The photographic experiments of Anton Giulio Bragaglia (1890-1960) published in 1911 in his essay "Futuristic photodynamics" caused a tussle within the movement founded by Filippo Tommaso Marinetti.
The painter Umberto Boccioni recommended to his friends and colleagues to refrain from "any contact with the photodynamics of Bragaglia". The futurist magazine "Lacerba" solemnly declared that the director's experiments had nothing to do with art.
According to the illustrious detractors, this avant-garde photographic practice - which Bragaglia, together with the two brothers Carlo Lodovico and Arturo, had immediately wanted to engage in the experience just begun by the futurist movement - represented nothing new and revolutionary, it was a trivial extension of the old realistic painting: nothing more than a superficial gesture of mechanical reproduction incapable of grasping the heart of reality.
Marinetti himself had to intervene to calm the waters. On the contrary, the scholar even became the promoter and economic sponsor of Bragaglia's photographic ideas.
In those images, according to him, there was the future