FUTURISM AND AIR PAINTING PT.1
Europe; approaching Cubism, Boccioni and Carrà, especially between 1911 and 1912, ended up producing a protest movement against the 'formal virtuosity' of their Parisian colleagues (on the other hand, it was precisely the Futurist exhibition organized in Paris in 1912 that imposed these new artists on the international scene). And it was also in 1912 that Boccioni completed the drafting of the new Technical Manifesto of Futurist Sculpture.
In any case, if art approached with great speed an increasingly decisive theatricalization of his intervention, Marinetti sought to be increasingly incisive primarily on the political level. In fact, after joining the Italian Nationalist Party in 1913, he even came to design a Futurist political movement (which also had its Manifesto, published in 1918), then resolving to participate in the Fasci di Combattimento - thus joining together to the anarcho-syndicalists, to the first political program of Benito Mussolini.
But ours soon distanced himself from this political group, returning to look kindly on anarchists. Then he went to the River occupied by D'Annunzio and his followers, and wrote a proclamation praising the artists in power. In any case, he soon had to acknowledge the substantial failure of his aesthetic-political project; that is, of the actual powerlessness of his own artistic-social idea. By now marginalized from the real political games, he finally found himself forced to give up the utopian conquest of power, which should have allowed him to radically reform its statutes.
D.
fter 1922, therefore, Futurism entered a new historical phase, called precisely the "second Futurism". Where, what had been a utopia of universal palingenesis, returned to become an exquisitely artistic movement; thus leaving behind the radicalism that the concept of 'avant-garde' had been able to make its own in the early years of the epic inaugurated in 1909 by Marinetti and a handful of a few enthusiastic travel companions.
Boccioni had met Marinetti at a Futurist evening organized at the Teatro Lirico in Milan on February 15, 1910, and commented on the event with his friend Luigi Russolo. Even painting, he told him on that occasion, needed a similar zeroing.
Thus Boccioni, Russolo and Carrà drew up the Manifesto of the Futurist Painters - to which Bonzagni and Romans also adhered. The Manifesto was declaimed at the Chiarella Theater in Turin on March 8, 1910. And a few days later the first exhibition of Futurist painters was inaugurated.
Severini was recalled from Paris. Boccioni also immediately involved his friend Balla; he went to Rome and enlisted him. But to draw up the Futurist Manifesto (the Technical Manifesto of Futurist Painting was declaimed by Boccioni on April 20, 1910 in Naples, in the spaces of the Mercadante Theater), were, until the end of 1911, only Russolo, Carrà and Boccioni. Of course, the group would gradually be enriched with new followers, and gradually involved always new artistic languages: from sculpture to architecture, but then even fashion and design. As well as the music.
03.06.2021
In any case, if art approached with great speed an increasingly decisive theatricalization of his intervention, Marinetti sought to be increasingly incisive primarily on the political level. In fact, after joining the Italian Nationalist Party in 1913, he even came to design a Futurist political movement (which also had its Manifesto, published in 1918), then resolving to participate in the Fasci di Combattimento - thus joining together to the anarcho-syndicalists, to the first political program of Benito Mussolini.
But ours soon distanced himself from this political group, returning to look kindly on anarchists. Then he went to the River occupied by D'Annunzio and his followers, and wrote a proclamation praising the artists in power. In any case, he soon had to acknowledge the substantial failure of his aesthetic-political project; that is, of the actual powerlessness of his own artistic-social idea. By now marginalized from the real political games, he finally found himself forced to give up the utopian conquest of power, which should have allowed him to radically reform its statutes.
D.
fter 1922, therefore, Futurism entered a new historical phase, called precisely the "second Futurism". Where, what had been a utopia of universal palingenesis, returned to become an exquisitely artistic movement; thus leaving behind the radicalism that the concept of 'avant-garde' had been able to make its own in the early years of the epic inaugurated in 1909 by Marinetti and a handful of a few enthusiastic travel companions.
Boccioni had met Marinetti at a Futurist evening organized at the Teatro Lirico in Milan on February 15, 1910, and commented on the event with his friend Luigi Russolo. Even painting, he told him on that occasion, needed a similar zeroing.
Thus Boccioni, Russolo and Carrà drew up the Manifesto of the Futurist Painters - to which Bonzagni and Romans also adhered. The Manifesto was declaimed at the Chiarella Theater in Turin on March 8, 1910. And a few days later the first exhibition of Futurist painters was inaugurated.
Severini was recalled from Paris. Boccioni also immediately involved his friend Balla; he went to Rome and enlisted him. But to draw up the Futurist Manifesto (the Technical Manifesto of Futurist Painting was declaimed by Boccioni on April 20, 1910 in Naples, in the spaces of the Mercadante Theater), were, until the end of 1911, only Russolo, Carrà and Boccioni. Of course, the group would gradually be enriched with new followers, and gradually involved always new artistic languages: from sculpture to architecture, but then even fashion and design. As well as the music.
03.06.2021