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Zum Verhältnis Von Gewalt Und Ästhetik Im Italienischen Futurismus Henrike Hans „Man schreit vor Angst und Entsetzen. „Schönheit Diese Bilder sind das Innerste, Erschütterndste, Grandioseste, Unfaßbarste, das seit Menschengedenken gemacht worden ist.“ gibt es nur noch im Kampf“ Der Künstler Hugo Ball (1886–1927) zeigte sich 1913 nach seinem Besuch des Kunst- salons Emil Richter in Dresden wahrhaft überwältigt angesichts der dort ausgestellten Zum Verhältnis von Gemälde der Futuristen. Auch andernorts riefen die Künstler Umberto Boccioni, Carlo Gewalt und Ästhetik im Carrà, Giacomo Balla, Luigi Russolo und Gino Severini teils heftige Reaktionen hervor. italienischen Futurismus Gegründet wurde die italienische Avantgardebewegung 1909 mit der Veröffentli- chung des Manifests Le Futurisme durch den Dichter Filippo Tommaso Marinetti. In der darin aufgestellten Behauptung „Schönheit gibt es nur noch im Kampf. Ein Werk ohne aggressiven Charakter kann kein Meisterwerk sein“ wird Gewalt als ideologische Basis der Bewegung bekundet. War die ganzheitliche Erneuerung der Kunst und Kul- tur Italiens das Ziel der Futuristen, so teilten sie die Überzeugung, dass diese nur auf der (ideellen) Zerstörung tradierter kultureller und gesellschaftlicher Werte gründen könne. Die vorliegende Untersuchung geht dem Ursprung des Themas der Gewalt in den futuristischen Manifesten aus der Geisteshaltung des späten 19. Jahrhunderts nach und analysiert die Art und Weise, wie die futuristischen Künstler das Thema der Gewalt auf ihre bildlichen Werke übertrugen. Reaktionen von Betrachtern wie Hugo Ball werden herangezogen, um zu untersuchen, inwiefern die Kunst im Futurismus als Kommunikationsmittel gesellschaftlicher Forderungen und ästhetischer Inhalte der futuristischen Ideologie eingesetzt wurde. Henrike Hans „Schönheit gibt es nur noch im Kampf“ gibt Henrike Hans „Schönheit ISBN: 978-3-86395-242-6 Universitätsverlag Göttingen Universitätsverlag Göttingen Henrike Hans „Schönheit gibt es nur noch im Kampf“ Zum Verhältnis von Gewalt und Ästhetik im italienischen Futurismus Dieses Werk ist lizenziert unter einer Creative Commons Namensnennung - Weitergabe unter gleichen Bedingungen 4.0 International Lizenz. erschienen im Universitätsverlag Göttingen 2015 Henrike Hans „Schönheit gibt es nur noch im Kampf“ Zum Verhältnis von Gewalt und Ästhetik im italienischen Futurismus Universitätsverlag Göttingen 2015 Bibliographische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliographie; detaillierte bibliographische Daten sind im Internet über <http://dnb.dnb.de> abrufbar. Anschrift der Autorin Henrike Hans E-Mail: [email protected] Dieses Buch ist auch als freie Onlineversion über die Homepage des Verlags sowie über den Göttinger Universitätskatalog (GUK) bei der Niedersächsischen Staats- und Universitätsbibliothek Göttingen (http://www.sub.uni-goettingen.de) erreichbar. Es gelten die Lizenzbestimmungen der Onlineversion. Satz und Layout: Annett Eichstaedt Umschlaggestaltung: Jutta Pabst Titelabbildung: Umberto Boccioni, La città che sale, 1910, Öl auf Leinwand, 199,3 x 301 cm, The Museum of Modern Art, New York, Mrs. Simon Guggenheim Fund Digital Image © 2015. The Museum of Modern Art/Scala, Florence © VG Bild-Kunst, Bonn 2015 (für Werke von Giacomo Balla, Carlo Carrà, Fortunato Depero, Gino Severini) © 2015 Universitätsverlag Göttingen http://univerlag.uni-goettingen.de ISBN: 978-3-86395-242-6 Meinen Eltern in Liebe und Dankbarkeit gewidmet. Inhaltsverzeichnis Vorwort ............................................................................................................................ 11 1. Einleitung ................................................................................................................... 15 2. Formen der Gewalt in Geschichte, Philosophie und Kunst ............................. 25 2.1. Gewalt: Historische, soziale und mediale Betrachtung .............................. 26 2.2. Philosophische Grundlagen zur Gewaltdiskussion .................................... 36 2.2.1. Gewalt und Hässlichkeit ..................................................................... 36 2.2.2. Das Sublime .......................................................................................... 39 2.2.3. Nietzsches Kunsttheorie ..................................................................... 43 2.3. Vor-Bilder: Gewalt in der Kunst ................................................................... 47 2.4. Zwischenfazit: Die mediale Transformation von Gewalt in Philosophie und Kunst ................................................................................... 53 3. Die Gründung des Futurismus: Der Gewaltbegriff in den futuristischen Manifesten von 1909 bis 1914 ................................................................................ 57 3.1. Zur Lage Italiens in den Vorkriegsjahren .................................................... 58 3.2. Le Futurisme: Marinetti und die Kunst der Zerstörung ............................ 71 8 Inhaltsverzeichnis 3.2.1. Technischer Fortschritt und der Wille zur Macht .......................... 71 3.2.2. Die ideologische Basis des Gründungsmanifests ............................ 78 3.3. Manifesto dei Pittori futuristi ......................................................................... 88 3.4. Manifesto tecnico und Boccionis Pittura Scultura futuriste ...................... 91 3.4.1. Das Sujet und die Formensprache der futuristischen Kunst ........ 94 3.4.2. Das Licht und die Atmosphäre .......................................................... 96 3.4.3. Dynamismus und Simultaneität ....................................................... 100 3.4.4. Gemütszustände und Emotionen ................................................... 104 3.4.5. Durchdringung der Ebenen, Kontinuität und Kraft-Linien ....... 108 3.4.6. Der Gewaltgestus ............................................................................... 111 3.5. Die futuristischen serate ................................................................................. 115 3.6. Futurismus und politische Gewalt .............................................................. 120 3.7. Zwischenfazit .................................................................................................. 125 3.7.1. Mobilisierung und Agitation als künstlerische Stilmittel .............. 125 3.7.2. Das innovative Potenzial der Gewaltforderung ............................ 127 3.7.3. Der Neue Mensch .............................................................................. 129 3.7.4. Futurismus und Nekrophilie ............................................................ 133 4. Die künstlerische Dimension: Gewalt und Aggression als ästhetische Prinzipien ................................................................................................................. 137 4.1. Entgrenzungsphantasien der Künstler prefuturiste ................................. 138 4.2. Werke von 1910/12 – Aufstand und Revolte ........................................... 145 4.2.1. Der Beginn der futuristischen Malerei ............................................ 145 4.2.2. Eine Schlägerei als soziales Event – Umberto Boccioni: Baruffa und Rissa in Galleria ............................................................ 150 4.2.3. Die Kraft der Stadt – Umberto Boccioni: La città che sale ........ 158 4.2.4. Die Verarbeitung persönlicher Erlebnisse – Carlo Carrà: I funerali dell’anarchico Galli ........................................................... 165 4.2.5. Linker Widerstand – Luigi Russolo: La rivolta .............................. 173 4.2.6. Verständnis und malerische Umsetzung futuristischer Gewalt .. 176 4.3. Das Jahr 1913 – Wendepunkt in der futuristischen Kunst ..................... 182 4.3.1. Entwicklungen im Futurismus 1913 ............................................... 182 4.3.2. Umberto Boccionis neue Menschen: Corpo umano .................... 184 4.3.3. Gino Severini: Ritmo plastico del 14 luglio ................................... 193 9 4.3.4. Ein Automobil als Gewehrkugel? Giacomo Balla: Velocità d’automobile und Luigi Russolo: Dinamismo di un automobile 198 4.3.5. Künstlerische Umbrüche 1913 ........................................................ 207 4.4. Agitation und Kriegskunst 1914/15 ........................................................... 208 4.4.1. Interventionismus – Umbruch in der Ästhetik ............................. 208 4.4.2. Die Macht der Worte – Carlo Carrà: Festa patriottica ................. 215 4.4.3. Krieg oder Revolution – Carlo Carrà: Guerrapittura ................... 220 4.4.4. Umberto Boccioni: Carica di lancieri .............................................. 229 4.4.5. Gino Severinis Serie der Kriegseindrücke ...................................... 235 4.4.6. Die futuristische Kunst zu Beginn des Ersten Weltkrieges ........ 244 4.5. Destruktion und Krise des Futurismus 1915/16 ...................................... 245 4.5.1. Das Ende des Ersten Futurismus .................................................... 245 4.5.2. Giacomo Ballas Manifestationen zum Interventionismus .......... 248 4.5.3. Giacomo Balla: Il pugno di Boccioni .............................................. 252 4.6. Zwischenfazit ................................................................................................. 254 4.6.1. Der Kampf – eine ikonografische Kontextualisierung ................ 254 4.6.2. Das Reitermotiv ................................................................................. 257 4.6.3. Die Wechselwirkung von
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