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The bride stripped bare?
Elza Adamowicz

8 Fernand Léger’s La noce: the bride stripped bare? Elza Adamowicz Elza Adamowicz Fernand Léger’s La noce ‘My painting in the Salon des Indépendants is going to have lots of people befuddled’ [embarquer des tas de gens dans l’abracadabra], writes Fernand Léger in a letter (7 August 1912) to André Mare (Fernand Léger 1997: 299). The work he refers to, La noce (or Les noces), was first exhibited at the Salon (20 March–16 May 1912) under the title Composition avec personnages.1 The Salon was held one month after the Futurist exhibition at the BernheimJeune

in Back to the Futurists
The avant-garde and its Legacy

In 1909, the Italian poet Filippo Tommaso Marinetti's Founding Manifesto of Futurism was published on the front page of Le Figaro. Between 1909 and 1912, the Futurists published works celebrating speed and danger, glorifying war and technology, and advocating political and artistic revolution. In Europe, this avant-garde movement was active in the field of painting and sculpture, theatre, photography and politics. This book reassesses the activities and legacies of Futurism. It looks at Futurist manifestos by linking techniques of promotion with practices in commercial advertising, and exploring the question of how Futurist manifestos address notions of genius and gender. The book also reconstructs the historical, cultural and ideological background of Marinetti's Manifesto del tattilismo. Zurich Dadaists adopted cultural stances heavily indebted to the terms of critical engagement and cultural visibility initiated within the Futurist circle. The book analyses avant-garde's examination of its internal strategies of identity and canonization, and the importance of Futurism for the Pierre Albert-Birot. It charts the details of the argument on simultaneity between Umberto Boccioni and Robert Delaunay, and analyses the critical readings of Fernand Léger's La noce. The dialogue between Occultism and Futurism is explored by discussing the theme of night in the works of the Florentine Futurists. In La cucina futurista, food is separated from its nutritional function, and the act of eating is related to notions of creativity and identity. The book presents unique examples of innovative expressivity in Italian Futurists' free-word poems, and examines poetry celebrating the triumph of modern aviation.

Abstract only
Elza Adamowicz and Simona Storchi

the dialogues and conflicts within Futurism. Delphine Bière charts the details of the argument on simultaneity between Boccioni and Delaunay, showng how their differing interpretations of Chevreul’s ideas on simultaneous contrasts, as well as Bergson’s ideas on simultaneity, informed quite divergent aesthetics and pictorial practice. Convergence and divergence are also the subject of Elza Adamowicz’s analysis of critical readings of Léger’s La noce. The painting is considered as the site of a battle between Cubist and Futurist aesthetics; as a place where the two

in Back to the Futurists
Open Access (free)
James E. Connolly

obliged to leave Lille to avoid being worried; she understood things very well. All accounts on her part were unfavourable as having partied [fait la noce, which has connotations of prostitution] with the Boches. What’s more, I think that in the neighbourhood she would have been ripped to shreds; think about the scandal for us and the children.78 One letter from Lille, however, remarked that the Germans in fact forced ‘all the women of the estaminets and all the whores’ to come with them.79 Nevertheless, some women certainly joined the German retreat out of choice in

in The experience of occupation in the Nord, 1914– 18