Futurism

He wasn’t the very first artist to come upon these ideals but he has given this mantle by Giorgio Vasari in his book written in 1550 titled “ The Lives of the artists”. Vasari was contemporary to many famous Renaissance artists that we know about including Michelangelo.

“There is no greater name in Italian art—therefore, no greater in art—than that of Titian,” (Claude Phillips “Earlier Works of Titian”1897 page 5). This artist was more than just a normal painter that played around in his work studio; he was the father of what was bound to become something greater than he even believed. We watched him work with imaginative textures and animated colors to generate the masterpieces of not only the Renaissance; but also of modern day work. All kinds of artists—painters, singers, writers, sculptures—are exploring their muse by studying how he worked with his paint brush; they idolize him and one day want their work to be as exceedingly renowned as Titian’s. His work has been carried on for many years after his

The Italian Renaissance exported a ton of artwork of paintings, portraits, and sculptures with a twist. The artwork that was being put out started defining new areas of art that separated it from the medieval artwork. Artist started to get more detail by trying to make a sculpture of people in a painting/portrait accurate. Another thing the artist did was turning 2-D pictures into 3-deminsonal, giving it life. Pietro Perugino’s paintings captures the new territories these artist are exploring to bring life and a deeper meaning to the picture, like Perugino’s Delivery of the Keys to Saint Peter.

Overall, the ideologies discussed within the articles Written In Blood: 20th Century Art by Stephanie Dudek and Estrangement As A Motif In Modern Painting by John Adkins Richardson address similarities and differences from various standpoints. Modernistic ideologies towards social, cultural and technological changes of the 20th century are demonstrated in both articles. The article by Stephanie Dudek emphasizes on the employment of radical and transgressive values by modern artists within their work to target cultural, and artistic principles that have persisted over many generations leading to a transformation within the subject of art (Dudek 105). Furthermore, modern art set out to obtain new visions of reality as witnessed within the Cubist

If there's one thing that can be said about Jason Hope, it's that the proverbial hat that he wears is of many colors. A man with a definite vision for bringing in the future to the here and now, Mr. Hope stands out prominently in so many fields and endeavors, that it's difficult to give him a label. Some have even quit trying to do just that. As an entrepreneur, futurist and philanthropist, there seems no limit as to his achievements, nor are there any seeming limitations to where he's going.

Raffaello Sanzio had a very interesting young life. He was born in Urbino, which at the time was a cultural center that encouraged the arts. The arts

The world now, is not the same as it was fifty years ago, science has come a great distance with many different technological advances, and will continue to progress to a point that what has been fantasy in the past could possibly be the reality of the near future. The podcast titled “The Current: We are moving into uncharted territory” sheds some very intriguing opinions from futurists explaining what they predict to be the changes as humanity is adapting. The podcast begins with Arthur C. Clarke with his predictions from 1964. Clarke predicted that technology would create a bridge between distances, allowing actions to be controlled from one country, but carried out in another. The most obvious point in this podcast is that with the evolution

After apprenticing for 3 years, Botticelli left for Spoleto. The Medici’s, a wealthy banking and political family based in Italy held a growing interest in Botticelli’s work, and sponsored him. This was when he painted the world famous, “Primavera”. The tempera panel painted was hung in the home of Lorenzo di Pierfrancesco de Medici. Roman mythology is used to reflect on times of the Italian Renaissance.

Dada, known for it’s chaotic nature, indirect protesting and iconoclasm also evolved into a political movement. Rejection of artistic mastery, defying authority, overprinting, and purposeful mistakes, where all a part of what Tristain Tzara and his contemporaries were trying to succeed. Cubism, Vorticism, Orphism, Purism, and Futurism also came about because of World War I. Heavily influenced by Cubism and it’s shattered glass appearance Futurism was the most politically mind of these five movements. Somewhat akin to Dada in it’s chaotic nature Futurist’s, however, were staunchly pro war and were looking for ways to bring Italy into the present times. Purism, on the other hand, took the collage look of synthetic Cubism and modern abstract style and made

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

Futurism was an artistic and social movement originating from 20th century Italy. The movement ultimately rejected anything that looked to the past for identity. Instead, it glorified speed, technology, youth, and the idea of anything industrial and mass-produced. As the founders of the movement would have it, the movement explored different mediums of art and design, ultimately overarching each other, and finding its way into many aspects of daily life; including and not limited to conventional mediums such as painting, sculpture architecture, film, music, poetry, and photography; just to name a few. With its dynamic and innovative aesthetic qualities, it is still being appreciated and used in conceptual ways by a handful of present day designers and art directors as seen in Image 1 (MCM

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.

Futurism was a primarily Italian movement that expressed the ideals of industrialization, and strived to evoke all kinds of sensations through their paintings. The movement also wanted to demonstrate the beauty of modern life and developed an entire philosophy that extended to social and political beliefs. (Roth-Davies pg 10) Futurism was a movement born out of boredom with Romanticism, debauchery and sappiness.

Umberto Boccioni was one of the most noticeable and powerful artists among the Italian Futurists, an art movement that arose in the years before the First World War. Boccioni was educated from 1898 to 1902 in the studio of the painter Giacomo Balla, where he learned to paint in the style of the Pointillists. In 1907, he settled in Milan, where he progressively came under the influence of the poet Filippo Marinetti, who hurled the Futurist movement, which adored the dynamism of modern technology. Boccioni’s first major Futurist painting, Riot in the Gallery, endured close to pointillism and displayed an affiliation with Futurism mainly in its violent substance matter and dynamic configuration. In 1912, he published the “Manifesto of Futurist

Giacomo Balla. born on July in 1871, was an Italian futurist artist. He graduated at the University of Turin. He married Elisa Marcucci and together they moved to Rome in 1895. He worked as an illustrator, caricaturist and portraiture. In 1899, his work was exhibited at the Venice Biennale, and his other developing works were displayed in major art. On1902 he taught Unberto Boccini and Gino Severini, a Divisionist technique. He was soon influenced by Filippo Tommaso Marinetti. Balla adopted the Futurism style, and was one of the first signatory of Futurist Manifesto. Ever since then, He embraced the futuristic style and started designing futurism furniture and ‘antineutral’ clothing. He welcomed young artists to his studio during World War