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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.

Reading Futurism with Pierre Albert-Birot as witness, creative collaborator and dissenter
Debra Kelly

6 ‘An infinity of living forms, representative of the absolute’? Reading Futurism with Pierre Albert-Birot as witness, creative collaborator and dissenter Debra Kelly Debra Kelly ‘An infinity of living forms’ Artist, poet, witness Wanting to introduce new ideas is good, being unable not to introduce new ideas is much better. The ism is a bit like a magnifying glass. It magnifies the precise point under examination, but you can no longer see anything around it, and this point is so magnified that it attracts: you throw yourself into it, it swallows you up, and

in Back to the Futurists
Abstract only
Elza Adamowicz

, newspaper fragments and the Paris journal Dada. Gurk integrates elements from Der Dada 3: a fragment of Arthur Segal’s woodcut migrates to Gurk’s right eyebrow and hair, while the verbal fragments ‘pan-pan-pan’ from Pierre Albert-Birot’s ‘Crayon bleu’ appear across the figure’s forehead (Benson 1986: 138, 141). The Klebebild displays a shift from representation to construction as Hausmann abandons the subjectivity of ADAMOWICZ 9781526131140 PRINT (4 col).indd 223 31/01/2019 16:06 224 dada bodies 10.7  Elsa von Freytag-Loringhoven, photograph of Portrait of Duchamp

in Dada bodies
Abstract only
Elza Adamowicz and Simona Storchi

played by Futurism in establishing the codes of the avant-garde. Developing further the links between Futurism and contemporary avant-gardes, Debra Kelly analyses the importance of Futurism for the French poet and painter Pierre Albert-Birot. She argues that his meeting with Severini in 1915 was the catalyst for his advent to modernism. Futurist painting, poetry and theatre design inform the early issues of Albert-Birot’s avant-garde review SIC. However, far from being a Futurist publication, SIC is critical of the movement. The following four chapters explore some of

in Back to the Futurists
Untimely Segalen
Christopher Bush

than 1918 and later by Duhamel, Jacob and Supervielle, among others. 29 The book was also praised by the leader of the French haiku movement of the 1910s and 1920s, Paul-Louis Couchoud, who corresponded with Paulhan and played an important role in the 1920 special issue of the Nouvelle Revue Française on haiku, which included original haiku by Paulhan, Pierre-Albert Birot and Paul Éluard, among others. A whole corpus of French-language modernist literary production thus risks falling between the cracks because it is neither ‘French’, nor Francophone, nor does it

in 1913: The year of French modernism
Dafydd W. Jones

, south-east of Auxerre (this much allows the confusion of the Cravant commune’s medieval church and belfry with the Cravans episode recounted by Renée, discussed in this chapter). See ACSS, pp. 169–70; and Mercure de France, 1185, Blaise Cendrars memorial issue (May 1962). Four years before Renée was born, the avant-garde poet and publisher of Sic (1916–19) in Paris, Pierre Albert-Birot, was born in Angoulême in 1876. 44 Richardson, A Life of Picasso, vol. 2, pp. 195–8. 45 Richardson, A Life of Picasso, vol. 1: 1881–1906 (London: Jonathan Cape, 1991), p. 198. 46

in The fictions of Arthur Cravan
Maintenant, April 1912–July 1913
Dafydd W. Jones

, 1983), p. 2. 96 Severini, The Life of a Painter, p. 106. 97 Arthur Cravan, ‘Exhibition at the Independents’ (1914), trans. Ralph Manheim, in DPP, p. 8. 98 Severini, The Life of a Painter, p. 106. 99 Severini was a contributor to the early issues of Pierre Albert-Birot’s artistic review Sic (see Debra Kelly, ‘An Infinity of Living Forms, Representative of the Absolute?’, in Elza Adamowicz and Simona Storchi, Back to the Futurists: The Avant-Garde and its Legacy (Manchester: Manchester University Press, 2013), pp. 95–112). The close collaboration between them

in The fictions of Arthur Cravan