Word: boccioni
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...Manifesto of Futurist Painting declared: "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." Carlo Carrà captured this energy in the kaleidoscopic What the Tram Told Me (1911), while Umberto Boccioni conveys the rush of rail travel in his triptych States of Mind (1911). The second painting in the series, Those Who Go, depicts giant dreaming heads swept along with fragmentary buildings, leaving faded gray figures marooned on the platform in the third panel, Those Who Stay...
Futurism made the most noise at the start. The futurist painters' manifestos of 1910, written by that inspired poet and arch-hypester Filippo T. Marinetti and signed by a clutch of brilliantly gifted artists (Giacomo Balla, Umberto Boccioni, Carlo Carra, Luigi Russolo and Gino Severini), declared war on cultural history -- "the enthusiasm for everything worm-eaten, rotting with filth, eaten away by time...
...England and Russia until around 1925. The movement took an aggressively internationalist stance, looking to a future world unified by technology. Yet its rhetoric was bedded deep in Italian life. The core of the futurist group, which coalesced in the early 1900s, was made up of the painters Umberto Boccioni, Carlo Carra, Giacomo Balla, Luigi Russolo and Gino Severini, the architect Antonio Sant'Elia and a few writers clustered around the figure of Marinetti, poet, dandy, ringmaster, publicist and red-hot explainer to the global village -- "the caffeine of Europe," as he called himself. They were all Italian...
...invention, but also remembering. It is never in a real artist's interest to "abolish" the past, which is impossible anyway. Boccioni, in particular, kept paying it homage: his striding bronze figure in space, included in the Venice show, alludes to the same Victory of Samothrace that Marinetti thought less beautiful than a car; the figures who scurry frantically about the two battling women in the Milan Galleria in his Riot at the Gallery, 1910, look like the ghostly crowds in the background of Tintorettos. What the futurists opposed was not so much the past itself as the mind...
...Braque had built cubism on the scrutiny of a single object from multiple viewpoints: the table stood still, the eye moved. In futurism, the eye is fixed and the object moves, but it is still the basic vocabulary of cubism -- fragmented and overlapping planes -- that tells us so. Carra, Boccioni and, above all, Balla prized the photographs of sequential movement taken by Eadweard Muybridge and Etienne Jules Marey. Some of Balla's own paintings, like the famous Dynamism of a Dog on a Leash, 1912, are virtually straight renderings of multiple-exposure photographs. But in his series of paintings inspired...