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113-585: Although Futurism was largely an Italian phenomenon, parallel movements emerged in Russia, where some Russian Futurists would later go on to found groups of their own; other countries either had a few Futurists or had movements inspired by Futurism. 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 cooking . To some extent, Futurism influenced

226-620: A diverse range of 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

339-476: A field of stippled dots and stripes, which had been adopted from Divisionism 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. Cubism contributed to the formation of Italian Futurism's artistic style. Severini was the first to come into contact with Cubism , and following

452-549: 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 , Marisa Mori , Enrico Prampolini , Gerardo Dottori , Mino Delle Site, and Crali. Crali continued to produce aeropittura up until the 1980s. Russian Futurism Russian Futurism

565-470: A manifesto entitled A Slap in the Face of Public Taste ( Russian : Пощёчина общественному вкусу ). The Russian Futurist Manifesto shared similar ideas to Marinetti's Manifesto, such as the rejection of old literature for the new and unexpected. In addition to the forenamed authors, the group included artists Mikhail Larionov , Natalia Goncharova , Kazimir Malevich , and Olga Rozanova . Although Hylaea

678-604: A narrative. Like their Italian counterparts, the Russian Futurists were fascinated with the dynamism, speed, and restlessness of modern machines and urban life. They purposely sought to arouse controversy and to gain publicity by repudiating the static art of the past. The likes of Pushkin and Dostoevsky , according to A Slap in the Face of Public Taste , should be "heaved overboard from the steamship of modernity". They acknowledged no authorities whatsoever; even Filippo Tommaso Marinetti , when he arrived in Russia on

791-471: 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

904-750: A number of painters mainly in Northern Italy experimented to various degrees with these techniques. Pellizza da Volpedo applied the technique to social (and political) subjects; in this he was joined by Morbelli and Longoni . Among Pellizza's Divisionist works were Speranze deluse (1894) and Il sole nascente (1904). It was, however, in the subject of landscapes that divisionism found strong advocates, including Giovanni Segantini , Gaetano Previati, Angelo Morbelli and Matteo Olivero . Further adherents in painting genre subjects were Plinio Nomellini , Rubaldo Merello , Giuseppe Cominetti , Camillo Innocenti , Enrico Lionne and Arturo Noci . Divisionism

1017-544: A portrait of himself painted by Carrà to her, the dedication declaring Casati as a Futurist being pasted on the canvas itself. Casati, affluent host of parties in support of the Futurist artists in Marinetti's circle, was thought to be the muse of several of them, including Bragaglia and Balla. Journalist Eugenio Giovanetti would also declare her the "spirit protector" of Futurist art in 1918, as she had become one of Italy's leading collectors. In 1912, only three years after

1130-568: A proselytizing visit in 1914, was obstructed by most Russian Futurists, who did not profess to owe him anything. Russian Futurist cinema refers to the futurist movement in Soviet cinema. Russian Futurist cinema was deeply influenced by the films of Italian futurism (1916–1919) most of which are lost today. Some of the film directors identified as part of this movement are Lev Kuleshov , Dziga Vertov , Sergei Eisenstein , Vsevolod Pudovkin and Aleksandr Dovzhenko . Sergei Eisenstein 's film Strike

1243-447: 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 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,

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1356-483: A series of letters discussing each of their respective work in Futurism. Letters continued to be exchanged between the two with F. T. Marinetti often complimenting Benedetta – the single name she was best known as – on her genius. In a letter dated August 16, 1919, Marinetti wrote to Benedetta: "Do not forget your promise to work. You must carry your genius to its ultimate splendor. Every day." Although many of Benedetta's paintings were exhibited in major Italian exhibitions —

1469-520: A visit to Paris in 1911, the Futurist painters adopted the methods of the Cubists. Cubism offered them a means of analyzing 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 himself had been involved with in 1904. The action of a police attack and riot

1582-591: 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. Science fiction novels play an important role in Futurist literature. Italian futurist cinema ( Italian : Cinema futurista , pronounced [ˈtʃiːnema futuˈrista] )

1695-494: A year after Ego-Futurism began, the literary group "Hylea"—also spelt "Guilée" and "Gylea"—issued the manifesto A Slap in the Face of Public Taste . The 1912 movement was originally called Cubo-Futurism , but this term is now used to refer to the style of art produced. Russian Futurism ended shortly after the Russian Revolution of 1917, after which former Russian Futurists either left the country, or participated in

1808-411: Is defined specifically by the use of dots of paint and does not necessarily focus on the separation of colors. Divisionism is the technique of painting separate dots or patches of different colors in close proximity that interact optically in the viewer's perception to generate more luminous colors. The paints are not actually mixed but viewed close together, so the separate colors of light reflected by

1921-566: Is generally considered to be the most influential group of Russian Futurism, other groups were formed in St. Petersburg ( Igor Severyanin 's Ego-Futurists ), Moscow (Tsentrifuga, with Boris Pasternak among its members), Kyiv , Kharkiv , and Odesa . While many artforms and artists converged to create "Russian Futurism", David Burlyuk (born 1882, Ukraine) is credited with publicizing the avant-garde movement and increasing its renown within Europe and

2034-520: Is mixed together, an additive mixture results, a process in which the primary colors are red, green and blue. In Divisionist color theory, artists interpreted the scientific literature through making light operate in one of the following contexts: Seurat's theories intrigued many of his contemporaries, as other artists seeking a reaction against Impressionism joined the Neo-Impressionist movement. Paul Signac , in particular, became one of

2147-706: 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

2260-423: Is the broad term for a movement of Russian poets and artists who adopted the principles of Filippo Marinetti 's " Manifesto of Futurism ", which espoused the rejection of the past, and a celebration of speed, machinery, violence, youth, industry, destruction of academies, museums, and urbanism; it also advocated for modernization and cultural rejuvenation. Russian Futurism began roughly in the early 1910s; in 1912,

2373-403: Is young, new, and trembling with life." The Futurists believed that art should be inspired by the modern marvels of their newly technological world. “Just as our forebears took the subject of art from the religious atmosphere that enveloped them, so we must draw inspiration from the tangible miracles of contemporary life." The founding manifesto did not contain a positive artistic programme, which

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2486-705: The Manifesto of Futurism was published, Valentine de Saint-Point responded to Marinetti's claims in her Manifesto of the Futurist Woman (Response to F. T. Marinetti ). Marinetti even later referred to her as "the first futurist woman." Her manifesto begins with a misanthropic tone by presenting how men and women are equal and both deserve contempt. She instead suggests that rather than the binary being limited to men and women, it should be replaced with "femininity and masculinity;" ample cultures and individuals should possess elements of both. Yet, she still embraces

2599-480: The Soviet establishment and the brief Agitprop movement of the 1920s; Popova died of a fever, Malevich would be briefly imprisoned and forced to paint in the new state-approved style, and Mayakovsky committed suicide on April 14, 1930. 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

2712-516: 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

2825-579: The United States . Burlyuk was a Russian poet, critic, and publisher who centralized the Russian movement. While his contribution to the arts were lesser than his peers, he was the first to discover many of the talented poets and artists associated with the movement. Burlyuk was the first to publish Velimir Khlebnikov and to celebrate the Futurist poetry of Vladimir Mayakovsky . Russian futurism also adopted ideas from "French Cubism " which coined

2938-466: The secessionist scenographies, the liberty furniture, and the abstract and surreal moments contribute to create a strong formal syncretism (the amalgamation or attempted amalgamation of different religions, cultures, or schools of thought). Thaïs is the only surviving example of the 1910s Italian futurist cinema to date (35 minutes of the original 70). When interviewed about her favorite film of all times, famed movie critic Pauline Kael stated that

3051-471: The École des Beaux-Arts , and, as such, his initial works reflected the Barbizon style. In 1883, Seurat and some of his colleagues began exploring ways to express as much light as possible on the canvas. By 1884, with the exhibition of his first major work, Bathers at Asnières , as well as croquetons of the island of Île de la Jatte , his style began taking form with an awareness of Impressionism, but it

3164-420: The 1930-1936 Venice Biennales (in which she was the first woman to have her art displayed since the exhibition's founding in 1895), the 1935 Rome Quadriennale , and several other futurist exhibitions — she was often overshadowed in her work by her husband. The first introduction of Benedetta's feminist convictions regarding futurism is in the form of a public dialogue in 1925 (with an L. R. Cannonieri) concerning

3277-471: The Bolshevik propaganda trains in 1919 by their organiser, Burov. The organiser first showed them the "Lenin", which had been painted a year and a half ago when, as fading hoardings in the streets of Moscow still testify, revolutionary art was dominated by the Futurist movement. Every carriage is decorated with most striking but not very comprehensible pictures in the brightest colours, and the proletariat

3390-467: 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

3503-571: The Communist Party made it clear they did not want any futurist influence in Soviet literature. This marked an abrupt fall from grace for Kruchenykh's writing and futurism as a literary movement. Divisionism Divisionism , also called chromoluminarism , is the characteristic style in Neo-Impressionist painting defined by the separation of colors into individual dots or patches that interact optically. By requiring

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3616-443: 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; Richard Strauss , Elgar , Mussorgsky , and Sibelius , for example. By contrast,

3729-501: 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. 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

3842-536: The Futurists attempted to create in their subsequent Technical Manifesto of Futurist Painting (published in Italian as a leaflet by Poesia , Milan, 11 April 1910). 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

3955-465: The Italian symphony was dominated by opera in an "absurd and anti-musical form." The conservatory 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

4068-659: The Manifesto of the Futurist Painters (1910) by Umberto Boccioni, Luigi Russolo, Gino Severini, Giacomo Balla, and Carlo Carrà: "We want to fight implacably against the mindless, snobbish, and fanatical religion of the past, religion nurtured by the pernicious existence of the museums. We rebel against the spineless admiration for old canvases, old statues, and old objects, and against the enthusiasm for everything worm-eaten, grimy, or corroded by time; and we deem it unjust and criminal that people habitually disdain whatever

4181-413: The Neo-Impressionist techniques. For example, Joris-Karl Huysmans spoke negatively of Seurat's paintings, saying "Strip his figures of the colored fleas that cover them, underneath there is nothing, no thought, no soul, nothing". Leaders of Impressionism, such as Monet and Renoir , refused to exhibit with Seurat, and even Camille Pissarro , who initially supported Divisionism, later spoke negatively of

4294-686: The Netherlands, developed a similar mosaic-like Divisionist technique circa 1909. The Futurists later (1909–1916) would adapt the style, in part influenced by Gino Severini 's Parisian experience (from 1907), into their dynamic paintings and sculpture. The influence of Seurat and Signac on some Italian painters became evident in the First Triennale in 1891 in Milan . Spearheaded by Grubicy de Dragon , and codified later by Gaetano Previati in his Principi scientifici del divisionismo of 1906,

4407-414: The Russian Futurists were fascinated with dynamism, speed, and the restlessness of modern urban life; however, they were the complete opposite of them ideologically, as many embraced the political and social visions of the emerging communist movement in Russia. The Russian Futurists sought controversy by repudiating the art of the past, saying that Pushkin and Dostoevsky should be "heaved overboard from

4520-470: The Russian word budet 'will be'). They found significance in the shape of letters, in the arrangement of text around the page, in the details of typography. They considered that there is no substantial difference between words and material things, hence the poet should arrange words in his poems like the artist arranges colors and lines on his canvas. Grammar, syntax, and logic were often discarded; many neologisms and profane words were introduced; onomatopoeia

4633-489: 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 chose to give patronage to numerous styles and movements in order to keep artists loyal to

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4746-471: The art movements Art Deco , Constructivism , Surrealism , and Dada ; to a greater degree, Precisionism , Rayonism , and Vorticism . Passéism  [ fr ] can represent an opposing trend or attitude. Futurism is an avant-garde movement founded in Milan in 1909 by the Italian poet Filippo Tommaso Marinetti . Marinetti launched the movement in his Manifesto of Futurism , which he published for

4859-447: 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

4972-644: The artists are in our hands". Initially the artists were so revolutionary that at one point Burov had delivered the Department of Proletarian Culture some Futurists "bound hand and foot", but now "the artists had been brought under proper control". The other three trains were the "Sverdlov", the "October Revolution", and the "Red East". After the Bolsheviks gained power, Mayakovsky's group—patronized by Anatoly Lunacharsky , Bolshevik Commissar for Education —aspired to dominate Soviet culture. Their influence

5085-538: 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. Italian futurists included "visual poetry in futurist periodicals” to promote their cause or campaign, thus swaying public opinion in their favor after

5198-505: The canvas, rather than mixing the colors on the palette . This created a more vibrant and dynamic effect, but also required a higher level of skill and precision. Neo-Impressionism emerged in the late 19th century, used more precise and geometric shapes to build compositions and was strongly influenced by the scientific study of color theory and optical color effects, to create a more harmonious and luminous painting. Scientists or artists whose theories of light or color had some impact on

5311-401: 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 as it disrupts

5424-626: The core values of Futurism, especially its focus on "virility" and "brutality." Saint-Point uses this as a segue into her antifeminist argument—giving women equal rights destroys their innate "potency" to strive for a better, more fulfilling life. In 1913, Saint-Point further expressed her desire for women to have erotic freedom when writing the Futurist Manifesto of Lust . However, it has also been noted that both manifestos favored men, specifically those deemed heroic, contrasting with her ideas about shared human characteristics also present in

5537-609: The development of Divisionism include Charles Henry , Charles Blanc , David Pierre Giottino Humbert de Superville , David Sutter, Michel Eugène Chevreul , Ogden Rood and Hermann von Helmholtz . Divisionism, along with the Neo-Impressionism movement as a whole, found its beginnings in Georges Seurat's masterpiece, A Sunday Afternoon on the Island of La Grande Jatte . Seurat had received classical training at

5650-419: The director Dimitri Kirsanoff , in his silent experimental film Ménilmontant , "developed a technique that suggests the movement known in painting as Futurism." Within F. T. Marinetti's The Founding and Manifesto of Futurism , two of his tenets briefly highlight his hatred for women under the pretense that it fuels the Futurist movement's visceral nature: 9. We intend to glorify war—the only hygiene of

5763-565: 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

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5876-577: 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

5989-465: The eye. Instead, Seurat used highly contrasting colors in close proximity, but not close enough to mix additively; this effect is called simultaneous contrast, which creates a mild shimmering appearance and slightly increases the colors' apparent visual intensity. Impressionism originated in France in the 1870s, and is characterized by the use of quick, short, broken brushstrokes to accurately capture

6102-437: 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

6215-543: 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

6328-535: 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,

6441-501: The futuristic-themed films of this period have been lost, but critics cite Thaïs (1917) by Anton Giulio Bragaglia as one of the most influential, serving as the main inspiration for German Expressionist cinema in the following decade. Thaïs was born on the basis of the aesthetic treatise Fotodinamismo futurista (1911), written by the same author. The film, built around a melodramatic and decadent story, actually reveals multiple artistic influences different from Marinett's futurism;

6554-557: The general belief that the Divisionist method of painting allowed for greater luminosity than previous techniques. Additive luminosity is only applicable in the case of colored light, not juxtaposed pigments; in reality, the luminosity of two pigments next to each other is just the average of their individual luminosities. Furthermore, it is not possible to create a color using optical mixture that could not also be created by physical mixture. Logical inconsistencies can also be found with

6667-616: The hope of modernizing a country divided between the industrialising north and the rural, archaic South. Like the Fascists, the Futurists were Italian nationalists, laborers, disgruntled war veterans, radicals , admirers of violence, and opposed to parliamentary democracy. Marinetti founded the Futurist Political Party ( Partito Politico Futurista ) in early 1918, which was absorbed into Benito Mussolini 's Fasci Italiani di Combattimento in 1919, making Marinetti one of

6780-497: The imagery of Futurist writings, and were writers themselves. Poets and painters collaborated on theatre production such as the Futurist opera Victory Over the Sun , with texts by Kruchenykh, music by Mikhail Matyushin , and sets by Malevich. The main style of painting was Cubo-Futurism , extant during the 1910s. Cubo-Futurism combines the forms of Cubism with the Futurist representation of movement; like their Italian contemporaries,

6893-503: 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 intend to convey the directional tendencies of objects through space; "simultaneity," which combines memories, present impressions and anticipation of future events; and "emotional ambience" in which

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7006-465: 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 Bruno Giordano 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

7119-730: The main proponents of divisionist theory, especially after Seurat's death in 1891. In fact, Signac's book, D’Eugène Delacroix au Néo-Impressionnisme , published in 1899, coined the term Divisionism and became widely recognized as the manifesto of Neo-Impressionism. In addition to Signac, other French artists , largely through associations in the Société des Artistes Indépendants , adopted some Divisionist techniques, including Camille and Lucien Pissarro , Albert Dubois-Pillet , Charles Angrand , Maximilien Luce , Henri-Edmond Cross and Hippolyte Petitjean . Additionally, through Paul Signac's advocacy of Divisionism, an influence can be seen in some of

7232-400: The manifestos. In Russian Futurist and Cubo-Futurist circles, however, there was a higher percentage of women participants than in Italy from the start; Natalia Goncharova , Aleksandra Ekster , and Lyubov Popova are some examples of major female Futurists. Although Marinetti expressed his approval of Olga Rozanova 's paintings during his 1914 lecture tour of Russia, it is possible that

7345-756: The meaningless slaughter of World War I and hailed the Russian Revolution as the end of that traditional mode of life which he and other Futurists ridiculed so zealously. Although never a member of the Russian Communist Party (RKP(b)), he was active in early 1919 in the attempt to set up Komfut as an organisation promoting Futurism affiliated to the Viborg District Branch of the Party. War correspondent Arthur Ransome and five other foreigners were taken to see two of

7458-411: The momentary effects of light and atmosphere in an outdoor scene. The Impressionists sought to create an "impression" of a momentary scene as perceived by the viewer, rather than a mechanically precise replication of the scene. Divisionism, also known as Pointillism , developed from Impressionism in the 1880s. The Divisionists used a technique of placing small, distinct dots of color next to one another on

7571-561: The movement towards the future. Artforms were greatly affected by the Russian Futurism movement within Russia, with its influences being seen in cinema, literature, typography, politics, and propaganda. The Russian Futuristic movement saw its demise in the early 1920s. Initially the term "futurism" was problematic, because it reminded them too much of their rivals in Italy; however, in 1911, the Ego-futurist group began. This

7684-483: 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. The Futuristic movement also influenced

7797-415: The name " Cubo-Futurists " given by an art critic in 1913. Cubo-futurism adopted ideas from "Italian Futurism " and "French Cubism" to create its own blended style of visual art. It emphasized the breakdown of forms, the use of various viewpoints, the intersection of spatial planes, and the contrast of colour and texture. The focus was to show the intrinsic value of a painting, without it being dependent on

7910-527: 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

8023-467: The new art movements. Notable Russian Futurists included Natalia Goncharova , Mikhail Larionov , David Burliuk , Kazimir Malevich , Vladimir Mayakovsky , and Velimir Khlebnikov . The Manifesto celebrated the "beauty of speed" and the machine as the new aesthetic. Marinetti explained the "beauty of speed" as "a roaring automobile is more beautiful than the Winged Victory" further asserting

8136-432: The paints mixes in the eye and brain; the process is called additive mixing and is also used by computer monitors. This is different from mixing different paints together to produce a new color by subtractive mixing, which is also how laser printers produce colors. Despite the theory, Seurat's paintings don't actually use true additive mixture, since the colors reflected by his paints as he used them don't actually mix in

8249-525: 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

8362-705: 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 and music that paid homage to, included, or imitated machines. Ferruccio Busoni has been seen as anticipating some Futurist ideas, though he remained wed to tradition. Russolo's intonarumori influenced Stravinsky , Arthur Honegger , George Antheil , Edgar Varèse , Stockhausen and John Cage . In Pacific 231 , Honegger imitated

8475-400: The predominant 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

8588-626: The quiet and static Cubism of Picasso , Braque and Gris . As the art critic Robert Hughes observed: "In Futurism, the eye is fixed and the object moves, but it is still the basic vocabulary of Cubism—fragmented and overlapping planes." Futurist art tended to disdain traditional subjects, specifically those of photographically realistic portraits and landscapes. Futurists thought of "imitation" art that copied from life to be lazy, unimaginative, cowardly, and boring. While there were Futurist portraits — Carrà's Woman with Absinthe (1911), Severini's Self-Portrait (1912), and Boccioni's Matter (1912) — it

8701-574: 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

8814-412: 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 with clear content that can be read according to the rules of ballet. One of the most notable Futuristic dancers is Italian artist Giannina Censi . She was inspired by the arial themes in the second wave of Futurism and sought to put in on

8927-399: The refreshing imagery of Futurist poems and experimented with versification themselves. The poets and painters collaborated on such innovative productions as the Futurist opera Victory Over the Sun , with music by Mikhail Matyushin , texts by Kruchenykh and sets contributed by Malevich. Members of Hylaea elaborated the doctrine of Cubo-Futurism and assumed the name of budetlyane (from

9040-576: 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 mostly became identified with Fascism, it had

9153-495: 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

9266-587: 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

9379-526: The role of women in society. Benedetta was also one of the first to paint in Aeropittura , an abstract and futurist art style of landscape from the view of an airplane. Giannina Censi was the first exponent of Aerodanze. Similar to Aeropittura, this was a second wave Futurist dance style based in the fascination with aviation (in 1931 Censi was accompanied by F.T. Marinetti in a dance tour entitled Simultanina ). Many Italian Futurists supported Fascism in

9492-410: 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

9605-559: The sound of a steam locomotive. There are also Futurist elements in Prokofiev 's The Steel Step as well as his Second Symphony. Most notable in this respect, however, is American artist 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

9718-433: The stage. 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: "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

9831-413: The steamship of modernity." They acknowledged no authority and professed not to owe anything even to Marinetti, as they abhorred his commitment to fascism, and most of them obstructed him when he came to Russia to proselytize in 1914. The movement began to decline after the revolution of 1917 . The Futurists either stayed, were persecuted, or left the country. Popova, Mayakovsky and Malevich became part of

9944-484: The technique. While most divisionists did not receive much critical approval, some critics were loyal to the movement, including notably Félix Fénéon , Arsène Alexandre and Antoine de la Rochefoucauld . Although Divisionist artists strongly believed their style was founded in scientific principles, some people believe that there is evidence that Divisionists misinterpreted some basic elements of optical theory . For example, one of these misconceptions can be seen in

10057-532: The themes and subjects of all previous art, and glorified 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, music, literature, theatre, cinema, photography, religion, women, fashion, and cuisine. In their manifestos, Futurists described their beliefs and appreciations of various methods. They also detailed their disdain for traditional Italian Renaissance works of art and their subjects. According to

10170-427: The theories of color and vision that would inspire chromoluminarism. Blanc's work, drawing from the theories of Michel Eugène Chevreul and Eugène Delacroix , stated that optical mixing would produce more vibrant and pure colors than the traditional process of mixing pigments. Mixing pigments physically is a subtractive process with cyan, magenta and yellow being the primary colors . On the other hand, if colored light

10283-419: 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

10396-452: The viewer to combine the colors optically instead of physically mixing pigments , Divisionists believed that they were achieving the maximum luminosity scientifically possible. Georges Seurat founded the style around 1884 as chromoluminarism, drawing from his understanding of the scientific theories of Michel Eugène Chevreul , Ogden Rood and Charles Blanc , among others. Divisionism developed along with another style, Pointillism , which

10509-468: The war; 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; post-war, he

10622-523: The women painters' negative reaction to the said tour may have largely been due to his misogyny, as well as his explicit support for fascism. Despite the chauvinistic nature of the Italian Futurist program, many serious professional female artists adopted the style, especially so after the end of the first World War. Notably among these female futurists is F.T Marinetti 's own wife Benedetta Cappa Marinetti , whom he had met in 1918 and exchanged

10735-483: The works of Vincent van Gogh , Henri Matisse , Jean Metzinger , Robert Delaunay and Pablo Picasso . In 1907 Metzinger and Delaunay were singled out by the critic Louis Vauxcelles as Divisionists who used large, mosaic-like 'cubes' to construct small but highly symbolic compositions. Both artists had developed a new sub-style that had great significance shortly thereafter within the context of their Cubist works. Piet Mondrian , Jan Sluijters and Leo Gestel , in

10848-408: The world—militarism, patriotism, the destructive gesture of anarchists, beautiful ideas worth dying for, and contempt for woman. 10. We intend to destroy museums, libraries, academics of every sort and to fight against moralism, feminism, and every utilitarian opportunistic cowardice. Marinetti would begin to contradict himself when, in 1911, he called Luisa, Marchesa Casati a Futurist; he dedicated

10961-829: 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 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. Futurist music rejected tradition and introduced experimental sounds inspired by machinery, and would influence several 20th-century composers. Francesco Balilla Pratella joined

11074-584: Was a movement of literature and the visual arts, involving various Futurist groups. The Russian Association of Proletarian Writers were associated with Russian Futurists during the 1920s in relation to the Futurists theory "Literature of Fact," in which Soviet art can be expressed through literacy evolution. The poet Vladimir Mayakovsky was a prominent member of the movement, as were Velimir Khlebnikov and Aleksei Kruchyonykh ; visual artists such as David Burliuk , Mikhail Larionov , Natalia Goncharova , Lyubov Popova , and Kazimir Malevich found inspiration in

11187-412: Was also in important influence in the work of Futurists Gino Severini ( Souvenirs de Voyage , 1911); Giacomo Balla ( Arc Lamp , 1909); Carlo Carrà ( Leaving the scene , 1910); and Umberto Boccioni ( The City Rises , 1910). Divisionism quickly received both negative and positive attention from art critics , who generally either embraced or condemned the incorporation of scientific theories in

11300-440: 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

11413-470: 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 groups Futurism into three distinct decades according to characteristics of each: "Plastic Dynamism" of the 1910s, "Mechanical Art" of the 1920s, and "Aeroaesthetics" of the 1930s. Russian Futurism

11526-422: Was called upon to enjoy what the pre-revolutionary artistic public had for the most part failed to understand. Its pictures are 'art for arts sake', and can not have done more than astonish, and perhaps terrify, the peasants and the workmen of the country towns who had the luck to see them. The "Red Cossack" was quite different. As Burov put it with deep satisfaction, "At first we were in the artists' hands, and now

11639-427: Was declared a universal texture of verse. Khlebnikov, in particular, developed "an incoherent and anarchic blend of words stripped of their meaning and used for their sound alone", known as zaum . With all this emphasis on formal experimentation, some Futurists were not indifferent to politics. In particular, Mayakovsky's poems, with their lyrical sensibility, appealed to a broad range of readers. He vehemently opposed

11752-552: 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 was 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 manipulated light and shape to emphasize the sculptural quality of his projects. Baroque curves and encrustations had been stripped away to reveal

11865-578: 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

11978-422: Was not until he finished La Grande Jatte in 1886 that he established his theory of chromoluminarism. In fact, La Grande Jatte was not initially painted in the Divisionist style, but he reworked the painting in the winter of 1885–86, enhancing its optical properties in accordance with his interpretation of scientific theories of color and light. Charles Blanc's Grammaire des arts du dessin introduced Seurat to

12091-638: Was paramount during the first years after the revolution, until their program—or rather lack thereof—was subjected to scathing criticism by the authorities. By the time OBERIU attempted to revive some of the Futurist tenets during the late 1920s, the Futurist movement in Russia had already ended. The most militant Futurist poets either died (Khlebnikov, Mayakovsky) or preferred to adjust their very individual style to more conventional requirements and trends ( Aseyev , Pasternak). The decline of futurism can also be seen in Russia when Kruchenykh attempted to publish Fifteen Years of Russian Futurism 1912-1927 in 1928 and

12204-591: Was seen as "the mordern Futurist art form par excellence" by Olga Bulgakowa. Bulgakowa theorized how the camera could change one's perceptions of reality and how it could make it seem like time was speeding up or slowing down during the film. In contrast to Marinetti's circle, Russian Futurism was primarily a literary rather than a plastic philosophy. Although many poets (Mayakovsky, Burlyuk) dabbled with painting, their interests were primarily literary. However, such well-established artists as Mikhail Larionov , Natalia Goncharova , and Kazimir Malevich found inspiration in

12317-644: Was the first group of Russian futurism to call themselves "futurist"; shortly afterwards, many other futurists followed in using the term too. The most important group of Russian Futurism may be said to have been born in December 1912, when the Moscow -based literary group Hylaea ( Russian : Гилея [Gileya]) (initiated in 1910 by David Burlyuk and his brothers at their estate near Kherson , and quickly joined by Vasily Kamensky and Velimir Khlebnikov , with Aleksey Kruchenykh and Vladimir Mayakovsky in 1911) issued

12430-513: Was the oldest movement of European avant-garde cinema. Italian futurism, an artistic and social movement , impacted the Italian film industry from 1916-1919. It influenced Russian Futurist cinema and German Expressionist cinema . Its cultural importance was considerable and influenced all subsequent avant-gardes, as well as some authors of narrative cinema; its echo expands to the dreamlike visions of some films by Alfred Hitchcock . Most of

12543-860: Was the urban scene and vehicles in motion that typified Futurist painting; Boccioni's The Street Enters the House (1911), Severini's Dynamic Hieroglyph of the Bal Tabarin (1912), and Russolo's Automobile at Speed (1913) for example. The Futurists held their first exhibition outside of Italy in 1912 at the Bernheim-Jeune gallery, Paris, which included works by Umberto Boccioni, Gino Severini, Carlo Carrà, Luigi Russolo and Giacomo Balla. 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 realize

12656-501: 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 acoustic noise generators that permitted

12769-608: 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 Cappa , 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

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