Luigi Russolo, The Revolt , 1911, 150 X 230, The Hague 
Luigi Russolo, La Musica, 1911, 220 X 180, Private Collection 
Umberto BOCCIONI, The risate (Laughter) 1912, 110 X 145, New York, Museum of Modern Art 
Gino Severini, Dancer Bal Tabarin , 1912, 61 X 46, Milan, Private Collection 
Gino Severini, Mare = Ballerina , 1913, 105 X 86, Venice, Peggy Guggenheim Collection 
Umberto Boccioni, Dynamism of a soccer player , 1913, 193 X 201, New York, Museum of Modern Art I want to go back on a claim about which I ' wrote several articles in the journal Lacerba Florence and in the magazine Der Sturm Berlin: "the concept of simultaneity in painting and sculpture has made its first appearance in the sensibility of modern plastic with our future research. " one before us had used the term to define the new condition of life which would have indicated a new Plastic drama.
We proclaimed that concurrency was an absolute necessity in the work of modern art and the "goal intoxicating" Our futuristic art. We proclaimed this truth in the manifestos of painting and sculpture futuristic, in the prefaces of the catalogs of our various exhibitions, we have always applied in our works. (...)
If we have to jealously defend the primacy of our findings is that we live and work in Italy, which - no matter what the merchants of soup of Italian art - considered until now non-existent for which is painting, sculpture, architecture, music and literature.
Simultaneity is for us the exalted lyrical plastic manifestation of a new absolute: the speed, a new and wondrous spectacle of modern life, a new fever of scientific discovery.
I can not forget the skepticism and derision with which artists young or old, the press and the public greeted our very violent professions of faith in modernity, especially in Italy, our undisputed claim on the need to trample on the artistic and cultural habits, the need to be brutal, fast, accurate, the need to Americanize us, entering the overwhelming whirlwind of modernity through its crowds, its automobiles, its telegraphs, its neighborhoods and naked, its sounds, its creaking, its violence, its cruelty, its cynicism, its relentless careerism, exaltation, basically all aspects of wild and anti-art of our time. Many saw it as a childish pastime, a commitment to various facts, a cinema aesthetic and sentimental ... Let them say ...
It is better to make a new diagram to show how all the futuristic plastic research based on simultaneity.
We proclaimed that concurrency was an absolute necessity in the work of modern art and the "goal intoxicating" Our futuristic art. We proclaimed this truth in the manifestos of painting and sculpture futuristic, in the prefaces of the catalogs of our various exhibitions, we have always applied in our works. (...)
If we have to jealously defend the primacy of our findings is that we live and work in Italy, which - no matter what the merchants of soup of Italian art - considered until now non-existent for which is painting, sculpture, architecture, music and literature.
Simultaneity is for us the exalted lyrical plastic manifestation of a new absolute: the speed, a new and wondrous spectacle of modern life, a new fever of scientific discovery.
I can not forget the skepticism and derision with which artists young or old, the press and the public greeted our very violent professions of faith in modernity, especially in Italy, our undisputed claim on the need to trample on the artistic and cultural habits, the need to be brutal, fast, accurate, the need to Americanize us, entering the overwhelming whirlwind of modernity through its crowds, its automobiles, its telegraphs, its neighborhoods and naked, its sounds, its creaking, its violence, its cruelty, its cynicism, its relentless careerism, exaltation, basically all aspects of wild and anti-art of our time. Many saw it as a childish pastime, a commitment to various facts, a cinema aesthetic and sentimental ... Let them say ...
It is better to make a new diagram to show how all the futuristic plastic research based on simultaneity.
DYNAMISM
(simultaneity of absolute motion relative movement +)
-FORCES LINES
(+ simultaneous centrifugal forces centripetal forces)
SOLIDIFICATION OF IMPRESSIONISM
(+ object concurrency + middle atmosphere)
Complementar DYNAMIC
(simultaneous color + form + chiaroscuro)
compenetration PLANS
(simultaneous inside-outside + memory + sense)
Simultaneity is the condition in which the various components appear PEP. So the effect of this great cause that is the universal dynamism. It is the lyrical aspect of modern life, based on the speed and the contemporary knowledge and communication.
If we consider the various manifestations of Futurist art, we see everywhere assert themselves violently simultaneity.
Umberto Boccioni, "Simultaneity", Section XVI Plastic Dynamism, March 1914
If we consider the various manifestations of Futurist art, we see everywhere assert themselves violently simultaneity.
Umberto Boccioni, "Simultaneity", Section XVI Plastic Dynamism, March 1914
0 comments:
Post a Comment