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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.

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The modern sports of cycling and motor racing
Bernard Vere

1 The man-machine: the modern sports of cycling and motor racing In 1912–13, three famous works by avant-garde artists took cycle racing as their subject. The three works are: the American-born, German-based expressionist Lyonel Feininger’s The Bicycle Race, 1912 (plate 1); the French cubist Jean Metzinger’s At the Cycle-Race Track, 1912 (plate 2); and the Italian futurist Umberto Boccioni’s Dynamism of a Cyclist, 1913 (plate 3). A fourth important painting of a cyclist, Natalia Goncharova’s The Cyclist, 1913, does not deal with competitive cycling and so is

in Sport and modernism in the visual arts in Europe, c. 1909–39
Boccioni – Delaunay, interpretational error or Bergsonian practice?
Delphine Bière

The dispute opposing the Futurists and Robert Delaunay focused on notions that were discussed among the avant-garde and gave those artists the opportunity to define their own conception of simultaneity. This dispute demonstrated the overlapping of trends in contemporary art, and the artists' endeavours to distinguish themselves from one another when critics tended to confuse and assimilate the Delaunay's creative process with that of the Italian Futurists. The point of the dispute was first of all to prove the precedence of the Futurists' pictorial innovations over Delaunay's. Secondly, the debates it provoked revealed some interpretational errors in the way some driving principles were received at the time, including Michel-Eugene Chevreul's law of simultaneous contrasts and complementary colours, but above all Henri Bergson's theories about duration and intuition. Exchanging views with Umberto Boccioni led Delaunay to clarify his ideas about simultaneous contrasts as opposed to the Italian painter's understanding of simultaneity.

in Back to the Futurists
Author: Bernard Vere

This book highlights sport as a key inspiration for an international range of modernist artists. With sport attracting large crowds, being written about in the press, filmed and broadcast, and with its top stars enjoying celebrity status, sport has claims to be the most pervasive cultural form of the early twentieth century.

Modernist artists recognised sport’s importance in their writings and production. This book examines a diverse set of paintings, photographic works, films, buildings, and writings from artists in France, Germany, Italy and the Soviet Union to establish the international appeal of the theme while acknowledging local and stylistic differences in its interpretation. From the fascination with the racing cyclist in paintings by Umberto Boccioni, Lyonel Feininger and Jean Metzinger, to the designs for stadiums in fascist Italy and the Soviet Union, the works examined are compelling both in visual and ideological terms.

Encompassing studies of many avant-garde movements, including Italian futurism, cubism, German expressionism, Le Corbusier’s architecture, Soviet constructivism, Italian rationalism and the Bauhaus, this book interrogates the ways in which sport and modernism interconnect.

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Roberto Longhi, seventeenthcentury art, and the Italian avantgarde
Laura Moure Cecchini

.5 Umberto Boccioni, Elasticity , 1912 3.6 Jean Metzinger, Woman on a Horse , 1911–1912 Attentive to formal details, Longhi's evaluation of Futurist art went well beyond the interpretation that the artists themselves provided. Rather

in Baroquemania
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Effie Rentzou

perceptions and subsequent psychological alterations that this new reality entails. The fusion of images from memory and of present images, ‘the synthesis of what one remembers and of what one sees’ (La synthèse de ce dont on se souvient et de ce que l’on voit) 33 that results in a representation of serial stages of motion, is the futurist version of simultaneity. Their understanding of the term and its all-encompassing embrace of modernity becomes even clearer in the 1914 manifesto ‘Futurist painting and sculpture (plastic dynamism)’ by Umberto Boccioni

in 1913: The year of French modernism
Maria Elena Versari

site for the avant-garde. In April 1912, Umberto Boccioni was the first to arrive in Germany. Disappointed by the poor ticket sales for the exhibition, he described himself, in a letter to Carlo Carrà (12 April 1912), as ‘lonely, sad, and in the most elegant and rich hotel in Berlin’. In the same letter, he listed three reasons for these circumstances: ‘The revenue (from the ticket sales) has been very low, compared to what I saw in Paris and London. The reasons for this: the horrible weather, the environment that is hardly enthusiastic about artistic manifestations

in Back to the Futurists
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Between gas mask and carnival dance
Elza Adamowicz

in avant-garde art by a celebration of technology, particularly in the early days of the conflict, and notably in Futurist imagery of the body perfected as machine. In Umberto Boccioni’s Carica dei Lancieri (Charge of the Lancers, 1914; figure 2.1), for example, the cavalry is presented as forming a single unit with horse and lance, creating a dynamic, forward-surging mechanical body. Elsewhere, in the works of the French Cubist artist Fernand Léger, for instance, such as the 1917 painting La ADAMOWICZ 9781526131140 PRINT (4 col).indd 23 31/01/2019 16:05 24

in Dada bodies
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Elza Adamowicz and Simona Storchi

Marinetti. Invenzioni, avventure e passioni di un rivoluzionario, 2009) and Umberto Boccioni (G. Agnese, Boccioni da vicino. Pensieri e passioni del grande futurista, 2008), as well as new editions of the work of Giacomo Balla (Scritti futuristi, ed. G. Lista, 2010) and Marinetti (Teatro, ed. J. Schnapp, 2004). Recent studies have also revealed the important role of women in the movement (F. Zoccoli, Benedetta Cappa Adamowicz and Storchi, Back to the Furutists.indd 1 01/11/2013 10:58:35 2 Elza Adamowicz and Simona Storchi Marinetti. L’ incantesimo della luce, 2000; S

in Back to the Futurists
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The Futurist manifesto as avant-garde advertisement
Matthew McLendon

1 Engaging the crowd: the Futurist manifesto as avant-garde advertisement Matthew McLendon Matthew McLendon Engaging the crowd In April 1912 Umberto Boccioni, writing to Carlo Carrà from Berlin and the travelling Futurist exhibition, expressed his concerns about the lack of publicity surrounding the event. He complained: ‘I fear that there is not the tremendous interest of Paris and London, because the publicity has been badly organised. Marinetti should be here, it is necessary. I am neither a journalist nor a writer, nor do I have his name, or the experience

in Back to the Futurists