Futurism (part 2)

Futurism Manifesto

Futurism in painting and sculpture

The Futurism Manifesto provoked some artists in Milan. Those who accepted should have a forward-looking approach to art. Futuristic architecture and futuristic painting are considered a leap forward in the artistic approach in the age of modern art. Futuristic painting emphasized the representation of motion using new techniques.

Some of the following individuals published several manifestos in the field of painting in 1910:

  • Umberto Boccioni
  • Carlo Carrà
  • Luigi Russolo
  • Giacomo High
  • Gino Severini

However, they were still trying to become futuristic. But the group called on artists to play an emotional role in the dynamics of modern life.

They wanted to visualize the visual perception of movement, speed, and change. To achieve this goal, futurist painters used the Cubist method, using scattered and intersecting surfaces to represent multiple simultaneous perspectives of an object.

These Futurist artists sought to depict the motion of an object. Thus, their effects typically involve spatial rhythmic repetitions of an object’s lines during transmission. This technique of futurism is produced by placing images of an object several times.

An example is the 1912 painting Dynamism of a Dog on a Leash.

Futurism in Literature

The writers who created the futurism of Italian literature were not simply satisfied with the urban themes and modernism of futuristic painting. They were trying to make a statement that fit what they imagined.

They established new genres, the most important of which is the condition of freedom, which is also known as free-speech poetry. The futurism of poetry and literature was freed from the limitations of linear typography and conventional syntax and spelling.

Designed analogies, dipinti paroliberi (literary collections combining graphic elements with free-speech poetry), and sintesi (minimalist play) were other new genres of Futurism.

New forms of publication in Futurist literature included futurist evenings, mixed media events, the use of manifestos, poster poems, and spreadsheet magazines containing a combination of literature, paintings, and commentary.

By 1914, however, the artists’ departure from the movement’s announced program was far behind, and futurist poets – unlike Marinetti – remained largely traditional in their subject matter and terminology.

Marinetti had long been primarily known for his Mafarka le futuristic story about Africa. A story about rape, looting, and war in North Africa.

The title of the most important literary futurist manifesto of 1913 (“Syntax Destruction – Wireless Imagination – Words in Freedom”), expresses Marinette’s demands for a scattered language, devoid of adjectives and proverbs, with verbs in infinite and mathematical signs and pairing words It is used for the more economical and daring transfer of information.

Literary Futurism, for example, believed that sounds should be expressed in words. The “knock” sound is a clear example of this futuristic technique. “Knock” was, in a sense, what was heard. Many of these modern art techniques were later used in postmodern literature as well.

Another achievement of Futurism was the disruption of text order and the use of letter and sentence design using graphics.

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