Marinetti Futurism Essay

Though the start of the modernisation may trace back to the beginning of Industrial Revolution. “Modernism in the design world did not exist in a fully developed form, until well after First World War.” (Wilk, 2006) Causing the great loss of lives and other countless damage to the world, it reshaped many people’s way of thinking the world. With the inspiration of early avant-garde movement, the modernism began to emerge advocating an utopian future and shared certain core principles by various styles of modernists: rejecting the past and applied ornament; forms follow function, a preference for

Marshall Berman’s take on modernity is presented in his book All That Is Solid Melts into Air whereby he focuses on its issues and the cultural attitudes and philosophies towards the modern condition. In doing so he shares his experiences of modernity post WWII in New York in the height of an economic boom and then more specifically of his childhood neighbourhood, the Bronx. In addition to expanded austerity, industrial and architectural development, the end of WWII proved to be a key period in world history and by extension the history of art. A talented group of artists emerged in result that had been influenced by an influx of established European artist who had fled to New York to escape fascist regimes in their homelands. More importantly these artists produced art that was at the heart of maelstrom Berman describes in regards to his experience of modernity. I aim to highlight the correlation between Berman’s experience of modernity and the emergence of a new American modernism. Modernity throughout this period was broken into two different compartments, hermetically sealed off from one another: "modernisation" in economics and politics, "modernism" in art, culture and sensibility. It’s through the lens of this dualism in which we recognise that both Berman and these artists try to make sense of the world around them by making their individual expressions that would re-conceptualise what it is to be modern in the twentieth century.

The Renaissance, which lasted from the fourteenth through mid-seventeenth century, was a movement aimed towards reviving classical culture and an appreciation for ancient ways. Florence, Italy was considered the birthplace and the heart of the Renaissance. It was an industry town that dedicated its resources and supplies to architectural projects and where new architectural styles were developed (“The”). It’s impact on Western art lasted 600 years (Edgerton). Filippo Brunelleschi, a Florentine architect, changed the course of Renaissance architecture, developing new styles and techniques that forever changed the application of perspective in art. The techniques developed and invented by Filippo Brunelleschi changed the perception of 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

From 1919 on, Balla took on a new side in the art world, becoming involved the scientific viewpoint in society. He was one of the stand out figures in Futurism, and "Giacomo Balla (1871-1958)... was among others who signed the 'Manifesto of the Futurist Painters' during interwar years, were already inclined to an interest in the heated, fantasy mixed with modernist machine-worship and extremist political rhetoric of Marinetti's manifesto," (Richard Humphreys, Futurism). Along with many other artists, Balla signed the Futurist Manifesto during the interwar period to bring art into a new spectrum. The artists wanted to bring the aspect of science and innovation into art and used abstract shapes as a way to inspire individuals to view art through new perspective of innovative thinking. Giacomo became fascinated by Einstein’s Theory of Relativity, where he first learned about the science behind speed and light when he heard that “First, Einstein showed that time, space, and matter are interdependent, as expressed in the famous formula e - mc2, where e is energy, m is mass, and c is the speed of light,” (World History in Context). Growing up, Balla's father was an industrial chemist, so he was born into the ideas of scientific reasoning, and as he lived through the interwar era, Balla took an interest in Speed and Light, which was stated in Einstein's Theory of Relativity. During the interwar period, Einstein's famous point was shown in many of his later pieces, influencing a lot of his progressive work, and he showed that in his first Futurist inspired piece titled, Abstract Speed - The Car Has Passed. “This painting is the first of a new and remarkable development in the direction of Futurism and exemplifies the way in which Balla’s professionalism brought him to results that were perfectly in tune with the times and, in some cases, led him to formal inventions that anticipated other

During the early 20th century an artistic and social movement originated in Italy and was known as futurism. It was an innovation in technology. A similar movement was also occurring in Russia France England and etc. The persons who practiced such phenomenon were known as futurists. Futurists practiced in every art aspect that there was. Such as music, poetry painting theater etc. In each different part of Europe where futurism was evolving there were unique artists arising. Such Luigi Russolo Vladimir Mayakovsky Filippo Tommaso Marinetti Richard Wagner and Claude Debussy amongst others.

The beginning of 20th century was a time of drastic change. New developments were made in the arenas of the classical sciences, social science, psychology and philosophy - each challenging traditional thought. Industrialization and the introduction of many new, challenging concepts in the fields of politics as well as the development of new technologies gave artist more freedom to innovate and break the rules of traditional art. By using new materials, techniques and the new approach artists were pushing boundaries of what has previously been accepted art practice in order to invent radically new styles.

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.

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

Instead of just being expressed on canvas, it was also shown in sculpture and even collage. An example of futurism would be Boccioni's set of sculptures, Unique Forms of Continuity in Space. In these sculptures, he tried to capture the modern world and what the futurists considered it's defining characteristic- speed. Color in these sculptures, and in futurist art in general, didn't play as big of a part as it did in fauvist and expressionist art. Instead, futurist artists used composition, ideas, and shape to express speed, technology, and even violence. They wanted their works to reflect the modern age and to stray from traditional artistic styles. Futurism was also political, they would spread their philosophy to the people which frequently caused trouble with their audiences. This was definitely not the case for fauvist and futurist art, which were both much less diverse in terms of expression to the

About 1909 the implications of Cézanne's highly organized yet revolutionary spatial structures were expanded by Picasso and Braque, who invented an abstract art of still lives converted into shifting volumes and planes. Cubism, developed by the artists of the school of Paris, went through several stages and had an enormous influence on European and American painting and sculpture. In sculpture its notable exponents included Picasso, Duchamp-Villon, Lipchitz, González, and Archipenko, who began to realize the possibilities of convex and concave volumes. Cubism was absorbed in Italy by the exponents of futurism and in Germany by the Blaue Reiter group; both these movements were cut short by the advent of World War I. Fauvism and cubism were introduced by members of the Eight to a generally shocked American audience in

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

This paper outlines, argues and evaluates the key ideas used in debates about modernism and postmodernism. In order to understand and evaluate the key ideas the terms modernism and postmodernism had to be defined. I found much difficulty in finding a clear and concise definition of the two terms and so I researched and formed a train of thoughts into one definition. Modernism, beginning in the late nineteenth century and early twentieth century within Europe and America, was a movement mainly pioneered by artists who focused on the separation of their craft from the status quo of the society during that period mainly by the use of experimentation with content, form and materials (Long & Wall, 2012). Many believe that the basic principles of modernism can be derived from the Idea of Progress, which emerged in the 18th century Age of Enlightenment with the idea that people themselves could develop and change their society. (http://en.wikipedia.org/wiki/Modernization_theory, 2014). The post modernism term was much harder to explain and so in addition to outlining and evaluating the key ideas of postmodernism I have also highlighted the works and examples of the theorist Jean Baudrillard and the artist Marcel Duchamp, among others, to further explain the term post modernism. This paper is separated into five subtopics where I go in-depth into each category so as to give a fair analysis and evaluation on both modernism and post modernism.

At the same time, Baroque has influenced not every medium of art in the works of contemporary artists of the 21st century. Such elements as sculpture, architecture, and music have been hardly influenced by the inspirations of the previous centuries. Indeed, the style that has emerged during the period of discoveries in new sciences, exploration of new lands, increased trade and the reformation of church, could barely provide any solutions for artists born three centuries later, especially in those mediums of art, where the reference for the past signifies of the regression of an art element development.