Futurism
- Created by: epearce1998
- Created on: 02-06-17 15:08
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- Futurism
- Intro Points
- Marinetti's manifesto Feb 1909- new artistic movement rejecting the past
- Based on velocita (speed) 'the world's beauty has been enriched with the beauty of speed'
- Political programme of extreme nationalism- associated with Fascism and Mussolini
- Italy catching up with developments eg. Fiat car and hydroelectricity
- Milan becoming industrial centre
- Severini: 'modern sensibility being qualified to grasp the idea of speed'
- Influence of photography e.g. Muybridge and Marley 'the Horse in Motion' (1878
- Boccioni 'The City Rises' (1910)
- Description
- Men and horses straining with a heavy object
- Large scale 199cm x 301 cm creates monumental forcefulness
- Horses exaggerated and dominate the canvas
- Dissolving lines suggest combined effort
- Divisionism- long, thin strokes, exaggeration of movement in tension of slanting figures, surge from left to right
- Element of abstraction but recognisable subject
- Blending of man, environment and animal
- Background has building site with factories, chimneys trains
- Light creates movement with repeated shapes and light
- Light also used to dissolve forms- sense of shifting
- "I have attempted to produce a great synthesis of work, light and movement"
- Light also used to dissolve forms- sense of shifting
- Context
- Originally intended to be called 'labour'
- Depicition of horses linking to development of industry in Italy
- Horses seen as symbols of violent force e.g. Munch 'Galloping Horse' (1912)
- Martin suggests connection with 'Pegasus Captive' (1889) by Redon
- Marinetti described cars as 'snorting beasts' and called his car Pegasus
- Links to Futurist's 'Technical Manifesto'- creating movement through dissolving forms
- Poet Juels Ronards spoke of unification of movement
- Theory of unanimism- humanity coming together in modern city, creating feelings of joy
- Links to Milan at the time- separating from Florence and becoming new cultural/ industrial centre of Italy
- Description
- Severini 'The Boulevard' (1910)
- Description
- Subject matter of city of Paris- modern and dynamic
- Lively urban scenes, humanity in joyous form
- Decorative and non-academic
- Expressive and non-representative use of colour- provides rythmn
- Warm colours come forward in compositions with cooler blues and greens offering contrast and depth
- Expressive and non-representative use of colour- provides rythmn
- Surface divided with geometric structure- diagonals prominent with pyramidal form
- Geometrical forms painted with block colour- linear
- Destroys perspective
- Geometrical forms painted with block colour- linear
- Light interrupts and divides forms
- Context
- Theory of unanimism from Jules Romains- togetherness in modern city
- Marinetti: 'we should draw inspiration from the tangible miracles of contemporary life
- Optimistic treatment of speed and movemement
- Futurist's view of the city as positive, joyous force
- Influence from Cubists from living in Paris
- Visual suggestion of speed through line and repetition of colour
- Use of patterning show influence of Klimt and Matisse
- Theory of unanimism from Jules Romains- togetherness in modern city
- Description
- Balla 'Dynamism of a Dog on a Lead' (1912)
- Description
- Ground level perspective of a dog and an unidentified human figure walking behind it
- Suggestion we are getting dog's view of the world
- Restrained colour and thick brushwork to convey rapid movement with overlapping shapes
- Dog has 8 tails and 15 feet- repetition of lines to show where the will be
- Sense of simultaneous views whilst the viewer's vision is stationary
- Alludes to effect of camera on long exposure
- Geometric interaction of diagonal lines from bottom left to right as an indicator of the direction they're going
- Varying light intensity and colours- invites sensation of movement
- Stark contrast of black and white draws attention to this
- Context
- Rapid and dynamic influence of photography - speed and technological developments
- 'Synthesis of what one remembers and what one sees'
- 1880s scientist Etienne-Jules Marey invented chronophotography gun- recording successive movements on single photographic plate
- Balla studied motion of horses
- Balla: 'iridescent interpretation'
- Description
- Boccinoni 'Unique Forms of Continuous Motion in Space' (1913)
- Description
- Depicts nude male, defined muscles and accentuated by reflective bronze, exaggerated proportions
- Multiple views made visible
- No arms and featureless face- wears helmet with kind of visor
- Original work made of plaster- more delicate and transient
- Has vigour of Baroque sculpture but more about its position in space than the figure
- Attempt to move away from 'finite line and closed sculpture'
- Figure seems to dissolves, regenerate and transforms the surface into curved planes
- Interior shell-like forms give energy and movement
- War
- Philosophy of Nietzsche's theory of the 'Superman'
- Fast changing life of Italian society and surge of enthusiasm for war
- Heroism and strength- idealisation of the future human
- Influence of Gabrielle D'Annunzio- writer experimenting with superman role
- Marinetti's poetry 'Destruction' (1914) focusing on positives of war
- 'The only cure of the world, a superb blazing of enthusiasm and generosity, a noble bath of heroism'
- Bronze- machine like
- Influences
- Series of sculptures as illustrated answer to Technical Manifesto 1912
- Medardo Rosso, Post Impressionist sculptor in aerodynamic energy, thrust and abstraction
- Muybridge and Marey's chronophotography- movement in several frames
- 'Winged Victory of Samothrace' at Louvre- movement of fabric
- Striding figure also seen in Rodin's 'St. John the Baptist Preaching' and 'Walking Man'
- Description
- Intro Points
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