DOCSLIB.ORG

Fortunato Depero and Depero Futurista 1913–1927 Gianluca Camillini

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fortunato Depero and Depero Futurista 1913–1927 Gianluca Camillini Fortunato Depero and Depero futurista 1913–1927 Gianluca Camillini Thesis submitted for the degree of Doctor of Philosophy Department of Typography & Graphic Communication April 2020 Declaration: I confirm that this is my own work and the use of all material from other sources has been properly and fully acknowledged. Gianluca Camillini Abstract Fortunato Depero and Depero futurista 1913–1927 Gianluca Camillini Department of Typography & Graphic Communication - University of Reading April 2020 This thesis examines Depero futurista 1913–1927, the so-called ‘bolted book’ created in 1927 by Futurist artist Fortunato Depero (1892-1960). Although Depero and his book have already been the subject of artistic re-evaluation, the literature relating to this work neglects a number of key aspects pertaining to the figure of the artist, still failing to provide a detailed account of Depero futurista 1913–1927. In order to address these gaps, this study is divided into two distinct parts: the first, composed of chapters 2, 3 and 4, takes an analytical approach intended to give a detailed description of the book and its context. Chapter 2 examines the graphic and artistic context in order to understand the circumstances in which Depero futurista 1913–1927 was published. Chapter 3 analyses Depero’s correspondence with the publisher Azari and the professional relationship between Depero and the Mercurio printing works, in order to understand the design methodologies adopted by Depero during the process of creating the book. In chapter 4, the analysis moves onto the book as an object, focusing on its content and formal features – its structure, layout and typefaces. The second part of this research, comprising chapters 5, 6 and 7, uses Depero futurista 1913–1927 as an index from which to extrapolate areas of research related to Fortunato Depero, highlighting pages that refer to certain themes and presenting critical discussion of them. Chapter 5 analyses the political context in which the book was created and how it is inextricably linked with the institutions of the Italian Fascist regime. Given Depero futurista 1913–1927’s function as a self-promotional tool, chapter 6 examines Fortunato Depero’s interest in the field of advertising. Finally, chapter 7 reflects on Depero futurista 1913–1927 as a particular kind of book object and the extent to which it can be considered a work of art in terms of the discourse on artists’ books. Fortunato Depero and Depero futurista 1913–1927 Table of contents A note about translations, captions and references xi 1 Introduction 12 1.1 Current interest in Depero futurista 1913–1927 13 1.2 An identified gap in historical knowledge 15 1.3 Inadequacies of initial narratives of Futurism and the emergence of new accounts 17 1.4 The emergence of a critical shift 18 1.4.1 The implications of this critical shift 20 1.5 Bringing Depero’s work to the forefront 22 1.6 Re-evaluating Depero futurista 1913–1927 24 1.7 Organisation of the thesis 25 1.7.1 Context and object 26 1.7.2 Indexical analysis and interpretation 26 Part 1: Analysis of context and object 2 Graphic and artistic context 30 2.1 Stéphane Mallarmé’s precedent 31 2.2 Futurism, Marinetti and Futurist publishing 34 2.2.1 The Futurist manifestos 34 2.2.2 Futurist magazines 46 2.2.2.1 Lacerba 47 2.2.2.2 La Balza Futurista 48 2.2.2.3 L'Italia Futurista 49 2.2.2.4 Noi 49 2.2.2.5 Dinamo 51 2.3 Other avant-gardes and typographical movements and their exponents 51 2.3.1 Apollinaire and the calligrammes 51 2.3.2 Russian Futurism 55 2.3.3 Typographical Modernism and New Typography: from El Lissitzky to the Bauhaus and Jan Tschichold 59 3 Design and production, as deduced from Depero’s correspondence in the Archivio del ’900 71 3.1 Analysis of Azari and Depero’s correspondence about Depero futurista 1913–1927 71 3.1.1 Technical aspects of the book’s production process 71 3.1.2 The nature of Azari and Depero’s collaboration 79 3.2 Depero and the Mercurio printing works of Ferruccio Zamboni 88 4 Analysis of the structure and pages of the Depero futurista 1913–1927 92 4.1 Content structure of the book 93 4.2 The layout structure of the pages 100 4.2.1 Typefaces 103 4.3 Structure and layout 104 4.3.1 Statement pages 104 4.3.1.1 Presentation page 104 4.3.1.2 Announcement of the launch of Dinamo-Azari 104 4.3.1.3 I Set Off hist Futurist Creation as Sign of Celebration for F. T. Marinetti 106 4.3.1.4 Futurist movement 108 4.3.1.5 Azari and Depero Leave for an Artistic Discussion at an Altitude of 5000 Metres 110 4.3.1.6 Typographical compositions 110 4.3.1.7 Collection of articles on Depero’s work 110 4.3.2 Manifesto pages 113 4.3.2.1 Fortunato Depero: Autobiographical Summary 113 4.3.2.2 Depero Glorified by Marinetti 115 4.3.2.3 Plastic Art of Today 117 4.3.2.4 The Immortal Futurism 117 4.3.2.5 The Fantastic New 120 4.3.2.6 Advertising Architecture 120 4.3.2.7 Book Pavilion (Typographical Architecture) 122 4.3.2.8 Magic Theatre 124 4.3.2.9 Onomalanguage 126 4.3.2.10 Abstract Verbalization of Lady 126 4.3.2.11 Tramvai 129 4.3.2.12 SiiO VLUMMIA - Torrente 129 4.4 Summary observations on the pages of Depero futurista 1913–1927 130 Part 2: Indexical analysis and interpretation 5 Fortunato Depero’s political involvement and the artwork he produced for the Italian Fascist Party 136 5.1 Futurism and Fascism: negotiating the art-politics relationship 139 5.2 Fortunato Depero’s relationship with Fascism 147 5.2.1 Between necessity and ideology: Depero’s report on his artistic relations with Fascism (1945) 147 5.2.2 Tension between urban and rural identities 156 5.2.3 From mechanical splendour to metallic style 159 5.2.4 From metal to steel style 162 5.2.5 The aestheticisation of politics and steel style in Depero’s illustrations for politicised magazines 168 5.2.6 Depero’s illustrations for Fascism: the ONB (Opera Nazionale Balilla) and the OND (Opera Nazionale del Dopolavoro) 179 5.3 Embracing of the Fascist cause: between convenience and ideology 181 6 Fortunato Depero and advertising art 189 6.1 Futurist interest in advertising: art, politics and mass appeal 190 6.2 The need for self-advertisement as self-promotion 196 6.3 Depero’s commercial advertising work 198 6.3.1 Depero-Azari, an unbreakable partnership 201 6.3.2 Advertising theory 203 6.3.3 Advertising (in/as) practice 205 6.3.3.1 Campari 205 6.3.3.1.1 Combining practice and theory: Numero Unico Futurista Campari 211 6.3.3.2 Depero's work for Verzocchi brick manufacturer 215 6.3.3.3 Depero for U.N.I.C.A. 217 6.3.3.4 Depero for S. Pellegrino and Liquore Strega 219 6.3.3.5 Depero for American Lead Pencil 219 6.3.3.6 Depero for Sani and Buxus 221 6.4 Fortunato Depero, Depero futurista 1913–1927 and advertising art 223 7 Depero futurista 1913–1927 and the artist’s book 230 7.1 Depero futurista 1913–1927, art book and artist’s book 236 7.1.1 Authorship 237 7.1.2 Construction 237 7.1.3 Positioning art in ‘non-art’ contexts 238 7.1.4 An exhibition 241 7.1.5 A documentary record 243 7.2 Historical accounts of Depero futurista 1913–1927 as an artists’ book 245 7.2.1 Different accounts of Depero futurista 1913–1927 as an artists’ book 245 7.2.2 What Depero futurista 1913–1927 is and what it is not 247 7.3 Publications that show similarities to Depero futurista 1913–1927 (or which were influenced by it) 250 7.3.1 Biting, explosive and illuminating books 250 7.3.1.1 Litolatte (Litho-tins) 250 7.3.1.2 Metal books 255 7.3.1.2.1 Other bolted books 258 8 Conclusion 264 Bibliography 271 Acknowledgements A note about translations, captions and references All translations from Italian, German and French are my own, unless otherwise indicated. When the subject of an illustration is not credited, it is by Fortunato Depero. The majority of the archive materials referenced in this text are from the Archivio del ’900 at MART - Museum of Modern and Contemporary Art of Trento and Rovereto. Here, the cataloguing uses alphanumeric shelf marks attached directly to the archive materials (or the files that contain them): the first three letters followed by a point, usually the first letters of the author’s surname, indicate the name of the collection, in my case Dep.1 This is followed by progressive numbers separated by points to distinguish the levels of description: series, Dep.3, sub-series, Dep.3.1, file, Dep.3.1.7, and document unit, Dep.3.1.7.1. The greater the level of description, the more numbers appear in the shelf mark. The eight series of the Depero archive are divided into: Documents and personal papers (Dep.1) which describe the events of his life; Dizionario ideologico ed autobiografico (Ideological and Autobiographical Dictionary - Dep.2);2 Correspondence (Dep.3); Writings (Dep.4); Documentation for professional projects (Dep.5); Collections of graphic materials and documents (Dep.6) which include both documents relating to his publications and drafts of his works ‘underlining the indissoluble association between the artistic sphere and the more strictly archival sphere of the legacy of the artist, who was the first one not to distinguish between the two’;3 Photographic material (Dep.7) used to document his artistic activities; Press materials (Dep.8) relating to press articles on his career and interests.4 Materials conserved in other institutions use their own cataloguing systems, for example the Getty Research Institute uses a singular progressive number for each archive unit.
Load more

Recommended publications
  • Aerial View and Its Role in Spatial Transformation: the Case of Istanbul a Thesis Submitted to the Graduate School of Natural A
    AERIAL VIEW AND ITS ROLE IN SPATIAL TRANSFORMATION: THE CASE OF ISTANBUL A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF NATURAL AND APPLIED SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY GÖKÇE ÖNAL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARCHITECTURE IN ARCHITECTURE SEPTEMBER 2014 Approval of the thesis: AERIAL VIEW AND ITS ROLE IN SPATIAL TRANSFORMATION: THE CASE OF ISTANBUL submitted by GÖKÇE ÖNAL in partial fulfillment of the requirements for the degree of Master of Architecture in Architecture Department, Middle East Technical University by, Prof. Dr. Canan Özgen Dean, Graduate School of Natural and Applied Sciences Prof. Dr. Güven Arif Sargın Head of Department, Architecture Inst. Dr. Mustafa Haluk Zelef Supervisor, Architecture Dept., METU Examining Committee Members: Prof. Dr. Belgin Turan Özkaya Architecture Dept., METU Inst. Dr. Mustafa Haluk Zelef Architecture Dept., METU Prof. Dr. Güven Arif Sargın Architecture Dept., METU Assoc. Dr. Namık Günay Erkal Architecture Dept., METU Inst. Dr. Davide Deriu Architecture Dept., University of Westminster Date: 04/09/2014 I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last name: Gökçe Önal Signature: iv ABSTRACT AERIAL VIEW AND ITS ROLE IN SPATIAL TRANSFORMATION: THE CASE OF ISTANBUL Önal, Gökçe M.Arch, Department of Architecture Supervisor: Inst. Dr. Mustafa Haluk Zelef September, 2014, 161 pages What is intended to be explored in this research is the historical course within which the transformation of aerial view has influenced the observation, documentation and realization of the built environment.
    [Show full text]
  • 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.
    [Show full text]
  • Redalyc.Giorgio Morandi and the “Return to Order”: from Pittura
    Anales del Instituto de Investigaciones Estéticas ISSN: 0185-1276 [email protected] Instituto de Investigaciones Estéticas México AGUIRRE, MARIANA Giorgio Morandi and the “Return to Order”: From Pittura Metafisica to Regionalism, 1917- 1928 Anales del Instituto de Investigaciones Estéticas, vol. XXXV, núm. 102, 2013, pp. 93-124 Instituto de Investigaciones Estéticas Distrito Federal, México Available in: http://www.redalyc.org/articulo.oa?id=36928274005 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative MARIANA AGUIRRE laboratorio sensorial, guadalajara Giorgio Morandi and the “Return to Order”: From Pittura Metafisica to Regionalism, 1917-1928 lthough the art of the Bolognese painter Giorgio Morandi has been showcased in several recent museum exhibitions, impor- tant portions of his trajectory have yet to be analyzed in depth.1 The factA that Morandi’s work has failed to elicit more responses from art historians is the result of the marginalization of modern Italian art from the history of mod- ernism given its reliance on tradition and closeness to Fascism. More impor- tantly, the artist himself favored a formalist interpretation since the late 1930s, which has all but precluded historical approaches to his work except for a few notable exceptions.2 The critic Cesare Brandi, who inaugurated the formalist discourse on Morandi, wrote in 1939 that “nothing is less abstract, less uproot- ed from the world, less indifferent to pain, less deaf to joy than this painting, which apparently retreats to the margins of life and interests itself, withdrawn, in dusty kitchen cupboards.”3 In order to further remove Morandi from the 1.
    [Show full text]
  • Supplementary Information For
    1 2 Supplementary Information for 3 Dissecting landscape art history with information theory 4 Byunghwee Lee, Min Kyung Seo, Daniel Kim, In-seob Shin, Maximilian Schich, Hawoong Jeong, Seung Kee Han 5 Hawoong Jeong 6 E-mail:[email protected] 7 Seung Kee Han 8 E-mail:[email protected] 9 This PDF file includes: 10 Supplementary text 11 Figs. S1 to S20 12 Tables S1 to S2 13 References for SI reference citations www.pnas.org/cgi/doi/10.1073/pnas.2011927117 Byunghwee Lee, Min Kyung Seo, Daniel Kim, In-seob Shin, Maximilian Schich, Hawoong Jeong, Seung Kee Han 1 of 28 14 Supporting Information Text 15 I. Datasets 16 A. Data curation. Digital scans of landscape paintings were collected from the two major online sources: Wiki Art (WA) (1) 17 and the Web Gallery of Art (WGA) (2). For our purpose, we collected 12,431 landscape paintings by 1,071 artists assigned to 18 61 nationalities from WA, and 3,610 landscape paintings by 816 artists assigned with 20 nationalities from WGA. While the 19 overall number of paintings from WGA is relatively smaller than from WA, the WGA dataset has a larger volume of paintings 20 produced before 1800 CE. Therefore, we utilize both datasets in a complementary way. 21 As same paintings can be included in both datasets, we carefully constructed a unified dataset by filtering out the duplicate 22 paintings from both datasets by using meta-information of paintings (title, painter, completion date, etc.) to construct a unified 23 set of painting images. The filtering process is as follows.
    [Show full text]
  • 6. Poesia Del Futurismo: Marinetti, Folgore E Soffici Il Paroliberismo E Le Tavole Parolibere Futuriste
    6. Poesia del futurismo: Marinetti, Folgore e Soffici Il paroliberismo e le tavole parolibere futuriste PAROLIBERISMO = parole in libertà → è uno stile letterario introdotto dal Futurismo in cui: le parole che compongono il testo non hanno alcun legame grammaticale-sintattico fra loro le parole non sono organizzate in frasi e periodi viene abolita la punteggiatura i principi e le regole di questa tecnica letteraria furono individuati e scritti da Marinetti nel "Manifesto tecnico della letteratura futurista" dell' 11 maggio 1912 TAVOLE PAROLIBERE: La tavola parolibera è un tipo di poesia che visualizza il messaggio o il contrario del messaggio anche con la disposizione particolare grafico-tipografica di lettere, parole, brani di testi, versi o strofe. (tradizione lontana di Apollinere) FILIPPO TOMMASO MARINETTI (1876-1944) Fu un poeta, scrittore e drammaturgo italiano. È conosciuto soprattutto come il fondatore del movimento futurista, la prima avanguardia storica italiana del Novecento. Nacque in Egitto, trascorse i primi anni di vita ad Alessandria d'Egitto. L'amore per la letteratura emergeva dagli anni del collegio: a 17 anni fondò la sua prima rivista scolastica, Papyrus La morte di suo fratello minore era il primo vero trauma della vita di Marinetti, che dopo aver conseguito la laurea a Genova, decise di abbandonare la giurisprudenza e scelse la letteraratura. Dopo alcuni anni aveva un altro grave lutto familiare: morì la madre, che da sempre lo incoraggiava a praticare l'arte della poesia. Le sue prime poesie in lingua francese, pubblicate su riviste poetiche milanesi e parigine, influenzavano queste poesie Mallarmé e Gabriele D’Annunzio e componeva soprattutto versi liberi di tipo simbolista Tra il 1905 e il 1909 diresse la rivista milanese Poesia.
    [Show full text]
  • Cubism (Surface—Plane), 1912
    perished because of a negative and exclusive solution to the question of shading. Our age is obliged by force of circumstances to finish what our predeces- sors passed on to us. The path of search in this direction is broad, its bends are diverse, its forks numerous; the solutions will be many. Among them, those connected in our art with the name of A. Exter will remain as an ex- ample of courage, freedom, and subtlety. The upsurge of strength and courage in the plastic arts wanes neither beyond the Rhine nor at home, and it is expressed in the high level of pure painting unprecedented in our coun- try, a phenomenon that is characteristic of its contemporary state. DAVID BURLIUK Cubism (Surface—Plane), 1912 For biography see p. 8. The text of this piece, "Kubizm," is from an anthology of poems, prose pieces, and articles, Poshchechina obshchestvennomu vkusu [A Slap in the Face of Public Taste] (Moscow, December 1912 [according to bibl. R350, p. 17, although January 1913, according to KL], pp. 95-101 [bibl. R275]. The collection was prefaced by the famous declaration of the same name signed by David Burliuk, Velimir Khlebni- kov, Aleksei Kruchenykh, and Vladimir Mayakovsky and dated December 1912. The volume also contained a second essay by David Burliuk on texture [bibl. R269], verse by Khlebnikov and Benedikt Livshits, and four prose sketches by Vasilii Kan- dinsky [for further details see bibl. 133, pp. 45-50]. Both the essay on cubism and the one on texture were signed by N. Burliuk, although it is obvious that both were written by David and not by Nikolai (David's youngest brother and a poet of some merit).
    [Show full text]
  • Italian Futurism, 1909–1944: Reconstructing the Universe Published on Iitaly.Org (
    Italian Futurism, 1909–1944: Reconstructing the Universe Published on iItaly.org (http://www.iitaly.org) Italian Futurism, 1909–1944: Reconstructing the Universe Natasha Lardera (February 21, 2014) On view at the Solomon R. Guggenheim Museum, until September 1st, 2014, this thorough exploration of the Futurist movement, a major modernist expression that in many ways remains little known among American audiences, promises to show audiences a little known branch of Italian art. Giovanni Acquaviva, Guillaume Apollinaire, Fedele Azari, Francesco Balilla Pratella, Giacomo Balla, Barbara (Olga Biglieri), Benedetta (Benedetta Cappa Marinetti), Mario Bellusi, Ottavio Berard, Romeo Bevilacqua, Piero Boccardi, Umberto Boccioni, Enrico Bona, Aroldo Bonzagni, Anton Giulio Bragaglia, Arturo Bragaglia, Alessandro Bruschetti, Paolo Buzzi, Mauro Camuzzi, Francesco Cangiullo, Pasqualino Cangiullo, Mario Carli, Carlo Carra, Mario Castagneri, Giannina Censi, Cesare Cerati, Mario Chiattone, Gilbert Clavel, Bruno Corra (Bruno Ginanni Corradini), Tullio Crali, Tullio d’Albisola (Tullio Mazzotti), Ferruccio Demanins, Fortunato Depero, Nicolaj Diulgheroff, Gerardo Dottori, Fillia (Luigi Page 1 of 3 Italian Futurism, 1909–1944: Reconstructing the Universe Published on iItaly.org (http://www.iitaly.org) Colombo), Luciano Folgore (Omero Vecchi), Corrado Govoni, Virgilio Marchi, Filippo Tommaso Marinetti, Alberto Martini, Pino Masnata, Filippo Masoero, Angiolo Mazzoni, Torido Mazzotti, Alberto Montacchini, Nelson Morpurgo, Bruno Munari, N. Nicciani, Vinicio Paladini
    [Show full text]
  • Depero and Photo-Performance
    Este documento es un borrador de la versión publicada en: Fernández Castrillo, C. (2014). Depero and Photo-performance. En: Futurist Depero. 1913-1950. Manuel Fontán del Junco (ed.). Madrid: Fundación Juan March, 2014, pp. 287-291. © De los textos los autores DEPERO and Photo-performance. Carolina Fernández Castrillo The dichotomy between art and technology (episteme/techne or artes liberales/artes mechanicae) has determined the evolution of aesthetics and society, giving rise to numerous expressions of approbationand rejection over the course of history. In 1909 the Futurists emerged on the Europeanart scene to the cry of “The whip or dynamite!”1 proclaiming that it was no longer possible to escapefrom scientific discoveries and the influence of the new means of transport, production, and communication that were transforming the world into an ever faster and better connected place. There was an urgent need to establish a new aesthetic-communicative system capable of capturing the unprecedentedly vibrant and frenetic rhythm of society. The early Italian avant- garde artists thus distanced themselves from late 19th-century cultural trends by proposing a specific plan of action that could stir up the conscience of their contemporaries against passéism (passatismo, nostalgia for the past) and passivity. In his desire to provoke reaction, the Futurists’ leader Filippo Tommaso Marinetti decided to publish his inaugural manifesto in the French Le Figaro, the most popular newspaper of the day. Through this initial public act, Marinetti aimed to disseminate his thinking on a global scale beyond the frontiers of Italy, choosing the quintessentially modern city of Paris from which to do so.
    [Show full text]
  • Aeropittura (Aeropainting) Watercolour, with Touches of Silver Pen, with Framing Lines in Green Ink, on Paper Laid Down Onto a Black Card (The Cover of a Notebook?)
    Domenico (Mino) DELLE SITE (Lecce 1914 - Rome 1996) Aeropittura (Aeropainting) Watercolour, with touches of silver pen, with framing lines in green ink, on paper laid down onto a black card (the cover of a notebook?). Signed with monogram, inscribed and dated DSte FUTURISTA / 1932/ LF/ X in white gouache on the backing card, below the image. Titled AERO/ PITTURA on a separate sheet of paper cut out and pasted onto the lower right of the image. Further inscribed Delle Site Domenico / Alunno 4oCorso on the backing card. 93 x 103 mm. (3 5/8 x 4 1/8 in.) [image, at greatest dimensions]. 241 x 175 mm. (9 1/2 x 67/8 in.) [backing card] In September 1929 the Futurist theorist and founder Filippo Tomasso Marinetti published an article entitled ‘Perspectives of Flight and Aeropainting’ in the Gazzetta del Popolo in Turin, signed by Giacomo Balla, Fortunato Depero, Enrico Prampolini and several other Futurist painters. Republished in a revised and more complete version in 1931, the text served as a manifesto of the nascent branch of Futurism known as aeropittura, or Futurist aeropainting: ‘We Futurists declare that: 1. The changing perspectives of flight are an absolutely new reality that has nothing to do with the traditional reality of terrestrial perspectives. 2. The elements of this new reality have no fixed point and are built out of the same perennial mobility. 3. The painter cannot observe and paint unless he experiences the same speed as these elements. 4. Painting this new reality from the air imposes a profound contempt for detail and a need to summarize and transfigure everything…7.
    [Show full text]
  • Indice Generale Aggiornato Al 25.11.2020
    BIBLIOTECA BOCCIONI Indice generale 1 - L'opera completa di Boccioni, presentazione di Aldo Palazzeschi (apparati critici e filologici di Gianfranco Bruno), editore Rizzoli Editore Milano, 1969, formato 24x31, pag. 120. 2 - Boccioni - Catalogo completo, Giorgio Verzotti, editore Cantini Editore, 1989, formato 15,5x21, pag. 159. 3 - Umberto Boccioni, Disegni 1907-1915 (dalle civiche raccolte d'arte di Milano), editore Nuove Edizioni Gabriele Mazzotta srl, 1990, formato 24x22,5, pag. 96. 4 - Umberto Boccioni - Catalogo ragionato delle incisioni, degli ex libris, dei manifesti e delle illustrazioni, Paolo Bellini, editore Silvana Editoriale spa, 2004, formato 23x28, pag. 207. 5 - Boccioni - Catalogo generale, Maurizio Calvesi - Alberto Dambruoso, editore Umberto Allemandi Torino, 2016, formato 25x34,5, pag. 575. 6 - Boccioni - Incisioni e disegni (scelti e annotati da Maurizio Calvesi), editore La Nuova Italia Editrice, 1973, formato 12x20, pag. 92. 7 - Le origini romagnole di Boccioni e la scultura omaggio di Arnaldo Pomodoro, Guido Ballo, editore Nuove Edizioni Gabriele Mazzotta Milano, 1984, formato 20x20, pag. 120. 8 - Boccioni, Gabriella Di Milia, Art dossier, editore Giunti Editoriale Firenze, 1998, formato 20,5x28,5, pag. 50. 9 - Umberto Boccioni - Diari, a cura di Gabriella Di Milia, editore Abscondita Milano, 2003, formato 13x22, pag. 184. 10 - Umberto Boccioni - Disegni e Incisioni della Galleria Nazionale di Cosenza, a cura di Nella Mari, consulenza scientifica di Maurizio Calvesi, editore Silvana Editoriale Milano, 2003, formato 23x28, pag. 144. 11 - Boccioni - I classici dell'arte - Il Novecento, presentazione di Aldo Palazzeschi, editore Rizzoli Gruppo Skira, 2004, formato 17x21, pag. 191. 12 - Boccioni - Pittore scultore futurista, a cura di Laura Mattioli Rossi, editore Skira Editore Milano, 2006, formato 24x28, pag.
    [Show full text]
  • The T Ransrational Poetry of Russian Futurism Gerald J Ara,Tek
    The T ransrational Poetry of Russian Futurism E Gerald J ara,tek ' 1996 SAN DIEGO STATE UNIVERSilY PRESS Calexico Mexicali Tijuana San Diego Copyright © 1996 by San Diego State University Press First published in 1996 by San Diego State University Press, San Diego State University, 5500 Campanile Drive, San Diego, California 92182-8141 http:/fwww-rohan.sdsu.edu/ dept/ press/ All rights reserved. -', Except for brief passages quoted in a review, no part of thisb ook m b ay e reproduced in an form, by photostat, microfilm, xerography r y , o any other means, or incorporated into any information retrieval system, electronic or mechanical, withoutthe written permission of thecop yright owners. Set in Book Antiqua Design by Harry Polkinhorn, Bill Nericcio and Lorenzo Antonio Nericcio ISBN 1-879691-41-8 Thanks to Christine Taylor for editorial production assistance 9 8 7 6 5 4 3 2 1 Acknowledgements Research for this book was supported in large part by grants in 1983, 1986, and 1989 from the International Research & Ex­ changes Board (IREX), with funds provided by the National En­ dowment for the Humanities, the United States Information Agency, and the US Department of State, which administers the Russian, Eurasian, and East European Research Program (Title VIII). In addition, I would like to express my gratitude to the fol­ lowing institutions and their staffs for aid essential in complet­ ing this project: the Fulbright-Bayes Senior Scholar Research Program for further support for the trips in 1983 and 1989, the American Council of Learned Societies for further support for the trip in 1986, the Russian Academy of Sciences, and the Brit­ ish Library; iri Moscow: to the Russian State Library, the Rus­ sian State Archive of Literature and Art, the Gorky Institute of World Literature, the State Literary Museum, and the Mayakovsky Museum; in St.
    [Show full text]
  • Annual Report 1995
    19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p.
    [Show full text]