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Marinetti expressed a passionate loathing of everything old, especially political and artistic tradition. They repudiated the cult of the past and all imitation, praised originality, "however daring, however violent", bore proudly "the smear of madness", dismissed art critics as useless, rebelled against harmony and good taste, swept away all the themes and subjects of all previous art, and gloried in science.
Publishing manifestos was a feature of Futurism, and the Futurists usually led or prompted by Marinetti wrote them on many topics, including painting, architecture, religion, clothing and cooking. Objects in reality were not separate from one another or from their surroundings: 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.
In and they used the techniques of Divisionismbreaking light and color down into a field of stippled dots and stripes, which had been originally created by Giovanni Segantini and others.
Later, Severini, who lived in Paris, attributed their backwardness in style and method at this time to their distance from Paris, the centre of avant-garde art.
Cubism offered them a means of analysing energy in paintings and expressing dynamism. The action of a police attack and riot is rendered energetically with diagonals and broken planes.
His Leaving the Theatre —11 uses a Divisionist technique to render isolated and faceless figures trudging home at night under street lights.
Boccioni's The City Rises represents scenes of construction and manual labour with a huge, rearing red horse in the centre foreground, which workmen struggle to control. His States of Mind, in three large panels, The Farewell, Those who Go, and Those Who Stay, "made his first great statement of Futurist painting, bringing his interests in BergsonCubism and the individual's complex experience of the modern world together in what has been described as one of the 'minor masterpieces' of early twentieth century painting.
The Futurists aimed through their art thus to enable the viewer to apprehend the inner being of what they depicted. Boccioni developed these ideas at length in his book, Pittura scultura Futuriste: Dinamismo plastico Futurist Painting Sculpture: It illustrates the precepts of the Technical Manifesto of Futurist Painting that, "On account of the persistency of an image upon the retina, moving objects constantly multiply themselves; their form changes like rapid vibrations, in their mad career.
Thus a running horse has not four legs, but twenty, and their movements are triangular. The adoption of Cubism determined the style of much subsequent Futurist painting, which Boccioni and Severini in particular continued to render in the broken colors and short brush-strokes of divisionism.
But Futurist painting differed in both subject matter and treatment from the quiet and static Cubism of PicassoBraque and Gris. Although there were Futurist portraits e. In Unique Forms of Continuity in Space he attempted to realise the relationship between the object and its environment, which was central to his theory of "dynamism".
The sculpture represents a striding figure, cast in bronze posthumously and exhibited in the Tate Modern. It now appears on the national side of Italian 20 eurocent coins. His ideas on sculpture were published in the Technical Manifesto of Futurist Sculpture  In Balla also turned to sculpture making abstract "reconstructions", which were created out of various materials, were apparently moveable and even made noises.
He said that, after making twenty pictures in which he had studied the velocity of automobiles, he understood that "the single plane of the canvas did not permit the suggestion of the dynamic volume of speed in depth I felt the need to construct the first dynamic plastic complex with iron wires, cardboard planes, cloth and tissue paper, etc.
In the Futurists began to campaign actively against the Austro-Hungarian empirewhich still controlled some Italian territories, and Italian neutrality between the major powers.
In September, Boccioni, seated in the balcony of the Teatro dal Verme in Milan, tore up an Austrian flag and threw it into the audience, while Marinetti waved an Italian flag. The Florence group had formally acknowledged their withdrawal from the movement by the end of Boccioni produced only one war picture and was killed in Severini painted some significant war pictures in e.
After the war, Marinetti revived the movement. This revival was called il secondo Futurismo Second Futurism by writers in the s. The art historian Giovanni Lista has classified Futurism by decades:is and in to a was not you i of it the be he his but for are this that by on at they with which she or from had we will have an what been one if would who has her.
Oct 31, · Essence, dynamism, vitality and humanity are key concepts that have been explored intimately through art. As this essay outlines, they are differing elements that stem from independent artistic movements, realised by artists with unique and personal purposes.
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Dynamism of a Dog on a Leash (Q) From Wikidata. Jump to navigation Jump to search. painting by Giacomo Balla. Dinamismo di un cane al guinzaglio; Dog on a Leash; Leash in Motion; edit.
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