural entrepreneur as Marinetti, successfully promoted the rival Novecento group, and even persuaded Marinetti to sit on its board. Although in the early years of Italian Fascism modern art was tolerated and even embraced, towards the end of the 1930s, right-wing Fascists introduced the concept of "degenerate art" from Germany to Italy and condemned Futurism.
Marinetti made numerous moves to ingratiate himself with the regime, becoming less radical and avant-garde with each. He moved from Milan to Rome to be nearer the centre of things. He became an academician despite his condemnation of academies, married despite his condemnation of marriage, promoted religious art after the Lateran Treaty of 1929 and even reconciled himself to the Catholic Church, declaring that Jesus was a Futurist.
Although Futurism became identified with Fascism, it had leftist and anti-Fascist supporters. They tended to oppose Marinetti's artistic and political direction of the movement, and in 1924 the socialists, communists and anarchists walked out of the Milan Futurist Congress. The anti-Fascist voices in Futurism were not completely silenced until the annexation of Abyssinia and the Italo-German Pact of Steel in 1939. This association of Fascists, socialists and anarchists in the Futurist movement, which may seem odd today, can be understood in terms of the influence of Georges Sorel, whose ideas about the regenerative effect of political violence had adherents right across the political spectrum.
Futurism expanded to encompass many artistic domains and ultimately included painting, sculpture, ceramics, graphic design, industrial design, interior design, theatre design, textiles, drama, literature, music and architecture.
Main article: Aeropittura
Aeropainting (aeropittura) was a major expression of the second generation of Futurism beginning in 1926. The technology and excitement of flight, directly experienced by most aeropainters, offered aeroplanes and aerial landscape as new subject matter. Aeropainting was varied in subject matter and treatment, including realism (especially in works of propaganda), abstraction, dynamism, quiet Umbrian landscapes, portraits of Mussolini (e.g. Dottori's Portrait of il Duce), devotional religious paintings, decorative art, and pictures of planes.
Aeropainting was launched in a manifesto of 1929, Perspectives of Flight, signed by Benedetta, Depero, Dottori, Fillìa, Marinetti, Prampolini, Somenzi and Tato (Guglielmo Sansoni). The artists stated that "The changing perspectives of flight constitute an absolutely new reality that has nothing in common with the reality traditionally constituted by a terrestrial perspective" and that "Painting from this new reality requires a profound contempt for detail and a need to synthesise and transfigure everything." Crispolti identifies three main "positions" in aeropainting: "a vision of cosmic projection, at its most typical in Prampolini's 'cosmic idealism' ... ; a 'reverie' of aerial fantasies sometimes verging on fairy-tale (for example in Dottori ...); and a kind of aeronautical documentarism that comes dizzyingly close to direct celebration of machinery (particularly in Crali, but also in Tato and Ambrosi)."
Eventually there were over a hundred aeropainters. Major figures include Fortunato Depero, Enrico Prampolini, Gerardo Dottori and Crali. Crali continued to produce aeropittura up until the 1980s.
The legacy of Futurism
Futurism influenced many other twentieth-century art movements, including Art Deco, Vorticism, Constructivism, Surrealism, Dada, and much later Neo-Futurism. Futurism as a coherent and organized artistic movement is now regarded as extinct, having died out in 1944 with the death of its leader Marinetti.
Nonetheless the ideals of Futurism remain as significant components of modern Western culture; the emphasis on youth, speed, power and technology finding expression in much of modern commercial cinema and culture. Ridley Scott consciously evoked the designs of Sant'Elia in Blade Runner. Echoes of Marinetti's thought, especially his "dreamt-of metallization of the human body", are still strongly prevalent in Japanese culture, and surface in manga/anime and the works of artists such as Shinya Tsukamoto, director of the "Tetsuo" (lit. "Ironman") films. Futurism has produced several reactions, including the literary genre of cyberpunk—in which technology was often treated with a critical eye—whilst artists who came to prominence during the first flush of the Internet, such as Stelarc and Mariko Mori, produce work which comments on Futurist ideals. and the art and architecture movement Neo-Futurism in which technology is considered a driver to a better quality of life and sustainability values.
A revival of sorts of the Futurist movement in theatre began in 1988 with the creation of the Neo-Futurist style in Chicago, which utilizes Futurism's focus on speed and brevity to create a new form of immediate theatre. Currently, there are active Neo-Futurist troupes in Chicago, New York, San Francisco, and Montreal.
Futurist ideas have been discerned in Western dance music since the 1980s.
Japanese Composer Ryuichi Sakamoto's 1986 album 'Futurista' was inspired by the movement. It features a speech from Tommaso Marinetti in the track 'Variety Show'.
In 2009, Italian director Marco Bellocchio included Futurist art in his feature film "Vincere".
In 2014, the Solomon R. Guggenheim Museum featured the exhibition "Italian Futurism, 1909–1944: Reconstructing the Universe". This was the first comprehensive overview of Italian Futurism to be presented in the United States.
Estorick Collection of Modern Italian Art is a museum in London with a collection centered around Italian futurist artists and their paintings.
Futurism, Cubism, press articles and reviews
Umberto Boccioni, 1911, La rue entre dans la maison; Luigi Russolo, 1911, Souvenir d’une nuit. Published in Les Annales politiques et littéraires, 1 December 1912
Jean Metzinger, 1910–11, Paysage (whereabouts unknown); Gino Severini, 1911, La danseuse obsedante; Albert Gleizes, 1912, l'Homme au Balcon, Man on a Balcony (Portrait of Dr. Théo Morinaud). Published in Les Annales politiques et littéraires, Sommaire du n. 1536, décembre 1912
Paintings by Gino Severini, 1911, La Danse du Pan-Pan, and Severini, 1913, L’autobus. Published in Les Annales politiques et littéraires, Le Paradoxe Cubiste, 14 March 1920
Paintings by Gino Severini, 1911, Souvenirs de Voyage; Albert Gleizes, 1912, Man on a Balcony, L’Homme au balcon; Severini, 1912–13, Portrait de Mlle Jeanne Paul-Fort; Luigi Russolo, 1911–12, La Révolte. Published in Les Annales politiques et littéraires, Le Paradoxe Cubiste (continued), n. 1916, 14 March 1920
- Giacomo Balla, Italian painter
- Umberto Boccioni, Italian painter, sculptor
- Anton Giulio Bragaglia Italian artist
- Francesco Cangiullo, Italian writer and painter
- Benedetta Cappa, Italian painter and writer
- Mario Carli Italian poet
- Carlo Carrà, Italian painter
- Ambrogio Casati, Italian painter
- Primo Conti, Italian artist
- Tullio Crali Italian artist
- Luigi De Giudici, Italian painter
- Fortunato Depero, Italian painter
- Gerardo Dottori, Italian painter, poet and art critic
- Escodame, Italian poet
- Farfa, Italian poet
- Fillìa, Italian artist
- Aldo Giuntini, Italian composer
- Luigi Grandi, Italian composer
- Filippo Tommaso Marinetti, Italian poet, playwright, novelist, journalist & theorist
- Angiolo Mazzoni, Italian architect
- Sante Monachesi, Italian painter
- Virgilio Mortari, Italian composer
- Almada Negreiros, Portuguese painter, poet and novelist
- Aldo Palazzeschi, Italian writer
- Giovanni Papini, Italian writer
- Emilio Pettoruti, Argentinian painter
- Enrico Prampolini, Italian painter, sculptor and scenographer
- Luigi Russolo, Italian painter, musician, instrument builder
- Antonio Sant'Elia, Italian architect
- Jules Schmalzigaug, Belgian painter
- Gino Severini, Italian painter
- Mario Sironi, Italian painter
- Ardengo Soffici, Italian painter and writer
- Joseph Stella, Italian-American painter
- Frances Simpson Stevens, American painter
- ^ abThe 20th-Century art book (Reprinted. ed.). dsdLondon: Phaidon Press. 2001. ISBN 0714835420.
- ^Arnason; Harvard, H.; Mansfield, Elizabeth (December 2012). History of Modern Art: Painting, Sculpture, Architecture, Photography (Seventh ed.). Pearson. p. 189. ISBN 0205259472.
- ^Filippo Tommaso Marinetti, I manifesti del futurismo, February 20, 2009
- ^Le Figaro, Le Futurisme, 1909/02/20 (Numéro 51). Gallica, Bibliothèque nationale de France
- ^Filippo Tommaso Marinetti, Declaration of Futurism, published in Poesia, Volume 5, Number 6, April 1909 (Futurist manifesto translated to English). Blue Mountain Project
- ^ abFuturist Manifesto, reproduced in Futurist Aristocracy, New York, April 1923
- ^Umbro Apollonio (ed.), Futurist Manifestos, MFA Publications, 2001 ISBN 978-0-87846-627-6
- ^I Manifesti del futurismo, lanciati da Marinetti, et al, 1914
- ^ ab"Technical Manifesto of Futurist Painting". Unknown.nu. Retrieved 2011-06-11.
- ^Severini, G., The Life of a Painter, Princeton, Princeton University Press, 1995. ISBN 0-691-04419-8
- ^ abcHumphreys, R. Futurism, Tate Gallery, 1999
- ^For detailed discussions of Boccioni's debt to Bergson, see Petrie, Brian, "Boccioni and Bergson", The Burlington Magazine, Vol. 116, No.852, March 1974, pp.140-147, and Antliff, Mark "The Fourth Dimension and Futurism: A Politicized Space", The Art Bulletin, December 2000, pp.720-733.
- ^"Technical Manifesto of Futurist Sculpture". Unknown.nu. 1910-04-11. Retrieved 2011-06-11.
- ^ abMartin, Marianne W. Futurist Art and Theory, Hacker Art Books, New York, 1978
- ^"The Founding and Manifesto of Futurism". Unknown.nu. Retrieved 2011-06-11.
- ^Adler, Jerry, "Back to the Future", The New Yorker, September 6, 2004, p.103
- ^Daly, Selena (2013-11-01). "'The Futurist mountains': Filippo Tommaso Marinetti's experiences of mountain combat in the First World War". Modern Italy. 18 (4): 323–338. doi:10.1080/13532944.2013.806289. ISSN 1353-2944.