Word: marinetti
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...Speed is our god, a new canon of beauty," wrote the Italian Futurist Filippo Marinetti in 1909. "A roaring motorcar, which runs like a machine gun, is more beautiful than the Winged Victory of Samothrace." Ever since then, the automobile has been present on the margins of Western art, though not, as the horse once was, at its center. There has never been a flow of car images to match the innumerable equestrian ones of the past, because the car is-as Marinetti implied-a work of art already, a mass-produced corporate sculpture, permeated with style. Logically, then...
...would also like to thank Jean Acko who drew the cartoon of Marinetti in his automobile on short notice; Steve Potter, who photographed the roaring automobile on the cover; Lynn Darling, who helped with content, proofreading and layout; Rich Meislin, who typeset the supplement; and Garrett Epps, who gave us encouragement, many of our ideas, and superb editing, as well as many...
Mayakovsky had joined the Bolshevik party at thirteen; been arrested and jailed for subversive activity by fifteen; and emerged from prison at sixteen determined to become a poet. In 1910, he entered a recently formed Futurist circle, much influenced by Marinetti and the Italians. But from the beginning the Russian Futurists were more given to formal literary experimentation and less given to aesthetic polemic than the Italians. And when Marinetti arrived in Russia in early 1914 to sign the Russians on to his own Futurist Program, he was rebuffed...
...hopelessly provincial. However you define modernism, it is an international phenomenon. Yet Connolly leaves out Ibsen and Strindberg, Nietzsche and Rilke, Tolstoy and Chekhov, all of whom surely have "helped shape the contemporary mind" to a far greater degree than Ivy Compton-Burnett or Henri Michaux. What about Marinetti and Cavafy and Karel Capek and Federigo Garcia Lorca and other influential thinkers who did not happen to write in English or French...
...means exclusively a historian of Germany. During this term he also led a seminar in European socialism and communism in the interwar period; he has written a book on the Second International, and another on Three Intellectuals in Politics, Leon Blum, Walther Rathenau, and F.T. Marinetti. The last of the three, the Italian futurist painter who had so much in common with D'Anaunzio, is an especially illuminating corner of Joll's work: he confesses to fascination with the "links between artistic and social and political development" in this century, between "the breakdown of conventions in the arts...