Futurism

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Not to be confused with Futurology.
Horizontal Volumes by Umberto Boccioni, 1912.

Futurism was the modern art movement which started in Italy circa 1908 - 1912; The Futurist artists wanted to express dynamic and hectic by all movements of modern city life. Color-divisionism was their favorite painting technique.

CONTENT : 1905 - 1915 , 1916 - 1945 , 1946 and later , See also , External links

Quotes[edit]

Quotes are arranged chronologically
Natalia Goncharova The Cyclist. 1913.
Gino Severini, 1913
The violin by Popova, 1915.
Marinetti, 1915
Jug on a table by Popova, 1915
Brooklyn Bridge, 1917-18 by Frank Stella.

1905 - 1915[edit]

  • O my brother Futurists! All of you, look at yourselves!... In the name of that Human Pride we so adore, I proclaim that the hour is nigh when men with broad temples and steel chins will give birth magnificently, with a single trust of their bulging will, to giants with flawless gestures.
    • Filippo Marinetti, quote from the 'Preface' of his novel Mafraka, le Futuriste 1909; as quoted in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 313, note 15.
  • On 11 October 1908, having worked for six years at my international magazine Poesia, in an attempt to free the Italian lyrical genius that was under sentence of death from its traditional and commercial fetters, I suddenly felt that articles, poetry and controversies were no longer enough. It was absolutely crucial to switch methods, get out into the streets, lay siege to theaters, and introduce the fisticuffs into the artistic struggle... My Italian blood raced faster when my lips coined out loud the word FUTURISM.
    It was the new formula of Action-Art and a code of mental health. It was a youthful and innovative banner, anti-traditional, optimistic, heroic and dynamic, that had to be hoisted over the ruins of all attachment to the past.
    • Filippo Marinetti, quote from 'Guerra sola igiene del mundo', in Edizione Futuriste di Poesia', Milan 1915; as quoted in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 21.
  • The gesture which we would reproduce on canvas shall no longer be a fixed moment in universal dynamism. It shall simply be the dynamic sensation itself. Indeed, all things move, all things run, all things are rapidly changing... We would at any price re-enter into life.
  • I address myself to the young. They alone will have to listen to me, they alone will be able to understand me. Some people are born already old, drooling specters from the past, cryptograms tumid with poisons: to them, no words or ideas except a single injunction: the end.
  • At my arrival [in Paris], Fauvism. Cubism, and Futurism were in full swing. There was in the air the glamour of a battle, the holy battle raging for the assertion of a new truth. My youth plunged full in it.
    • Joseph Stella (1911); quoted in: Judith Zilczer (1983) Joseph Stella: : The Hirshhorn Museum and Sculpture Garden Collection, p. 10.
  • We Futurists, Balla and Depero, seek to realize this total fusion in order to reconstruct the universe by making it more joyful, in other words by an integral re-creation. 'We will give skeleton and flesh to the invisible, the impalpable, the imponderable and the imperceptible. We will find abstract equivalents for all the forms and elements of the universe, and then well will combine them according to the caprice of our inspiration, to shape plastic complexes which we will set in motion.

1916 - 1945[edit]

  • The square is not a subconscious form. It is the creation of intuitive reason. The face of the new art. The square is a living, regal infant. The first step of pure creation in art.
    • Kazimir Malevich "From Cubism and Futurism to Suprematism: The New Realism in Painting" (November 1916).
  • Art must not be concentrated in dead shrines called museums. lt must be spread everywhere – on the streets, in the trams, factories, workshops, and in the workers' homes.
    • Vladimir Mayakovsky, "Shrine or Factory?" (1918); translation from Mikhail Anikst et al. (eds.) Soviet Commercial Design of the Twenties, New York: Abbeville Press, (1987) p. 15: Mayakovsky was one of the leading literary figures of the Futurist movement.
  • Our musical alphabet is poor and illogical. Music, which should pulsate with life, needs new means of expression, and science alone can infuse it with youthful vigor.
    Why, Italian Futurists, have you slavishly reproduced only what is commonplace and boring in the bustle of our daily lives.
    I dream of instruments obedient to my thought and which with their contribution of a whole new world of unsuspected sounds, will lend themselves to the exigencies of my inner rhythm.
    • Edgard Varèse lecture, edited by Chou Wen-Chung, published in: 391, Nr. 5. June 17, 1917.
  • Art, it is said, is not a mirror, but a hammer: it does not reflect, it shapes. But at present even the handling of a hammer is taught with the help of a mirror, a sensitive film that records all the movements. Photography and motion-picture photography, owing to their passive accuracy of depiction, are becoming important educational instruments in the field of labor. If one cannot get along without a mirror, even in shaving oneself, how can one resconstruct oneself or one's life, without seeing oneself in the "mirror" of literature? Of course no one speaks about an exact mirror. No one even thinks of asking the new literature to have mirror-like impassivity. The deeper literature is, and the more it is imbued with the desire to shape life, the more significantly and dynamically it will be able to "picture" life.
    • Leon Trotsky Literature and Revolution (1924), edited by William Keach (2005), Ch. 4 : Futurism, p. 120.
  • Boccioni, Russolo and I all met in the Porta Vittoria café (in Milan), close to where we all lived, and we enthusiastically outlined a draft of our appeal. The final version was somewhat laborious; we worked on it all day, all three of us and finished it that evening with Marinetti and the help of Decio Cinti, the group’s secretary.
    • Carlo Carrà, in La mia Vita 1945: as quoted in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 23
    • Comment on the 'Manifesto of Futurist Painters', late February 1910.

1946 and later[edit]

  • In the early days the Cubists’ method of grasping an object was to go round and round it. The Futurists declared that one had to get inside it. In my opinion the two views can be reconciled in a poetic cognition of the world. But to the very fact that they appealed to the creative depths in the painter by awakening in him hidden forces which were intuitive and vitalizing, the Futurist theories did more than the Cubist principles to open up unexplored and boundless horizons. (after 1918)
    • Gino Severini, quote on the differences between Cubism & Futurism in understanding modern prerception, from Letters of the great artists, Richard Friedenthal, Thames and Hudson , London, 1963, p. 248.
  • Futurism and Cubism are comparable in importance to the invention of perspective, for which they substituted a new concept of space. All subsequent movements were latent in them or brought about by them.. .. the two movements cannot be regarded as in opposition to each other, even though they started from opposite points; I maintain (an idea approved by Appolinaire and later by Matisse) that they are two extremes of the same sign, tending to coincide at certain points which only the poetic instinct of the painter can discover: 'poetry' being the content and 'raison d’être' of art.
    • Gino Severini, quote on the differences between Cubism & Futurism in understanding modern prerception, from Letters of the great artists, Richard Friedenthal, Thames and Hudson , London, 1963, pp. 248 + 249.
  • .. since then I have found consolation in William Blake. "Without Contraries is no progression", he says in his Proverbs of Hell. And Charles Baudelaire’s idea that "Variety is an essential condition of life" seems to me to be in perfect accord with my aspirations and with my intention, as a Futurist painter, to put 'life' in the place occupied by 'reasoning' in the art of the Cubist period.
    • Gino Severini, connecting Futurism and Cubism, referring to Blake and Baudelaire; as quoted in Letters of the great artists'”, Richard Friedenthal, Thames and Hudson , London, 1963, p. 247.
  • T-Rex: Futurism was an art movement where dudes were all 'CARS ARE COOL AND THE PAST IS FOR CHUMPS. LET'S DRAW SOME CARS.'
Subject: cars were new at the time and futurists were big into paintings of cars. also, stories where there's cars
T-Rex: But they also extended beyond art, to food! Futurists had a MANIFESTO for food. It banned the knife and fork AND pasta, AND told people that sardines and pineapples together were tasty times! They banned pasta because it caused skepticism?
Dromiceiomimus: Was the food good?
T-Rex: Maybe? But it wasn't very popular.
  • The enduring influence of Memphis can be seen in the groundbreaking work of French designer Philippe Starck. His prescient 1984 Café Costes interior combines futurism and nostalgia—a mix which resonates in subsequent projects like the 1988 Royalton Hotel in New York, and the long-legged lemon juicer he designed in 1990.
    • LLC Pantone, Leatrice Eiseman, Keith Recker (2011) Pantone: The Twentieth Century in Color.

See also[edit]

External links[edit]

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