FEBRUARY 6 PROGRESS PROGRESS FUTURISM Umberto Boccioni, Unique Forms of Continuity in Space (1913)

(cast in bronze, 1931) Umberto Boccioni (1882-1916) Umberto Boccioni, The Morning (1909) Umberto Boccioni, The City Rises (1910) Boccioni, “Technical Manifesto” (1910)

“The gesture which we would reproduce on canvas shall no longer be a fixed moment in universal dynamism. It shall simply be the dynamic sensation itself.”

“To paint a human figure you must not paint it; you must render the whole of its surrounding atmosphere.”

“We demand, for ten years, the total suppression of the nude in painting.”

UMBERTO BOCCIONI, DYNAMISM OF A CYCLIST (1913) Umberto Boccioni, Unique Forms of Continuity in Space (1913)

Friedrich Nietzsche and the übermensch (superman)

Pablo Picasso, Head of a Woman (Fernande) (1934) Umberto Boccioni, Synthesis of Human Dynamism (1913)

Umberto Boccioni, Development of a Bottle in Space (1913)

Pablo Picasso, A Glass of Absinthe (1914) Filippo Tommaso Marinetti 1876-1944 F.T. Marinetti, The Founding and Manifesto of Futurism February 20, 1909 "Let us leave good sense behind like a hideous husk and let us hurl ourselves, like fruit spiced with pride, into the immense mouth and breast of the world! Let us feed the unknown, not from despair, but simply to enrich the unfathomable reservoirs of the Absurd!"

As soon as I had said these words, I turned sharply back on my tracks with the mad intoxication of puppies biting their tails, and suddenly there were two cyclists disapproving of me and tottering in front of me like two persuasive but contradictory reasons. Their stupid swaying got in my way. What a bore! Pouah! I stopped short, and in disgust hurled myself — vlan! — head over heels in a ditch.

Oh, maternal ditch, half full of muddy water! A factory gutter! I savored a mouthful of strengthening muck which recalled the black teat of my Sudanese nurse! 4. 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 fire, is more beautiful than the Victory of Samothrace… 7. 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.

8. 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.

9. 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.

10. We want to demolish museums and libraries, fight morality, feminism and all opportunist and utilitarian cowardice. F.T. Marinetti, Zang Tumb Tumb (1912) F.T. Marinetti, Parole in libertà - Irredentismo (1914) F.T. Marinetti, Après la Marne, Joffre Visita le Front en Auto (1915) Battle of the Marne 1914

Luigi Russolo, Perfume (1910) Giacomo Balla, Street Light (1909)

Luigi Russolo, Solidity of Fog (1912)

Giacomo Balla, Lines of Movement and Dynamic Succession (1913) Lines of Movement and Dynamic Succession

Unique Forms of Continuity in Space Giacomo Balla, Velocity of an Automobile (1913) Jacques Henri Lartigue, Le Grand Prix A.C.F (1913)

Benedetta, Velocità di Motoscafo (1919-1924) Giacomo Balla, Dynamism of a Dog on a Leash (1912) Edweard Muybridge, The Horse in Motion (1878) Étienne-Jules Marey, Chronograph of the man in the black suit (1883)

Anton Bragaglia, Waving (Salutando) (1911) Stanislaw Ignacy Witkiewicz, Multiple Self-Portrait in Mirrors (1915-1917) Anton Bragaglia, Photodynamic Portrait of a Woman (1924)

Antonio Sant’Elia, drawing from La Città Nuova (1914)

Virgilio Marchi Virgilio Marchi Mario Chiattone Fortunato Depero EXPRESSIONISM DIE BRÜCKE (THE BRIDGE)

Karl Schmidt- Rottluff, Akte in den Dünen (nudes in the dunes) (1913) DIE BRÜCKE (THE BRIDGE)

Ernst Ludwig Kirchner, Self-Portrait as a Soldier (1915) DER BLAUE REITER (THE BLUE RIDER)

Wassily Kandinsky, Der Blaue Reiter (The Blue Rider) (1903) A Dresden doctor relates of one of his patients, whom he designates as an "exceptionally sensitive person," that he could not eat a certain sauce without tasting "blue," i.e. without experiencing a feeling of seeing a blue color. The author also discusses the hearing of colour, and says that here also no rules can be laid down…It would be possible to suggest, by way of explanation of this, that in highly sensitive people, the way to the soul is so direct and the soulWassily itself soKandinsky, impressionable, Landscape that any impression (1913) of taste communicates itself immediately to the soul, and thence to the other organs of sense (in this case, the eyes). This would imply an echo or reverberation, such as occurs sometimes in musical instruments which, without being touched, sound in harmony with some other instrument struck at the moment.

Kandinsky, Concerning the Spiritual in Art (1912) Wassily Kandinsky, Troubled (Overcast, Reminiscence) (1917) Bruno Taut, Glass Pavilion (1914)

Bruno Taut Bruno Taut Wenzel Hablik Wenzel Hablik, The Path of Genius (1918)

Wenzel Hablik, Self-Supporting Cupola with five Mountain Peaks as Base (1925) Die Stadtkrone (the City Crown), published 1919