Before World War 1 1909 -1914, the world was in a state of flux.
Democracy, Capitalism and industrialisation made the world turn faster. Art was changing rapidly too. Painters were moving away from traditional still life's, portraits and landscapes scenes, instead starting to experiment with a modern take on the old images utilsing colour, lines, spaces and shapes.
From 1909 to 1914 Braque and Picasso collaborated so intimately that Braque said “We were like two mountain climbers roped together.” (quoted Hunter & Jacobus, p. 140 and taken from Tess notes.)
Biraques example of Cubism :
"Head of a Woman" released in 1909
Picasso's remake of his painting "Old Guitarist".
Old Guitarist...
Photography had a movement of its own with Italian photographers discovering the ability to take an x-ray. There were lots of experimenting with some slightly madder photographers trying to capture the spitit in motion.
Photodynamism
This was a movement run by an Italian Photographer called Anton Bragaglia. Instead of capturing people via cinematography Braglia decided he would capture the actual movement of time a person takes to move their body and the space they go through to change positions see below, ref Italianfuturism.com
"Cubism, 1900s-1910s:
Characteristics:
-splintered shapes, flattened space and geometric blocks of color
-quest to find a new concept of painting as an arrangement of form and color on a two-dimensional surface
-multiple angles
-reconstruct objects
-battle between what the eyes see and what the mind knows to be there – based on Einstein’s theory of relativity
Futurism, 1910s-1920s:
Characteristics:
-rejection of everything old, dull, “feminine” and safe
-promoted the exhilarating “masculine” experiences of warfare and reckless speed (of modern technology and urban life)"
Marinetti was the architect of Futurist movement here is a copy of hos Manifesto taken from Tess' notes.
The Futurist Manifesto of 1909 by Filippo Tommaso Marinetti:
We want to sing the love of danger, the habit of energy and rashness.
The essential elements of our poetry will be courage, audacity and revolt.
Literature has up to now magniHied pensive immobility,
ecstasy and slumber. We want to exalt movements of
aggression, feverish sleeplessness, the double march,
the perilous leap, the slap and the blow with the Hist. (20-‐cover journal) We declare that the splendor of the world has been
enriched by a new beauty: the beauty of speed. A
racing automobile with its bonnet adorned with great
tubes like serpents with explosive breath ... a roaring
motor car which seems to run on machine-‐gun Hire is
more beautiful than the Victory of Samothrace. (21 Victory)
We want to sing the man at the wheel, the ideal axis of which crosses the earth, itself hurled along its orbit.
The poet must spend himself with warmth, glamour and prodigality to increase the enthusiastic fervor of the primordial elements.
Beauty exists only in struggle. There is no masterpiece that
has not an aggressive character. Poetry must be a violent
assault on the forces of the unknown, to force them to bow
before man. (22 poetry cover)
We are on the extreme promontory of
the centuries! What is the use of looking
behind at the moment when we must open
the mysterious shutters of the impossible?
Time and Space died yesterday. We are
already living in the absolute, since we
We want to sing the love of danger, the habit of energy and rashness.
The essential elements of our poetry will be courage, audacity and revolt.
Literature has up to now magniHied pensive immobility,
ecstasy and slumber. We want to exalt movements of
aggression, feverish sleeplessness, the double march,
the perilous leap, the slap and the blow with the Hist. (20-‐cover journal) We declare that the splendor of the world has been
enriched by a new beauty: the beauty of speed. A
racing automobile with its bonnet adorned with great
tubes like serpents with explosive breath ... a roaring
motor car which seems to run on machine-‐gun Hire is
more beautiful than the Victory of Samothrace. (21 Victory)
We want to sing the man at the wheel, the ideal axis of which crosses the earth, itself hurled along its orbit.
The poet must spend himself with warmth, glamour and prodigality to increase the enthusiastic fervor of the primordial elements.
Beauty exists only in struggle. There is no masterpiece that
has not an aggressive character. Poetry must be a violent
assault on the forces of the unknown, to force them to bow
before man. (22 poetry cover)
We are on the extreme promontory of
the centuries! What is the use of looking
behind at the moment when we must open
the mysterious shutters of the impossible?
Time and Space died yesterday. We are
already living in the absolute, since we
have already created eternal, omnipresent speed.
We want to glorify war -‐ the only cure for the world -‐
militarism, patriotism, the destructive gesture of
the anarchists, the beautiful ideas which kill, and
contempt for woman.
We want to demolish museums and
libraries, Hight morality, feminism
and all opportunist and utilitarian
cowardice.
We will sing of the great crowds agitated by work,
pleasure and revolt; the multi-‐colored and polyphonic
surf of revolutions in modern capitals: the nocturnal
vibration of the arsenals and the workshops beneath
their violent electric moons: the gluttonous railway
stations devouring smoking serpents; factories
suspended from the clouds by the thread of their
smoke; bridges with the leap of gymnasts Hlung
across the diabolic cutlery of sunny rivers: adventurous
steamers snifHing the horizon; great-‐breasted locomotives,
pufHing on the rails like enormous steel horses with long
tubes for bridle, and the gliding Hlight of aeroplanes whose
propeller sounds like the Hlapping of a Hlag and the applause
of enthusiastic crowds.
It is in Italy that we are issuing this manifesto of ruinous and incendiary violence, by which we today are founding Futurism, because we want to deliver Italy from its gangrene of professors, archaeologists, tourist guides and antiquaries.
We want to glorify war -‐ the only cure for the world -‐
militarism, patriotism, the destructive gesture of
the anarchists, the beautiful ideas which kill, and
contempt for woman.
We want to demolish museums and
libraries, Hight morality, feminism
and all opportunist and utilitarian
cowardice.
We will sing of the great crowds agitated by work,
pleasure and revolt; the multi-‐colored and polyphonic
surf of revolutions in modern capitals: the nocturnal
vibration of the arsenals and the workshops beneath
their violent electric moons: the gluttonous railway
stations devouring smoking serpents; factories
suspended from the clouds by the thread of their
smoke; bridges with the leap of gymnasts Hlung
across the diabolic cutlery of sunny rivers: adventurous
steamers snifHing the horizon; great-‐breasted locomotives,
pufHing on the rails like enormous steel horses with long
tubes for bridle, and the gliding Hlight of aeroplanes whose
propeller sounds like the Hlapping of a Hlag and the applause
of enthusiastic crowds.
It is in Italy that we are issuing this manifesto of ruinous and incendiary violence, by which we today are founding Futurism, because we want to deliver Italy from its gangrene of professors, archaeologists, tourist guides and antiquaries.
ref. academics.smcvt.edu
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