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96-415: Twentieth-century Rationalism derived less from a special, unified theoretical work than from a common belief that the most varied problems posed by the real world could be resolved by reason. In that respect, it represented a reaction to Historicism and a contrast to Art Nouveau and Expressionism . The term Rationalism is commonly used to refer to the wider International Style . The name Rationalism

192-439: A 19th-century French movement, usually associated with the theorists Eugène Viollet-le-Duc and Auguste Choisy . Viollet-le-Duc rejected the concept of an ideal architecture and instead saw architecture as a rational construction approach defined by the materials and purpose of the structure. The architect Eugène Train was one of the most important practitioners of this school, particularly with his educational buildings such as

288-486: A better, more fulfilling life. In 1913, Saint-Point further expressed her desire for women to have erotic freedom when writing the Futurist Manifesto of Lust . However, it has also been noted that both manifestos favored men, specifically those deemed heroic, contrasting with her ideas about shared human characteristics also present in the manifestos. In Russian Futurist and Cubo-Futurist circles, however, there

384-598: A diverse range of supporters. They tended to oppose Marinetti's artistic and political direction of the movement, and in 1924, the socialists, communists and anarchists walked out of the Milan Futurist Congress. The anti-Fascist voices in Futurism were not completely silenced until the annexation of Abyssinia and the Italo-German Pact of Steel in 1939. This association of Fascists, socialists and anarchists in

480-412: A few Futurists or had movements inspired by Futurism. The Futurists practiced in every medium of art, including painting, sculpture, ceramics, graphic design, industrial design, interior design, urban design, theatre, film, fashion, textiles, literature, music, architecture, and even cooking . To some extent, Futurism influenced the art movements Art Deco , Constructivism , Surrealism , and Dada ; to

576-474: A field of stippled dots and stripes, which had been adopted from Divisionism 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 contributed to the formation of Italian Futurism's artistic style. Severini was the first to come into contact with Cubism , and following

672-581: A greater degree, Precisionism , Rayonism , and Vorticism . Passéism  [ fr ] can represent an opposing trend or attitude. Futurism is an avant-garde movement founded in Milan in 1909 by the Italian poet Filippo Tommaso Marinetti . Marinetti launched the movement in his Manifesto of Futurism , which he published for the first time on 5 February 1909 in La gazzetta dell'Emilia , an article then reproduced in

768-468: A new language free of syntax punctuation, and metrics that allowed for free expression. Theater also has an important place within the Futurist universe. Works in this genre have scenes that are few sentences long, have an emphasis on nonsensical humor, and attempt to discredit the deep rooted traditions via parody and other devaluation techniques. There are a number of examples of Futurist novels from both

864-541: A portrait of himself painted by Carrà to her, the dedication declaring Casati as a Futurist being pasted on the canvas itself. Casati, affluent host of parties in support of the Futurist artists in Marinetti's circle, was thought to be the muse of several of them, including Bragaglia and Balla. Journalist Eugenio Giovanetti would also declare her the "spirit protector" of Futurist art in 1918, as she had become one of Italy's leading collectors. In 1912, only three years after

960-449: A satin costume with a helmet; everything that the plane did had to be expressed by my body. It flew and, moreover, it gave the impression of these wings that trembled, of the apparatus that trembled, ... And the face had to express what the pilot felt." Futurism as a literary movement made its official debut with F. T. Marinetti's Manifesto of Futurism (1909), as it delineated the various ideals Futurist poetry should strive for. Poetry,

1056-508: A visit to Paris in 1911, the Futurist painters adopted the methods of the Cubists. Cubism offered them a means of analyzing energy in paintings and expressing dynamism. They often painted modern urban scenes. Carrà's Funeral of the Anarchist Galli (1910–11) is a large canvas representing events that the artist himself had been involved with in 1904. The action of a police attack and riot

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1152-587: A world of absurd nonsense, childishly crude. His brother, Bruno Corra, wrote in Sam Dunn è morto (Sam Dunn is Dead) a masterpiece of Futurist fiction, in a genre he himself called "synthetic" characterized by compression, and precision; it is a sophisticated piece that rises above the other novels through the strength and pervasiveness of its irony. Science fiction novels play an important role in Futurist literature. Italian futurist cinema ( Italian : Cinema futurista , pronounced [ˈtʃiːnema futuˈrista] )

1248-453: A younger generation of German architects, including Hans Kollhoff , Max Dudler , and Christoph Mäckler . Historicism (art) Historicism or historism comprises artistic styles that draw their inspiration from recreating historic styles or imitating the work of historic artists and artisans. This is especially common in architecture, where there are many different styles of Revival architecture , which dominated large buildings in

1344-636: Is not a Style", won over a small but talented group of architects to the classical point of view. Organizations such as the Traditional Architecture Group at the RIBA , and the Institute of Classical Architecture attest to their growing number, but mask the Rationalist origins. In Germany, Oswald Mathias Ungers became the leading practitioner of German rationalism from the mid-1960s. Ungers influenced

1440-696: Is rendered energetically with diagonals and broken planes. His Leaving the Theatre (1910–11) uses a Divisionist technique to render isolated and faceless figures trudging home at night under street lights. Boccioni's The City Rises (1910) 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 Bergson , Cubism and

1536-495: Is retroactively applied to a movement in architecture that came about during the Age of Enlightenment (more specifically, Neoclassicism ), arguing that architecture's intellectual base is primarily in science as opposed to reverence for and emulation of archaic traditions and beliefs. Rationalist architects, following the philosophy of René Descartes emphasized geometric forms and ideal proportions. The French Louis XVI style emerged in

1632-405: Is young, new, and trembling with life." The Futurists believed that art should be inspired by the modern marvels of their newly technological world. “Just as our forebears took the subject of art from the religious atmosphere that enveloped them, so we must draw inspiration from the tangible miracles of contemporary life." The founding manifesto did not contain a positive artistic programme, which

1728-507: The Manifesto of Futurism was published, Valentine de Saint-Point responded to Marinetti's claims in her Manifesto of the Futurist Woman (Response to F. T. Marinetti ). Marinetti even later referred to her as "the first futurist woman." Her manifesto begins with a misanthropic tone by presenting how men and women are equal and both deserve contempt. She instead suggests that rather than

1824-515: The Collège Chaptal and Lycée Voltaire . Architects such as Henri Labrouste and Auguste Perret incorporated the virtues of structural rationalism throughout the 19th century in their buildings. By the early 20th century, architects such as Hendrik Petrus Berlage were exploring the idea that structure itself could create space without the need for decoration. This gave rise to modernism , which further explored this concept. More specifically,

1920-476: The Soviet establishment and the brief Agitprop movement of the 1920s; Popova died of a fever, Malevich would be briefly imprisoned and forced to paint in the new state-approved style, and Mayakovsky committed suicide on April 14, 1930. The Futurist architect Antonio Sant'Elia expressed his ideas of modernity in his drawings for La Città Nuova (The New City) (1912–1914). This project was never built and Sant'Elia

2016-460: The Technical Manifesto of Futurist Sculpture. In 1915, 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

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2112-469: The secessionist scenographies, the liberty furniture, and the abstract and surreal moments contribute to create a strong formal syncretism (the amalgamation or attempted amalgamation of different religions, cultures, or schools of thought). Thaïs is the only surviving example of the 1910s Italian futurist cinema to date (35 minutes of the original 70). When interviewed about her favorite film of all times, famed movie critic Pauline Kael stated that

2208-646: The 19th century. Through a combination of different styles or the implementation of new elements, historicism can create completely different aesthetics than former styles. Thus, it offers a great variety of possible designs. In the history of art , after Neoclassicism which in the Romantic era could itself be considered a historicist movement, the 19th century included a new historicist phase characterized by an interpretation not only of Greek and Roman classicism , but also of succeeding stylistic eras, which were increasingly respected. In particular in architecture and in

2304-841: The 20th century. The Arts and Crafts style managed to combine a looser vernacular historicism with elements of Art Nouveau and other contemporary styles. The influence of historicism remained strong until the 1950s in many countries. When postmodern architecture became widely popular during the 1980s, a Neohistorism style followed, that is still prominent and can be found around the world, especially in representative and upper-class buildings. International British Empire France Austria and Germany Greece and Balkans Italy Mexico Netherlands Portugal Romania Russian Empire and USSR Scandinavia Spain United States Futurism Futurism ( Italian : Futurismo [futuˈrizmo] )

2400-464: The Bow (1912) similarly depicts the movements of a violinist's hand and instrument, rendered in rapid strokes within a triangular frame. 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

2496-451: The City in 1982, explored several of the ideas that inform Neo-rationalism. In seeking to develop an understanding of the city beyond simple functionalism, Rossi revives the idea of typology , following from Quatremère de Quincy, as a method for understanding buildings, as well as the larger city. He also writes of the importance of monuments as expressions of the collective memory of the city, and

2592-520: The French daily newspaper Le Figaro on Saturday 20 February 1909. He was soon joined by the painters Umberto Boccioni , Carlo Carrà , Giacomo Balla , Gino Severini and the composer Luigi Russolo . Marinetti expressed a passionate loathing of everything old, especially political and artistic tradition. "We want no part of it, the past," he wrote, "we the young and strong Futurists! " The Futurists admired speed , technology , youth and violence ,

2688-443: The Futurist movement in 1910 and wrote a Manifesto of Futurist Musicians in which he appealed to the young (as had Marinetti), because only they could understand what he had to say. According to Pratella, Italian music was inferior to music abroad. He praised the "sublime genius" of Wagner and saw some value in the work of other contemporary composers; Richard Strauss , Elgar , Mussorgsky , and Sibelius , for example. By contrast,

2784-502: The Futurist movement, which may seem odd today, can be understood in terms of the influence of Georges Sorel , whose ideas about the regenerative effect of political violence had adherents right across the political spectrum. Aeropainting ( aeropittura ) was a major expression of the second generation of Futurism beginning in 1926. The technology and excitement of flight, directly experienced by most aeropainters, offered aeroplanes and aerial landscape as new subject matter. Aeropainting

2880-477: The Futurists attempted to create in their subsequent Technical Manifesto of Futurist Painting (published in Italian as a leaflet by Poesia , Milan, 11 April 1910). This committed them to a "universal dynamism," which was to be directly represented in painting. Objects in reality were not separate from one another or from their surroundings: "The sixteen people around you in a rolling motor bus are in turn and at

2976-465: The Italian symphony was dominated by opera in an "absurd and anti-musical form." The conservatory was said to encourage backwardness and mediocrity. The publishers perpetuated mediocrity and the domination of music by the "rickety and vulgar" operas of Puccini and Umberto Giordano . The only Italian Pratella could praise was his teacher Pietro Mascagni , because he had rebelled against the publishers and attempted innovation in opera, but even Mascagni

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3072-646: The Manifesto of the Futurist Painters (1910) by Umberto Boccioni, Luigi Russolo, Gino Severini, Giacomo Balla, and Carlo Carrà: "We want to fight implacably against the mindless, snobbish, and fanatical religion of the past, religion nurtured by the pernicious existence of the museums. We rebel against the spineless admiration for old canvases, old statues, and old objects, and against the enthusiasm for everything worm-eaten, grimy, or corroded by time; and we deem it unjust and criminal that people habitually disdain whatever

3168-631: The Mussolini regime, including the University of Rome (begun in 1932) and the Esposizione Universale Roma (EUR) in the southern part of Rome (begun in 1936). The EUR features monumental buildings, many of which evocative of ancient Roman architecture, but absent ornament, revealing strong geometric forms. In the 1950s in Italy, studies on rationalism and the methodology of science were developed in

3264-523: The Russian Futurists were fascinated with dynamism, speed, and the restlessness of modern urban life; however, they were the complete opposite of them ideologically, as many embraced the political and social visions of the emerging communist movement in Russia. The Russian Futurists sought controversy by repudiating the art of the past, saying that Pushkin and Dostoevsky should be "heaved overboard from

3360-547: The Soviet Modernist group ASNOVA were known as 'the Rationalists'. Rational Architecture (Italian: Architettura razionale ) thrived in Italy from the 1920s to the 1940s, under the support and patronage of Mussolini 's Fascist regime. In 1926, a group of young architects – Sebastiano Larco , Guido Frette , Carlo Enrico Rava , Adalberto Libera , Luigi Figini , Gino Pollini and Giuseppe Terragni (1904–43) – founded

3456-481: The ability to carry out important work, especially in architecture . After the Second World War , many Futurist artists had difficulty in their careers because of their association with a defeated and discredited regime. Marinetti sought to make Futurism the official state art of Fascist Italy, but failed to do so. Mussolini chose to give patronage to numerous styles and movements in order to keep artists loyal to

3552-448: The artist seeks by intuition to link sympathies between the exterior scene and interior emotion. Boccioni's intentions in art were strongly influenced by the ideas of Bergson, including the idea of intuition , which Bergson defined as a simple, indivisible experience of sympathy through which one is moved into the inner being of an object to grasp what is unique and ineffable within it. The Futurists aimed through their art thus to enable

3648-533: The audience while Marinetti waved an Italian flag. When Italy entered the First World War in 1915, many Futurists enlisted. The experience of the war marked several Futurists — particularly Marinetti, who fought in the mountains of Trentino at the border of Italy and Austria-Hungary — actively engaging in propaganda. Italian futurists included "visual poetry in futurist periodicals” to promote their cause or campaign, thus swaying public opinion in their favor after

3744-407: The binary being limited to men and women, it should be replaced with "femininity and masculinity;" ample cultures and individuals should possess elements of both. Yet, she still embraces the core values of Futurism, especially its focus on "virility" and "brutality." Saint-Point uses this as a segue into her antifeminist argument—giving women equal rights destroys their innate "potency" to strive for

3840-489: The car, the airplane and the industrial city, all that represented the technological triumph of humanity over nature , and they were passionate nationalists. 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 glorified science. Publishing manifestos

3936-477: The chauvinistic nature of the Italian Futurist program, many serious professional female artists adopted the style, especially so after the end of the first World War. Notably among these female futurists is F.T Marinetti 's own wife Benedetta Cappa Marinetti , whom he had met in 1918 and exchanged a series of letters discussing each of their respective work in Futurism. Letters continued to be exchanged between

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4032-401: The concept of dance. Indeed, dancing was interpreted as an alternative way of expressing man's ultimate fusion with the machine. The altitude of a flying plane, the power of a car's motor, and the roaring loud sounds of complex machinery were all signs of man's intelligence and excellence which the art of dance had to emphasize and praise. This type of dance is considered Futuristic as it disrupts

4128-420: The director Dimitri Kirsanoff , in his silent experimental film Ménilmontant , "developed a technique that suggests the movement known in painting as Futurism." Within F. T. Marinetti's The Founding and Manifesto of Futurism , two of his tenets briefly highlight his hatred for women under the pretense that it fuels the Futurist movement's visceral nature: 9. We intend to glorify war—the only hygiene of

4224-567: The dominance of Marinetti and Boccioni, whom they accused of trying to establish "an immobile church with an infallible creed," and each group dismissed the other as passéiste. Futurism had, from the outset, admired violence and was intensely patriotic. The Futurist Manifesto had declared: "We will glorify war—the world's only hygiene—militarism, patriotism, the destructive gesture of freedom-bringers, beautiful ideas worth dying for, and scorn for woman." Although it owed much of its character and some of its ideas to radical political movements, it

4320-563: 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 1914, personal quarrels and artistic differences between the Milan group around Marinetti, Boccioni, and Balla, and the Florence group around Carrà, Ardengo Soffici (1879–1964) and Giovanni Papini (1881–1956), created a rift in Italian Futurism. The Florence group resented

4416-572: The essential lines of forms unprecedented from their simplicity. In the new city, every aspect of life was to be rationalized and centralized into one great powerhouse of energy. The city was not meant to last, and each subsequent generation was expected to build their own city rather than inheriting the architecture of the past. Futurist architects were sometimes at odds with the Fascist state's tendency towards Roman imperial -classical aesthetic patterns. Nevertheless, several Futurist buildings were built in

4512-438: The feet of the woman walking it—have been multiplied to a blur of movement. 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." His Rhythm of

4608-481: The first members of the National Fascist Party . He opposed Fascism's later exaltation of existing institutions, calling them "reactionary," and walked out of the 1920 Fascist party congress in disgust, withdrawing from politics for three years; but he supported Italian Fascism until his death in 1944. The Futurists' association with Fascism after its triumph in 1922 brought them official acceptance in Italy and

4704-502: The futuristic-themed films of this period have been lost, but critics cite Thaïs (1917) by Anton Giulio Bragaglia as one of the most influential, serving as the main inspiration for German Expressionist cinema in the following decade. Thaïs was born on the basis of the aesthetic treatise Fotodinamismo futurista (1911), written by the same author. The film, built around a melodramatic and decadent story, actually reveals multiple artistic influences different from Marinett's futurism;

4800-594: The genre of history painting , in which historical subjects were treated with great attention to accurate period detail, the global influence of historicism was especially strong from the 1850s onwards. The change is often related to the rise of the bourgeoisie during and after the Industrial Revolution . By the end of the century, in the fin de siècle , Symbolism and Art Nouveau followed by Expressionism and Modernism acted to make Historicism look outdated, although many large public commissions continued in

4896-604: The hallmark of today's youth is a desire for lucidity and wisdom...This must be clear...we do not intend to break with tradition...The new architecture, the true architecture, should be the result of a close association between logic and rationality. One of the first rationalist buildings was the Palazzo Gualino in Turin , built for the financier Riccardo Gualino by the architects Gino Levi-Montalcini and Giuseppe Pagano . Gruppo 7 mounted three exhibitions between 1926 and 1931, and

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4992-601: The hope of modernizing a country divided between the industrialising north and the rural, archaic South. Like the Fascists, the Futurists were Italian nationalists, laborers, disgruntled war veterans, radicals , admirers of violence, and opposed to parliamentary democracy. Marinetti founded the Futurist Political Party ( Partito Politico Futurista ) in early 1918, which was absorbed into Benito Mussolini 's Fasci Italiani di Combattimento in 1919, making Marinetti one of

5088-406: The idea of place as an expression of both physical reality and history. Architects such as Leon Krier , Maurice Culot , and Demetri Porphyrios took Rossi's ideas to their logical conclusion with a revival of Classical Architecture and Traditional Urbanism. Krier's witty critique of Modernism, often in the form of cartoons, and Porphyrios's well crafted philosophical arguments, such as "Classicism

5184-494: The imagery of Futurist writings, and were writers themselves. Poets and painters collaborated on theatre production such as the Futurist opera Victory Over the Sun , with texts by Kruchenykh, music by Mikhail Matyushin , and sets by Malevich. The main style of painting was Cubo-Futurism , extant during the 1910s. Cubo-Futurism combines the forms of Cubism with the Futurist representation of movement; like their Italian contemporaries,

5280-504: 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 work attempts to convey feelings and sensations experienced in time, using new means of expression, including "lines of force," which intend to convey the directional tendencies of objects through space; "simultaneity," which combines memories, present impressions and anticipation of future events; and "emotional ambience" in which

5376-705: The influential École Polytechnique in Paris at the time, argued that architecture in its entirety was based in science. Other architectural theorists of the period who advanced rationalist ideas include Abbé Jean-Louis de Cordemoy (1631–1713), the Venetian Carlo Lodoli (1690–1761), Abbé Marc-Antoine Laugier (1713–1769) and Quatremère de Quincy (1755–1849). The architecture of Claude Nicholas Ledoux (1736–1806) and Étienne-Louis Boullée (1728–1799) typify Enlightenment rationalism, with their use of pure geometric forms, including spheres, squares, and cylinders. The term structural rationalism most often refers to

5472-465: The initial period of Futurism and the neo-Futurist period, from Marinetti himself to a number of lesser known Futurists, such as Primo Conti, Ardengo Soffici and Bruno Giordano Sanzin ( Zig Zag, Il Romanzo Futurista edited by Alessandro Masi, 1995). They are very diverse in style, with very little recourse to the characteristics of Futurist Poetry, such as parole in libertà. Arnaldo Ginna's Le 'locomotive con le calze (Trains with socks on) plunges into

5568-453: The mid-18th century with its roots in the waning interest of the Baroque period. The architectural notions of the time gravitated more and more to the belief that reason and natural forms are tied closely together, and that the rationality of science should serve as the basis for where structural members should be placed. Towards the end of the 18th century, Jean-Nicolas-Louis Durand , a teacher at

5664-818: The movement constituted itself as an official body, the Movimento Italiano per l'Architettura Razionale (MIAR), in 1930. Exemplary works include Giuseppe Terragni's Casa del Fascio in Como (1932–36), The Medaglia d'Oro room at the Italian Aeronautical Show in Milan (1934) by Pagano and Marcello Nizzoli , and the Fascist Trades Union Building in Como (1938–43), designed by Cesare Cattaneo, Pietro Lingeri, Augusto Magnani, L. Origoni, and Mario Terragni. Pagano became editor of Casabella in 1933 together with Edoardo Persico. Pagano and Persico featured

5760-483: The musical score is twice the length of the film and now stands alone. The score calls for a percussion ensemble consisting of three xylophones , four bass drums, a tam-tam, three airplane propellers, seven electric bells, a siren, two "live pianists," and sixteen synchronized player pianos. Antheil's piece was the first to synchronize machines with human players and to exploit the difference between what machines and humans can play. The Futuristic movement also influenced

5856-707: The performer to create and control the dynamics and pitch of several different types of noises. Russolo and Marinetti gave the first concert of Futurist music, complete with intonarumori , in 1914. However, they were prevented from performing in many major European cities by the outbreak of war. Futurism was one of several 20th-century movements in art and music that paid homage to, included, or imitated machines. Ferruccio Busoni has been seen as anticipating some Futurist ideas, though he remained wed to tradition. Russolo's intonarumori influenced Stravinsky , Arthur Honegger , George Antheil , Edgar Varèse , Stockhausen and John Cage . In Pacific 231 , Honegger imitated

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5952-400: The predominant medium of Futurist literature, can be characterized by its unexpected combinations of images and hyper-conciseness (not to be confused with the actual length of the poem). The Futurists called their style of poetry parole in libertà (word autonomy), in which all ideas of meter were rejected and the word became the main unit of concern. In this way, the Futurists managed to create

6048-627: The quiet and static Cubism of Picasso , Braque and Gris . As the art critic Robert Hughes observed: "In Futurism, the eye is fixed and the object moves, but it is still the basic vocabulary of Cubism—fragmented and overlapping planes." Futurist art tended to disdain traditional subjects, specifically those of photographically realistic portraits and landscapes. Futurists thought of "imitation" art that copied from life to be lazy, unimaginative, cowardly, and boring. While there were Futurist portraits — Carrà's Woman with Absinthe (1911), Severini's Self-Portrait (1912), and Boccioni's Matter (1912) — it

6144-563: The reality traditionally constituted by a terrestrial perspective," and that "painting from this new reality requires a profound contempt for detail and a need to synthesise and transfigure everything." Crispolti identifies three main "positions" in aeropainting: "a vision of cosmic projection, at its most typical in Prampolini's 'cosmic idealism' ... ; a 'reverie' of aerial fantasies sometimes verging on fairy-tale (for example in Dottori ...); and

6240-412: The referential system of traditional, classical dance and introduces a different style, new to the sophisticated bourgeois audience. The dancer no longer performs a story with clear content that can be read according to the rules of ballet. One of the most notable Futuristic dancers is Italian artist Giannina Censi . She was inspired by the arial themes in the second wave of Futurism and sought to put in on

6336-562: The regime, becoming less radical and avant-garde with each. He moved from Milan to Rome to be nearer the centre of things. He became an academician despite his condemnation of academies, married despite his condemnation of marriage, promoted religious art after the Lateran Treaty of 1929, and even reconciled himself to the Catholic Church, declaring that Jesus was a Futurist. Although Futurism mostly became identified with Fascism, it had

6432-488: The regime. Opening the exhibition of art by the Novecento Italiano group in 1923, he said, "I declare that it is far from my idea to encourage anything like a state art. Art belongs to the domain of the individual. The state has only one duty: not to undermine art, to provide humane conditions for artists, to encourage them from the artistic and national point of view." Mussolini's mistress, Margherita Sarfatti , who

6528-576: 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 ). He explored the theme further in Synthesis of Human Dynamism (1912), Speeding Muscles (1913), and Spiral Expansion of Speeding Muscles (1913); his ideas on sculpture were published in

6624-411: The same time one, ten four three; they are motionless and they change places. ... 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." The Futurist painters were slow to develop a distinctive style and subject matter. In 1910 and 1911, they used the techniques of Divisionism , breaking light and color down into

6720-471: The so-called Gruppo 7 , publishing their manifesto in the magazine Rassegna Italiana . Their declared intent was to strike a middle ground between the classicism of the Novecento Italiano movement and the industrially inspired architecture of Futurism . Their "note" declared: The hallmark of the earlier avant garde was a contrived impetus and a vain, destructive fury, mingling good and bad elements:

6816-549: The sound of a steam locomotive. There are also Futurist elements in Prokofiev 's The Steel Step as well as his Second Symphony. Most notable in this respect, however, is American artist George Antheil . His fascination with machinery is evident in his Airplane Sonata , Death of the Machines , and the 30-minute Ballet Mécanique . The Ballet Mécanique was originally intended to accompany an experimental film by Fernand Léger , but

6912-434: The stage. Trained as a classical ballerina, she is known for her "Aerodanze" and continued to earn her living by performing in classical and popular productions. She describes this innovative form of dance as the result of a deep collaboration with Marinetti and his poetry: "I launched this idea of the aerial-futurist poetry with Marinetti, he himself declaiming the poetry. A small stage of a few square meters;... I made myself

7008-413: The steamship of modernity." They acknowledged no authority and professed not to owe anything even to Marinetti, as they abhorred his commitment to fascism, and most of them obstructed him when he came to Russia to proselytize in 1914. The movement began to decline after the revolution of 1917 . The Futurists either stayed, were persecuted, or left the country. Popova, Mayakovsky and Malevich became part of

7104-660: The twentieth century in particular by Gualtiero Galmanini , who left an imprint that was later followed by many, influencing the starchitects of his time. In the late 1960s, a new rationalist movement emerged in architecture, claiming inspiration from both the Enlightenment and early-20th-century rationalists. Like the earlier rationalists, the movement, known as the Tendenza, was centered in Italy. Practitioners include Carlo Aymonino (1926–2010), Aldo Rossi (1931–97), and Giorgio Grassi . The Italian design magazine Casabella featured

7200-415: The two with F. T. Marinetti often complimenting Benedetta – the single name she was best known as – on her genius. In a letter dated August 16, 1919, Marinetti wrote to Benedetta: "Do not forget your promise to work. You must carry your genius to its ultimate splendor. Every day." Although many of Benedetta's paintings were exhibited in major Italian exhibitions — the 1930-1936 Venice Biennales (in which she

7296-420: 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: Plastic Dynamism ) (1914). Balla's Dynamism of a Dog on a Leash (1912) exemplifies the Futurists' insistence that the perceived world is in constant movement. The painting depicts a dog whose legs, tail and leash—and

7392-470: The war; the combat experience also influenced Futurist music. The outbreak of war disguised the fact that Italian Futurism had come to an end. The Florence group had formally acknowledged their withdrawal from the movement by the end of 1914. Boccioni produced only one war picture and was killed in 1916. Severini painted some significant war pictures in 1915 (e.g. War , Armored Train , and Red Cross Train ), but in Paris turned towards Cubism; post-war, he

7488-516: The weight of its past." Important Futurist works included Marinetti's 1909 Manifesto of Futurism , Boccioni's 1913 sculpture Unique Forms of Continuity in Space , Balla's 1913–1914 painting Abstract Speed + Sound , and Russolo's The Art of Noises (1913). Although Futurism was largely an Italian phenomenon, parallel movements emerged in Russia, where some Russian Futurists would later go on to found groups of their own; other countries either had

7584-474: The work of the rationalists in the magazine, and its editorials urged the Italian state to adopt rationalism as its official style. The Rationalists enjoyed some official commissions from the Fascist government of Benito Mussolini, but the state tended to favor the more classically inspired work of the National Union of Architects. Architects associated with the movement collaborated on large official projects of

7680-494: The work of these architects and theorists. The work of architectural historian Manfredo Tafuri influenced the movement, and the University Iuav of Venice emerged as a center of the Tendenza after Tafuri became chair of Architecture History in 1968. A Tendenza exhibition was organized for the 1973 Milan Triennale . Rossi's book L'architettura della città , published in 1966, and translated into English as The Architecture of

7776-409: The world—militarism, patriotism, the destructive gesture of anarchists, beautiful ideas worth dying for, and contempt for woman. 10. We intend to destroy museums, libraries, academics of every sort and to fight against moralism, feminism, and every utilitarian opportunistic cowardice. Marinetti would begin to contradict himself when, in 1911, he called Luisa, Marchesa Casati a Futurist; he dedicated

7872-808: The years 1920–1940, including public buildings such as railway stations, maritime resorts, and post offices . Examples of Futurist buildings still in use today are Trento railway station built by Angiolo Mazzoni and the Santa Maria Novella station in Florence . The Florence station was designed in 1932 by the Gruppo Toscano (Tuscan Group) of architects, which included Giovanni Michelucci and Italo Gamberini , with contributions by Mazzoni. Futurist music rejected tradition and introduced experimental sounds inspired by machinery, and would influence several 20th-century composers. Francesco Balilla Pratella joined

7968-442: Was a feature of Futurism, and the Futurists (usually led or prompted by Marinetti) wrote them on many topics, including painting, architecture, music, literature, theatre, cinema, photography, religion, women, fashion, and cuisine. In their manifestos, Futurists described their beliefs and appreciations of various methods. They also detailed their disdain for traditional Italian Renaissance works of art and their subjects. According to

8064-470: Was a higher percentage of women participants than in Italy from the start; Natalia Goncharova , Aleksandra Ekster , and Lyubov Popova are some examples of major female Futurists. Although Marinetti expressed his approval of Olga Rozanova 's paintings during his 1914 lecture tour of Russia, it is possible that the women painters' negative reaction to the said tour may have largely been due to his misogyny, as well as his explicit support for fascism. Despite

8160-585: Was a movement of literature and the visual arts, involving various Futurist groups. The Russian Association of Proletarian Writers were associated with Russian Futurists during the 1920s in relation to the Futurists theory "Literature of Fact," in which Soviet art can be expressed through literacy evolution. The poet Vladimir Mayakovsky was a prominent member of the movement, as were Velimir Khlebnikov and Aleksei Kruchyonykh ; visual artists such as David Burliuk , Mikhail Larionov , Natalia Goncharova , Lyubov Popova , and Kazimir Malevich found inspiration in

8256-481: Was also one of the first to paint in Aeropittura , an abstract and futurist art style of landscape from the view of an airplane. Giannina Censi was the first exponent of Aerodanze. Similar to Aeropittura, this was a second wave Futurist dance style based in the fascination with aviation (in 1931 Censi was accompanied by F.T. Marinetti in a dance tour entitled Simultanina ). Many Italian Futurists supported Fascism in

8352-591: Was an artistic and social movement that originated in Italy , and to a lesser extent in other countries, in the early 20th century. It emphasized dynamism, speed, technology, youth, violence, and objects such as the car, the airplane, and the industrial city. Its key figures included Italian artists Filippo Tommaso Marinetti , Umberto Boccioni , Carlo Carrà , Fortunato Depero , Gino Severini , Giacomo Balla , and Luigi Russolo . Italian Futurism glorified modernity and, according to its doctrine, "aimed to liberate Italy from

8448-440: Was as able a cultural entrepreneur as Marinetti, successfully promoted the rival Novecento group, and even persuaded Marinetti to sit on its board. Although in the early years of Italian Fascism modern art was tolerated and even embraced, towards the end of the 1930s, right-wing Fascists introduced the concept of " degenerate art " from Germany to Italy and condemned Futurism. Marinetti made numerous moves to ingratiate himself with

8544-466: Was associated with the Return to Order . After the war, Marinetti revived the movement. This revival was called il secondo Futurismo (Second Futurism) by writers in the 1960s. The art historian Giovanni Lista groups Futurism into three distinct decades according to characteristics of each: "Plastic Dynamism" of the 1910s, "Mechanical Art" of the 1920s, and "Aeroaesthetics" of the 1930s. Russian Futurism

8640-545: Was killed in the First World War, but his ideas influenced later generations of architects and artists. The city was a backdrop onto which the dynamism of Futurist life was projected. The city had replaced the landscape as the setting for the exciting modern life. Sant'Elia aimed to create a city as an efficient, fast-paced machine. He manipulated light and shape to emphasize the sculptural quality of his projects. Baroque curves and encrustations had been stripped away to reveal

8736-567: Was not much involved in politics until the autumn of 1913. Then, fearing the re-election of Giolitti , Marinetti published a political manifesto. In 1914, the Futurists began to campaign actively against the Austro-Hungarian empire , which 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

8832-415: Was the first woman to have her art displayed since the exhibition's founding in 1895 ), the 1935 Rome Quadriennale , and several other futurist exhibitions — she was often overshadowed in her work by her husband. The first introduction of Benedetta's feminist convictions regarding futurism is in the form of a public dialogue in 1925 (with an L. R. Cannonieri) concerning the role of women in society. Benedetta

8928-513: Was the oldest movement of European avant-garde cinema. Italian futurism, an artistic and social movement , impacted the Italian film industry from 1916-1919. It influenced Russian Futurist cinema and German Expressionist cinema . Its cultural importance was considerable and influenced all subsequent avant-gardes, as well as some authors of narrative cinema; its echo expands to the dreamlike visions of some films by Alfred Hitchcock . Most of

9024-793: Was the urban scene and vehicles in motion that typified Futurist painting; Boccioni's The Street Enters the House (1911), Severini's Dynamic Hieroglyph of the Bal Tabarin (1912), and Russolo's Automobile at Speed (1913) for example. The Futurists held their first exhibition outside of Italy in 1912 at the Bernheim-Jeune gallery, Paris, which included works by Umberto Boccioni, Gino Severini, Carlo Carrà, Luigi Russolo and Giacomo Balla. In 1912 and 1913, Boccioni turned to sculpture to translate into three dimensions his Futurist ideas. In Unique Forms of Continuity in Space (1913), he attempted to realize

9120-503: Was too traditional for Pratella's tastes. In the face of this mediocrity and conservatism, Pratella unfurled "the red flag of Futurism, calling to its flaming symbol such young composers as have hearts to love and fight, minds to conceive, and brows free of cowardice." Luigi Russolo (1885–1947) wrote The Art of Noises (1913), an influential text in 20th-century musical aesthetics. Russolo used instruments he called intonarumori , which were acoustic noise generators that permitted

9216-609: Was varied in subject matter and treatment, including realism (especially in works of propaganda), abstraction, dynamism, quiet Umbrian landscapes, portraits of Mussolini (e.g. Dottori's Portrait of il Duce ), devotional religious paintings, decorative art, and pictures of planes. Aeropainting was launched in a manifesto of 1929, Perspectives of Flight , signed by Cappa , Depero , Dottori , Fillìa , Marinetti, Prampolini , Somenzi and Tato (Guglielmo Sansoni) . The artists stated that "the changing perspectives of flight constitute an absolutely new reality that has nothing in common with

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