Some of the Futurist Manifestos! • The Founding and Manifesto of Futurism, by F.T. Marinetti (Paris) Le Figaro, February 20, 1909. • The Manifesto of the Futurist Painters, by Umberto Boccioni, Carlo Carrà, Luigi Russolo, Giacomo Balla, and Gino Severini (Milan) Poesia, February 11, 1910. • Technical Manifesto of Futurist Painting, by Umberto Boccioni, Carlo Carrà, Luigi Russolo, Giacomo Balla, and Gino Severini (Milan) Poesia, April 11, 1910. • Technical Manifesto of Futurist Sculpture,by Umberto Boccioni April 11, 1912. • The Manifesto of Futurist Musicians, by Balilla Pratella Musica futurista per orchestre riduzione per pianoforte, 1912. • Futurist Manifesto of Lust, by Valentine de Saint-Point published as a leaflet January 11, 1913. • The Art of Noises, by Luigi Russolo. Published as a booklet July 1, 1913. • Manifesto of Futurist Architecture, by Antonio Sant‘Elia (Florence) Lacerba, August 1, 1914. • Futurist Reconstruction of the Universe, by Giacomo Balla and Fortunato Depero March 11, 1915. • War, the World‘s Only Hygene, by F.T. Marinetti 1915. • The Futurist Cinema, by F.T. Marinetti, Bruno Corra, Emilio Settimelli, Arnaldo Ginna, Giacomo Balla, and Remo Chiti (Milan) L‘Italia futurista, November 15, 1916.
The Founding and Manifesto of Futurism,by F.T. Marinetti Le Figaro, February 20, 1909 (Paris)
Translation… “We declare that the spendour of the world has been increased by a new beauty: the beauty of speed. A racing car, its body ornamented by great pipes that resemble snakes with explosive breath…. A screaming automobile that seems to run on grapeshot, is more beautiful than the Winged Victory of Samothrace…Beauty now exists only in struggle. A work that is not aggressive in character cannot be a masterpiece… We want to glorify war – the world’s only hygiene – militarism, patriotism, the destructive act of the anarchists, the beautiful ideas for which one dies, and contempt for women. We want to destroy museums, libraries, and academies of all kinds, and to make war on moralism, feminism and on every opportunistic and utilitarian vileness.
Continued… We shall sing the great crowds excited by work, pleasure or rioting, the multicoloured, many voiced tides of revolution in modern capitals. We shall sing the nocturnal, vibrating incandescence of arsenals and shipyards, ablaze with violent electric moons, the voracious stations devouring their smoking serpents… the broad breasted locomotives that paw the grounds of the rails like enormous horses of steel harnessed with tubes, and the smooth flight of the aeroplanes, their propellers flapping in the wind like flags and seeming to clap approval like an enthusiastic crowd. We launch from Italy into the world this our manifesto of overwhelming and incendiary violence, with which today we found Futurism, because we want to liberate this land from the fetid cancer of professors, archaeologists, guides and antiquarians.”
‘Technical Manifesto of Futurist Painting’ by Boccioni “Everything moves, everything runs, everything turns rapidly. A figure is never stationary before us but appears and disappears incessantly. Through the persistence of images on the retina, things in movement multiply and are distorted, succeeding each other like vibrations in the space through which they pass. Thus a galloping horse has not got four legs; it has twenty and their motion is triangular… At times, on the cheek of a person we are speaking to in the street, we see a horse passing in the distance. Out bodies enter into the sofas on which we sit, and the sofa enter into us, as also the tram that runs between the houses enters into them, and they hurl themselves on to it and fuse with it… We want to re-enter life. That the science of today should deny its past corresponds to the material needs of our time. In the same way art, denying its past, must correspond to the intellectual needs of our time.”
Giacomo Balla‘A Worker’s Day’, 1904 Giacomo Balla‘Street Light’, 1909
A cry went up in the airy solitude of the high plains: ‘Let’s Murder the moonlight!’ Some ran to nearby cascades; gigantic wheels were raised, and turbines transformed the rushing waters into magnetic pulses that rushed up wires, up high poles, up to shining, humming globes. So it was that the three moons cancelled with their rays of blinding mineral whiteness the ancient green queen of loves.
Umberto Boccioni‘States of Mind: The Farewells’ 1911, Charcoal and chalk on paper
Umberto Boccioni‘States of Mind: Those Who Go’ 1911, Charcoal and chalk on paper
Umberto Boccioni‘States of Mind: Those Who Stay’ 1911, Charcoal and chalk on paper
The Futurists in Paris, February 1912. (L to R. Luigi Russolo, Carlo Carra, F. T. Marinetti, Umberto Boccioni, Gino Severini.)
Gino Severini‘Self Portrait’, 1912-13 George Braque‘Clarinet and Bottle of Rum on a Mantelpiece’, 1911
Anton Giulio Bragaglia ‘Typist’, Anton and Arturo Bragaglia (1911) 1912/13
Marcel Duchamp‘The Bride Stripped Bare by her Bachelors, Even (The Large Glass)’1915-23 • Replica 1965-6, lower panel reconstructed • Oil, lead, dust and varnish on glass