Filippo Marinetti's Manifesto Of Futurism

“Crocicchio” by Ardengo Soffici is a poem written in the era of the historic avant-garde in which Italy was facing a technological revolution; railways, cars and trams were all being transformed and as such the country saw a rise in the Italian Futurist movement. This movement praised all things modern by exploring new forms and technologies, treating them as a spectacle to be revered. The influence of these futuristic ideologies is clear in Crocicchio as Soffici paints a series of pictures of city life characterised by the chaos and activity which he experiences in his passing.

The first Manifesto I read was “The Foundation and Manifesto of Futurism” by Marinetti. Marinetti highlights various concepts behind the futurist movement. Throughout his manifesto he describes old versus new and personifies several places and machines. Like when he spoke of his automobile he said “We approach the the three panting beasts to stroke their burning breasts, full of love and admiration.” (Marinetti 643). He says that finally the old and mystical ideals and myths are far behind them. He portrays these engines as demonic, but however his description sounds he isn’t demonizing technology, he is in fact admiring it. He also encourages people to take these risky leaps of faith. He highlights the point that humans need conflict and revolutions bring out change.

Italy can be looked at as the home of the renaissance and consequently the immergence of great art. Artists such as Michelangelo, Botticelli, Da Vinci, and Raphael are some of the greats and are looked at for standards. But what about the artists whose lives are mysteries, and their works that were influenced by the greats? These artists hold just as much importance in the history of art as do the artist’s whose names can be recalled off the top of an average person’s head. During the sixteenth century things began to change in the art world, and that change was the Baroque. This new style of art brought a revolution to how subject matter was painted, it brought upon “… a radical reconsideration of art and its purposes…” (249) and how artists of all ranks could learn to paint the up and coming style of Baroque.

Given the many versions and accounts of famous artist’s lifetimes, we’re shown the vast underlying meaning, and situational ironies, to several of well- known pieces of work we still admire today. Donatello, Verrocchio, da Vinci, Botticelli, Michelangelo, Caravaggio, Bernini; All of these artist left unique and controversial imprints on the timeline of art and life. Though many follow one right after the other, we see the changing of times through the midst of the creation of their works. Through the Renaissance and to the Reformation period, these artists help shape the nature of society. Coming to the end of the Renaissance era, an artist nicknamed “Caravaggio,” because of where he came from, pushed his world into the times of a more sound

Filippo Tommaso Marinetti was one of the greatest visionaries of speed. In 1909, when the automobiles and airplanes were developing rapidly beyond the travel of the horse, carriage and train, he initiated the futurist movement with his colourful essay “The Founding Manifesto of Futurism.” Marinetti praised technology as the vast wave of the future, it would sweep aside old traditions and explode in violent powers but he saw technology as something that would capture minds with incredible fascination. Marinetti believed that futurism would put aside myths and promote a new, rational world view. He happily disregards the old world’s traditions as written in his manifesto “We will destroy the museums, libraries, academies of every kind, will fight

Informative Speech Outline: General Purpose: Sandro Botticelli and the hidden meanings of “The Birth of Venus.” through the eyes of Renaissance art and time. Specific Purpose: To inform an audience about a historical event that changed Renaissance art, the meaning of the Venus during the time of the Renaissance and the artist who changed the rules of a society.

Futurism originated in Italy in the earlier parts of the twentieth century. Its members aimed to rid Italy of the older culture and integrate the modern era. Futurism artists embraced the new ideas, media, culture, and technology. With its portrayal of popular culture in this movement also came the inclusion of politics in the arts. Artist involved in this movement were enthusiastic about everything that the modern world had to offer from technology and machines, to change, violence, and popular media. Their art was often inspired by, and included, the modern city. The first futurist painting is believed to be The City Rises (1910) by Umberto Boccioni.

At its inception, modernist art was shocking and evocative to the traditional “academic exceptions of artwork.” Unlike much of the artwork that came before, modernist paintings sought to engage the audience for the first time and inspired new ideas. This form of art was critical of society and represented a new pathway for artists to explore their intellect and creativity. Artists broke the “norms” of what was not allowed previously in art. In the past, traditional academic expectations for art where governed by rules that the artist had to follow. Art was produced for the rich and powerful, whether they came from the church or were simply wealthy members of government. With the rise of modernist art though, artists began to make “art for the sake of art” (Barrett, 20).

It's for this very reason that the Dada spirit lives within Pop art and the readymades. The international symbol of this anti label created a context of pop art to be seen as extreme and brash. ''An inherited culture that had now become unacceptable was replaced''5. Paolozzi was the scene as an instrumentalist who introduce pop art to the British culture. His works are part readymade and sculpture 'The city of the Circle and square,1963/66' . A portrait of a counterpart of a Roman goddess, using contemporary materials and philosophy. The devotion of attention to common objects, gives the context of pop art another layer to having irony and detachment.''The consumption of popular culture is basically a social experience, providing information derived from and contributing to our statistically normal roles in society. It is a network of message and objects that we share with others''6. As many art movements develop, cultural inspiration and history seem to be the main tradition to turn to in the tradition.'' There is nothing new in art, that has not been attempted before at one time or another, in antiquity, or by Picasso''7. The Pop movement in their defence was only doing what had been done before them, by investigating the Dada

The Painters and Clients Fifteenth-Century in Italy by Baxandall, clarifies how the style of painting in any society reflects the visual skills and propensities that develop out of daily life. He attempted to recuperate the expectation of painters and audience, the things they would have thought would be vital and the things they would have underappreciate. Baxandall considered different kinds of knowledge to compose a picture of Quattrocento. [Ibid, 64] Italian paintings of the fifteenth century in some sense encapsulate, reflect, or offer information about the protocol governing how people interact with each other.

The year of 1914 marked the beginning of World War I and the commencement of a tumultuous era for politics, society and art. Amongst the considerable number of people negatively affected by the dreadfulness of the war, many of them found different ways of expressing their repugnance towards the horrific routes that humanity had taken. The Dada movement in particular began not only as a reaction against the war but also as a commentary on the social circumstances that lead to it. This essay reflects on the context that allowed the art movement to flourish and the circumstances that lead to its decline. The rise of machinery, mass production, fascism and overall disillusionment with society provided an ideal environment for radical movements to emerge.

Marcel Duchamp’s unconventional futurism work stunned the public in 1913 because they weren’t familiar with that style of art. This work told a story of imagination, originality, and unrestraint. These artworks strangely share the similarity of promoting a message or point of view to its audience whether that be the rivals of Florence or a New York citizen. The message being sent and emotions caused by both pieces when viewed are what classify them as political

In this essay, I will be discussing the two movements ‘Dada’ and ‘Futurism’, with reference to their conceptual contexts and representative plays, there will also be analysis to how these two movements contrast to realism/ naturalism. Links will also be made to the plays, with the use of scholarly sources to back up the argument and then coming to a final conclusion at the end of the essay.

The 20th century is the hall mark of new, airplanes, automobiles, electricity, the whole world was abuzz with the feelings of a new future, it was a modern world now and that required modern art. Filippo Tommaso Marinetti understood this and wrote the Futurist Manifesto, the

Visual opulence, creativity, inimitable vision, and a style that is highly influential are the many characteristics of an admired movement in art history called Post-Impressionism (1875-1892). This movement, which was the by-product of the Impressionism movement, is the bridging gap between the two movements known as Realism and Expressionism. Post-Impressionism takes on some of the stylistic characteristics of these movements; however, it does not contain the all too glossy visuals of Realism or the heavily fantastic visuals of Expressionism, rather it is the intermediary of these two poles. My paper will discuss why this link was absolutely essential to the history of art movements, and I will be specifically using the artworks of