The creative engine of Italy was running low on fuel at the end of the 19th century. The Italians seemed to be still holding on to the pompous arrogance of the times and indulging in self-involvement. There was no other country at this time that was so subjected to the past, paralysed by lack of distinctive ideas, and deprived of a unique cultural identity1. The Italian public was fine with protecting tradition, and following naturalistic formulae and absolutely refused to notice the changes in art, literature, and drama. By the early 1900’s technological inventions were becoming a crucial part of everyday life. Electric lighting, domestic appliances, and communications media were publicly known items that reinforced the sense of the impending future. Little did people know, that this integration between man and machine was the inspiration for futurism, which rumbled into the early 20th century. In 1909, when futurism was introduced to Italy, it was greeted with hesitation. Futurism rejected all the splendor and decadence of Italy’s cultural past, in favor of new advances in science and technology. It enthusiastically embraced the concept of change as a fundamental aspect of its activities and ideology2. It was affected
. . .
Force lines are vital lines, which reveal how a subject would decompose in accordance with its tendency of its forces. Marinetti and Boccioni later teamed up with Luigi Russolo and Carlo Carra, and the four of them drafted The Manifesto of Futurist Painters.
Futurism was by far one of the most boisterous, art periods. The Futuristic movement had its sights firmly fixed toward the future. When Boccioni and his companions expressed their Futuristic thinking to the public, their thoughts and views were uprooted, suddenly and forcefully. He enjoyed the results of the co-penetration of planes, and the simultaneity of the image. Boccioni enjoyed breaking down reality, using 3-D abstraction and he liked to incorporated emotion, drama, movement, and energy into his avant-garde works. For a while, the depiction of movement and violent excitement was too much for the public, but eventually, the works of futurists were met with public acceptance. Nonetheless, despite the apparent centrality of Futurism to twentieth-century life and undoubted influence on other avant-garde developments elsewhere in Europe, its significance was more symbolic than materialistic9. The experience of Cubism was another important
influence for him, enabling him to bring greater solidity to his forms. He rejected the art of the past and worshiped the basic pillars of his shared philosophy of design: express movement, speed, dynamism and motion in art. Boccioni was one of the leading theorists of the Futuristic movement. His masses of colors often entered each other and he used dynamic, often diagonal lines to represent his ideas. With minimal exposure, the Italians were not ready for the violent and terrorist feel of futurism.
Approximate Word count =
1071
Approximate Pages =
4 (250 words per page double spaced)
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