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UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Fillia's Futurism Writing, Politics, Gender and Art after the First World War Permalink https://escholarship.org/uc/item/2r47405v Author Baranello, Adriana Marie Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Fillia’s Futurism Writing, Politics, Gender and Art after the First World War A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Italian By Adriana Marie Baranello 2014 © Copyright by Adriana Marie Baranello 2014 ABSTRACT OF THE DISSERTATION Fillia’s Futurism Writing, Politics, Gender and Art after the First World War By Adriana Marie Baranello Doctor of Philosophy in Italian University of California, Los Angeles, 2014 Professor Lucia Re, Co-Chair Professor Claudio Fogu, Co-Chair Fillia (Luigi Colombo, 1904-1936) is one of the most significant and intriguing protagonists of the Italian futurist avant-garde in the period between the two World Wars, though his body of work has yet to be considered in any depth. My dissertation uses a variety of critical methods (socio-political, historical, philological, narratological and feminist), along with the stylistic analysis and close reading of individual works, to study and assess the importance of Fillia’s literature, theater, art, political activism, and beyond. Far from being derivative and reactionary in form and content, as interwar futurism has often been characterized, Fillia’s works deploy subtler, but no less innovative forms of experimentation. For most of his brief but highly productive life, Fillia lived and worked in Turin, where in the early 1920s he came into contact with Antonio Gramsci and his factory councils. -
The Futurist Moment : Avant-Garde, Avant Guerre, and the Language of Rupture
MARJORIE PERLOFF Avant-Garde, Avant Guerre, and the Language of Rupture THE UNIVERSITY OF CHICAGO PRESS CHICAGO AND LONDON FUTURIST Marjorie Perloff is professor of English and comparative literature at Stanford University. She is the author of many articles and books, including The Dance of the Intellect: Studies in the Poetry of the Pound Tradition and The Poetics of Indeterminacy: Rimbaud to Cage. Published with the assistance of the J. Paul Getty Trust Permission to quote from the following sources is gratefully acknowledged: Ezra Pound, Personae. Copyright 1926 by Ezra Pound. Used by permission of New Directions Publishing Corp. Ezra Pound, Collected Early Poems. Copyright 1976 by the Trustees of the Ezra Pound Literary Property Trust. All rights reserved. Used by permission of New Directions Publishing Corp. Ezra Pound, The Cantos of Ezra Pound. Copyright 1934, 1948, 1956 by Ezra Pound. Used by permission of New Directions Publishing Corp. Blaise Cendrars, Selected Writings. Copyright 1962, 1966 by Walter Albert. Used by permission of New Directions Publishing Corp. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 1986 by The University of Chicago All rights reserved. Published 1986 Printed in the United States of America 95 94 93 92 91 90 89 88 87 86 54321 Library of Congress Cataloging-in-Publication Data Perloff, Marjorie. The futurist moment. Bibliography: p. Includes index. 1. Futurism. 2. Arts, Modern—20th century. I. Title. NX600.F8P46 1986 700'. 94 86-3147 ISBN 0-226-65731-0 For DAVID ANTIN CONTENTS List of Illustrations ix Abbreviations xiii Preface xvii 1. -
Cubism in America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1985 Cubism in America Donald Bartlett Doe Sheldon Memorial Art Gallery Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Doe, Donald Bartlett, "Cubism in America" (1985). Sheldon Museum of Art Catalogues and Publications. 19. https://digitalcommons.unl.edu/sheldonpubs/19 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. RESOURCE SERIES CUBISM IN SHELDON MEMORIAL ART GALLERY AMERICA Resource/Reservoir is part of Sheldon's on-going Resource Exhibition Series. Resource/Reservoir explores various aspects of the Gallery's permanent collection. The Resource Series is supported in part by grants from the National Endowment for the Arts. A portion of the Gallery's general operating funds for this fiscal year has been provided through a grant from the Institute of Museum Services, a federal agency that offers general operating support to the nation's museums. Henry Fitch Taylor Cubis t Still Life, c. 19 14, oil on canvas Cubism in America .".. As a style, Cubism constitutes the single effort which began in 1907. Their develop most important revolution in the history of ment of what came to be called Cubism art since the second and third decades of by a hostile critic who took the word from a the 15th century and the beginnings of the skeptical Matisse-can, in very reduced Renaissance. -
Music, Noise, and Abstraction
BYVASIL y KAND INSKY' s OWN AC co u NT, his proto-abstract canvas ImpressionIII (Konzert) (19n; plate 13) was directly inspired by a performance of Arnold Schoenberg's first atonal works (the Second String Quartet, op. ro, and the Three Piano Pieces, op. n) at a concert in Munich on January 2, r9n, attended by Kandinsky and his Blaue Reiter compatriots (plate 6). The correspondence that Kandinsky launched with Schoenberg in the days following the concert makes it clear that both the painter and the composer saw direct parallels between the abandonment of tonality in music and the liberation from representation in visual art. 1 That both construed these artistic breakthroughs in spiritual terms is equally clear. Responding to the crisis of value prompted by scientific mate rialism, Kandinsky and Schoenberg affirmed an inner, spiritual realm that promised "ascent to a higher and better order," as Schoenberg would later put it. 2 Kandinsky looked to music, "the least material of the arts," as a means to "turn away from the soulless content of modern life, toward materials and environments that give a free hand to the nonmaterial strivings and searchings of the thirsty soul." "Schoenberg's music," he insisted, "leads us into a new realm, where musical experiences are no longer acoustic, but purely spiritua/."3 But what constitutes the "abstraction" of music in general and of atonal music in particular? And might this well-worn story obscure alternative conceptions of "abstraction" and other relationships between music and art in European modernism? Contrary to the self-presentations of Schoenberg and Kandinsky, there is nothing fundamental about the analogy between abstraction and atonality which is why Paul Klee, Frantisek Kupka, Marsden Hartley, and many other early abstract painters could find inspiration in the eighteenth-century polyphony that consolidated the tonal system in the first place. -
Futurism-Anthology.Pdf
FUTURISM FUTURISM AN ANTHOLOGY Edited by Lawrence Rainey Christine Poggi Laura Wittman Yale University Press New Haven & London Disclaimer: Some images in the printed version of this book are not available for inclusion in the eBook. Published with assistance from the Kingsley Trust Association Publication Fund established by the Scroll and Key Society of Yale College. Frontispiece on page ii is a detail of fig. 35. Copyright © 2009 by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Nancy Ovedovitz and set in Scala type by Tseng Information Systems, Inc. Printed in the United States of America by Sheridan Books. Library of Congress Cataloging-in-Publication Data Futurism : an anthology / edited by Lawrence Rainey, Christine Poggi, and Laura Wittman. p. cm. Includes bibliographical references and index. ISBN 978-0-300-08875-5 (cloth : alk. paper) 1. Futurism (Art) 2. Futurism (Literary movement) 3. Arts, Modern—20th century. I. Rainey, Lawrence S. II. Poggi, Christine, 1953– III. Wittman, Laura. NX456.5.F8F87 2009 700'.4114—dc22 2009007811 A catalogue record for this book is available from the British Library. This paper meets the requirements of ANSI/NISO Z39.48–1992 (Permanence of Paper). 10 9 8 7 6 5 4 3 2 1 CONTENTS Acknowledgments xiii Introduction: F. T. Marinetti and the Development of Futurism Lawrence Rainey 1 Part One Manifestos and Theoretical Writings Introduction to Part One Lawrence Rainey 43 The Founding and Manifesto of Futurism (1909) F. -
Robert Morris, Minimalism, and the 1960S
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
An Italian Vision of a Scientific Utopia a Century Ago, Artists and Writers from Italy Imagined a World Governed by Science and Technology
Vol 459|28 May 2009 BOOKS & ARTS An Italian vision of a scientific Utopia A century ago, artists and writers from Italy imagined a world governed by science and technology. But their vision of modernity also glorified violence and misogyny, finds Ziauddin Sardar. Inventing Futurism: The Art and Politics of Artificial Optimism by Christine Poggi Princeton University Press: 2009. 392 pp. £32.50, $45 A hundred years ago, a group of Italian visionary artists declared war on civilization. Rejecting the artwork, poetry, music and archi- tecture of the period, these ‘Futurists’ wanted to create the world anew. Science and technology formed the building blocks of their brave new world, which they expressed not just in art but in violence and naked nationalism. In Inventing Futurism, art historian Christine Poggi describes how the Futurist movement’s raw passion for technology was moulded by the atmosphere of political foreboding of the times. Like futurists working now in the fields of futures studies and foresight, these artists wanted to shape the future. But the goals of the two groups could not be more different. Futur- ists today forecast how science and technology will change our lives, and predict alternative paths. By applying the best lessons of history Futurist Umberto Boccioni conveys the dynamic forces behind city construction in The City Rises (1910). to build on what exists now, they aim to find policies to ensure futures that are more equi- world into sunlight with velocity and violence. industrial production. War would break out, table and just. By contrast, the Italian Futurists A mythical struggle had to be waged between fought by “small mechanics” whose flesh rejected everything that was old. -
(No) Queer Futurism: Prostitutes, Pink Poets, and Politics in Italy from 1913-1918
(No) Queer Futurism: Prostitutes, Pink Poets, and Politics in Italy from 1913-1918 Emma Van Ness University of California, Los Angeles A Queer Futurism? This study intended to examine Futurist representations of historical prostitution within their urban environments of Paris, Milan, and Florence. It quickly became evident, however, that Futurists were by and large unconcerned with the material concerns of the prostitutes themselves, but very interested in what prostitutes could signify in an artistic and social context, building on the contributions of artists such as Baudelaire and Manet. These Parisians were among those who thrust the prostitute into the central discourse of literature and art in the nineteenth-century and in doing so signaled an important shift towards modernity. Half a century later, in Florence, while Dino Campana sings to the chimerical musica fanciulla esangue in his Canti orfici, Italo Tavolato, a homosexual journalist and critic from Trieste, speaks explicitly of prostitutes as inspirational figures, truly moral in their honest immorality. It was only through his rhetorical exaltation of prostitution that Tavolato could express his desire for an alternative to hetero-normative sexualities. His larger program against sexual morality is an important contribution in the early “deconstructive” phase of Futurism, one which mirrors what Claudia Salaris calls a “theory of androgyny,”1 associated at the time with writers such as Otto Weininger, Valentine de Saint-Point, and Marinetti himself, who was initially referred to by many as the “pink poet” because of “his ‘American’ methods, scandalizing and self- promoting.”2 Like Marinetti’s own fictional Futurist father, Marfarka, who gives birth to Garzurmah, the man-machine hybrid, Marinetti’s birthing of the movement was aided by his assumption of a hybrid personality. -
Cubo-Futurism
Notes Cubo-Futurism Slap in theFace of Public Taste 1 . These two paragraphs are a caustic attack on the Symbolist movement in general, a frequent target of the Futurists, and on two of its representatives in particular: Konstantin Bal'mont (1867-1943), a poetwho enjoyed enormouspopu larityin Russia during thefirst decade of this century, was subsequentlyforgo tten, and died as an emigrein Paris;Valerii Briusov(18 73-1924), poetand scholar,leader of the Symbolist movement, editor of the Salles and literary editor of Russum Thought, who after the Revolution joined the Communist party and worked at Narkompros. 2. Leonid Andreev (1871-1919), a writer of short stories and a playwright, started in a realistic vein following Chekhov and Gorkii; later he displayed an interest in metaphysicsand a leaning toward Symbolism. He is at his bestin a few stories written in a realistic manner; his Symbolist works are pretentious and unconvincing. The use of the plural here implies that, in the Futurists' eyes, Andreev is just one of the numerousepigones. 3. Several disparate poets and prose writers are randomly assembled here, which stresses the radical positionof the signatories ofthis manifesto, who reject indiscriminately aU the literaturewritt en before them. The useof the plural, as in the previous paragraphs, is demeaning. Maksim Gorkii (pseud. of Aleksei Pesh kov, 1�1936), Aleksandr Kuprin (1870-1938), and Ivan Bunin (1870-1953) are writers of realist orientation, although there are substantial differences in their philosophical outlook, realistic style, and literary value. Bunin was the first Rus sianwriter to wina NobelPrize, in 1933.AJeksandr Biok (1880-1921)is possiblythe best, and certainlythe most popular, Symbolist poet. -
Federico Luisetti, “A Futurist Art of the Past”, Ameriquests 12.1 (2015)
Federico Luisetti, “A Futurist Art of the Past”, AmeriQuests 12.1 (2015) A Futurist Art of the Past: Anton Giulio Bragaglia’s Photodynamism Anton Giulio Bragaglia, Un gesto del capo1 Un gesto del capo (A gesture of the head) is a rare 1911 “Photodynamic” picture by Anton Giulio Bragaglia (1890-1960), the Rome-based photographer, director of experimental films, gallerist, theater director, and essayist who played a key role in the development of the Italian Avant- gardes. Initially postcard photographs mailed out to friends, Futurist Photodynamics consist of twenty or so medium size pictures of small gestures (greeting, nodding, bowing), acts of leisure, work, or movements (typing, smoking, a slap in the face), a small corpus that preceded and influenced the experimentations of European Avant-garde photography, such as Christian Schad’s Schadographs, Man Ray’s Rayographs, and Lazlo Moholy-Nagy’s Photograms. Thanks to historians of photography, in particular Giovanni Lista and Marta Braun, we are familiar with the circumstances that led to the birth of Photodynamism, which took on and transformed the principles proclaimed in the April 11, 1910 Manifesto tecnico della pittura futurista (Technical Manifesto of Futurist Painting) by Umberto Boccioni, Carlo Carrà, Luigi Russolo, Giacomo Balla, and Gino Severini, where the primacy of movement and the nature of “dynamic sensation” challenge the conventions of traditional visual arts: “The gesture which we would reproduce on canvas shall no longer be a fixed moment in universal dynamism. It shall simply be 1 (A Gesture of the Head), 1911. Gelatin silver print, 17.8 x 12.7 cm, Gilman Collection, The Metropolitan Museum of Art, New York]. -
Cubism Futurism Art Deco
20TH Century Art Early 20th Century styles based on SHAPE and FORM: Cubism Futurism Art Deco to show the ‘concept’ of an object rather than creating a detail of the real thing to show different views of an object at once, emphasizing time, space & the Machine age to simplify objects to their most basic, primitive terms 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Pablo Picasso 1881-1973 Considered most influential artist of 20th Century Blue Period Rose Period Analytical Cubism Synthetic Cubism 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Early works by a young Picasso Girl Wearing Large Hat, 1901. Lola, the artist’s sister, 1901. 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Blue Period (1901-1904) Moves to Paris in his late teens Coping with suicide of friend Paintings were lonely, depressing Major color was BLUE! 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Blue Nude, 1902. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Self Portrait, 1901. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Tragedy, 1903. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Le Gourmet, 1901. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s work at the National Gallery (DC) 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Rose Period Rose Period (1904-1906) Much happier art than before Circus people as subjects Reds and warmer colors Pablo Picasso, Harlequin Family, 1905. ROSE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Rose Period Pablo Picasso, La Familia de Saltimbanques, 1905. -
Synthetic Cubism at War: New Necessities, New Challenges
RIHA Journal 0250 | 02 September 2020 Synthetic Cubism at War: New Necessities, New Challenges. Concerning the Consequences of the Great War in the Elaboration of a Synthetic-Cubist Syntax Belén Atencia Conde-Pumpido Abstract When we talk about the Synthetic Cubism period, what exactly are we referring to? What aesthetic possibilities and considerations define it insofar as its origin and later evolution are concerned? To what extent did the disorder that the Great War unleashed, with all its political, sociological and moral demands, influence the reformulation of a purely synthetic syntax? This article attempts to answer these and other questions relating to the sociological-aesthetic interferences that would influence the Parisian Cubist style of the war years, and in particular the works of Juan Gris, María Blanchard, Jacques Lipchitz and Jean Metzinger during the spring and summer that they shared with one another in 1918, until it consolidated into what we now know as Crystal Cubism. Contents Cubism and war. The beginning of the end or infinite renewal? At a crossroads: tradition, figuration, synthesis and abstraction The Beaulieu group, the purification of shape and the crystallization of Cubism in 1918 and 1919 Epilogue Cubism and war. The beginning of the end or infinite renewal? [1] The exhibition "Cubism and War: the Crystal in the Flame", held in the Picasso Museum in Barcelona in 2016,1 highlighted the renewed production undertaken in Paris during the war years by a small circle of artists who succeeded in taking Synthetic Cubism to its ultimate consequences. 1 Cubism and War: the Crystal in the Flame, ed.