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Filippo Tommaso Emilio Marinetti was an Italian poet, editor, art theorist, and founder of the Futurist movement. He was associated with the utopian and Symbolist artistic and literary community Abbaye de Créteil between 1907 and 1908. Marinetti is best known as the author of the Manifesto of Futurism, which was written and published in 1909, and as a co-author of the Fascist Manifesto, in 1919.
Vorticism was a London-based modernist art movement formed in 1914 by the writer and artist Wyndham Lewis. The movement was partially inspired by Cubism and was introduced to the public by means of the publication of the Vorticist manifesto in Blast magazine. Familiar forms of representational art were rejected in favour of a geometric style that tended towards a hard-edged abstraction. Lewis proved unable to harness the talents of his disparate group of avant-garde artists; however, for a brief period Vorticism proved to be an exciting intervention and an artistic riposte to Marinetti's Futurism and the Post-Impressionism of Roger Fry's Omega Workshops.
Futurism was an artistic and social movement that originated in Italy, and to a lesser extent in other countries, in the early 20th century. It emphasized dynamism, speed, technology, youth, violence, and objects such as the car, the airplane, and the industrial city. Its key figures included Italian artists Filippo Tommaso Marinetti, Umberto Boccioni, Carlo Carrà, Fortunato Depero, Gino Severini, Giacomo Balla, and Luigi Russolo. Italian Futurism glorified modernity and, according to its doctrine, "aimed to liberate Italy from the weight of its past." Important Futurist works included Marinetti's 1909 Manifesto of Futurism, Boccioni's 1913 sculpture Unique Forms of Continuity in Space, Balla's 1913–1914 painting Abstract Speed + Sound, and Russolo's The Art of Noises (1913).
Umberto Boccioni was an influential Italian painter and sculptor. He helped shape the revolutionary aesthetic of the Futurism movement as one of its principal figures. Despite his short life, his approach to the dynamism of form and the deconstruction of solid mass guided artists long after his death. His works are held by many public art museums, and in 1988 the Metropolitan Museum of Art in New York City organized a major retrospective of 100 pieces.
The Manifesto of Futurism is a manifesto written by the Italian poet Filippo Tommaso Marinetti, published in 1909. In it, Marinetti expresses an artistic philosophy called Futurism, which rejected the past and celebrated speed, machinery, violence, youth, and industry. The manifesto also advocated for the modernization and cultural rejuvenation of Italy.
Blast was the short-lived literary magazine of the Vorticist movement in Britain. Two editions were published: the first on 2 July 1914 and featured a bright pink cover, referred to by Ezra Pound as the "great MAGENTA cover'd opusculus"; and the second a year later on 15 July 1915. Both editions were written primarily by Wyndham Lewis. The magazine is emblematic of the modern art movement in England, and recognised as a seminal text of pre-war 20th-century modernism. The magazine originally cost 2/6.
Experimental film or avant-garde cinema is a mode of filmmaking that rigorously re-evaluates cinematic conventions and explores non-narrative forms or alternatives to traditional narratives or methods of working. Many experimental films, particularly early ones, relate to arts in other disciplines: painting, dance, literature and poetry, or arise from research and development of new technical resources.
Italian futurist cinema was the oldest movement of European avant-garde cinema. Italian futurism, an artistic and social movement, impacted the Italian film industry from 1916 to 1919. It influenced Russian Futurist cinema and German Expressionist cinema. Its cultural importance was considerable and influenced all subsequent avant-gardes, as well as some authors of narrative cinema; its echo expands to the dreamlike visions of some films by Alfred Hitchcock.
Zang Tumb Tumb is a sound poem and concrete poem written by Filippo Tommaso Marinetti, an Italian futurist. It appeared in excerpts in journals between 1912 and 1914, when it was published as an artist's book in Milan. It is an account of the Battle of Adrianople, which he witnessed as a reporter for L'Intransigeant. The poem uses Parole in libertà and other poetic impressions of the events of the battle, including the sounds of gunfire and explosions. The work is now seen as a seminal work of modernist art, and an enormous influence on the emerging culture of European avant-garde print.
"[The] masterpiece of Words-in-freedom and of Marinetti’s literary career was the novel Zang Tumb Tuuum... the story of the siege by the Bulgarians of Turkish Adrianople in the Balkan War, which Marinetti had witnessed as a war reporter. The dynamic rhythms and onomatopoetic possibilities that the new form offered were made even more effective through the revolutionary use of different typefaces, forms and graphic arrangements and sizes that became a distinctive part of Futurism. In Zang Tumb Tuuum; they are used to express an extraordinary range of different moods and speeds, quite apart from the noise and chaos of battle.... Audiences in London, Berlin and Rome alike were bowled over by the tongue-twisting vitality with which Marinetti declaimed Zang Tumb Tuuum. As an extended sound poem it stands as one of the monuments of experimental literature, its telegraphic barrage of nouns, colours, exclamations and directions pouring out in the screeching of trains, the rat-a-tat-tat of gunfire, and the clatter of telegraphic messages." — Caroline Tisdall and Angelo Bozzola
Cubo-Futurism or Kubo-Futurizm was an art movement, developed within Russian Futurism, that arose in early 20th century Russian Empire, defined by its amalgamation of the artistic elements found in Italian Futurism and French Analytical Cubism. Cubo-Futurism was the main school of painting and sculpture practiced by the Russian Futurists. In 1913, the term "Cubo-Futurism" first came to describe works from members of the poetry group "Hylaeans", as they moved away from poetic Symbolism towards Futurism and zaum, the experimental "visual and sound poetry of Kruchenykh and Khlebninkov". Later in the same year the concept and style of "Cubo-Futurism" became synonymous with the works of artists within Ukrainian and Russian post-revolutionary avant-garde circles as they interrogated non-representational art through the fragmentation and displacement of traditional forms, lines, viewpoints, colours, and textures within their pieces. The impact of Cubo-Futurism was then felt within performance art societies, with Cubo-Futurist painters and poets collaborating on theatre, cinema, and ballet pieces that aimed to break theatre conventions through the use of nonsensical zaum poetry, emphasis on improvisation, and the encouragement of audience participation.
Neo-futurism is a late-20th to early-21st-century movement in the arts, design, and architecture.
Futurist meals comprised a cuisine and style of dining advocated by some members of the Futurist movement, particularly in Italy. These meals were first proposed in Filippo Tommaso Marinetti and Luigi Colombo (Fillìa)'s Manifesto of Futurist Cooking, published in Turin's Gazzetta del Popolo on December 28, 1930. In 1932, Marinetti and Fillìa expanded upon these concepts in The Futurist Cookbook.
Franco Casavola was a Futurist composer and theorist. He is noted as one of the authors of the Le Sintesi Visive della Musica, a manifesto that proposed the intrinsic visual counterparts of music.
Russian Futurism is the broad term for a movement of Russian poets and artists who adopted the principles of Filippo Marinetti's "Manifesto of Futurism", which espoused the rejection of the past, and a celebration of speed, machinery, violence, youth, industry, destruction of academies, museums, and urbanism; it also advocated for modernization and cultural rejuvenation.
Francesco Balilla Pratella was an Italian composer, musicologist and essayist. One of the leading advocates of Futurism in Italian music, much of Pratella's own music betrays little obvious connection to the views espoused in the manifestos he authored.
Futurism was an early 20th-century art movement which encompassed painting, sculpture, poetry, theatre, music, architecture, cinema and gastronomy. Filippo Tommaso Marinetti initiated the movement with his Manifesto of Futurism, published in February 1909. Futurist music rejected tradition and introduced experimental sounds inspired by machinery, and influenced several 20th-century composers. According to Rodney Payton, "early in the movement, the term ‘Futurism’ was misused to loosely define any sort of avant-garde effort; in English, the term was used to label a composer whose music was considered ‘difficult.’"
Gerardo Dottori was an Italian Futurist painter. He signed the Futurist Manifesto of Aeropainting in 1929. He was associated with the city of Perugia most of his life, living in Milan for six months as a student and in Rome from 1926-39. Dottori's' principal output was the representation of landscapes and visions of Umbria, mostly viewed from a great height. Among the most famous of these are Umbrian Spring and Fire in the City, both from the early 1920s; this last one is now housed in the Museo civico di Palazzo della Penna in Perugia, with many of Dottori's other works. His work was part of the art competitions at the 1932 Summer Olympics and the 1936 Summer Olympics.
Fillìa was the name adopted by Luigi Colombo, an Italian artist associated with the second generation of Futurism. Aside from painting, his works included interior design, architecture, furniture and decorative objects.
Tango With Cows: Ferro-Concrete Poems is an artists' book by the Russian Futurist poet Vasily Kamensky, with additional illustrations by the brothers David and Vladimir Burliuk. Printed in Moscow in 1914 in an edition of 300, the work has become famous primarily for being made entirely of commercially produced wallpaper, with a series of concrete poems - visual poems that employ unusual typographic layouts for expressive effect - printed onto the recto of each page.
Prometeo was a monthly avant-garde magazine which existed between 1908 and 1912 in Madrid, Spain. The magazine was established by the avant-garde writer Javier Gómez de la Serna. Its subtitle was revista social y literaria.
References
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