Italian Futurism

Páginas: 3 (528 palabras) Publicado: 16 de febrero de 2013
Italian Futurism

Introduction
In the early 1900s, a group of young and rebellious Italian writers and artists emerged determined to celebrate industrialization. They were frustrated by Italy’sdeclining status and believed that the “Machine Age” would result in an entirely new world order and even a renewed consciousness. Filippo Tommaso Marinetti, the ringleader of this group, called themovement Futurism. Its members sought to capture the idea of modernity, the sensations and aesthetics of speed, movement, and industrial development.

Marinetti launched Futurism in 1909 with thepublication of “Futurist manifesto” on the front page of the French newspaper Le Figaro. The manifesto set a fiery tone. In it Marinetti lashed out against cultural tradition (passatismo, in Italian) andcalled for the destruction of museums, libraries, and feminism. Futurism quickly grew into an international movement and its participants issued additional manifestos for nearly every type of art:painting, sculpture, architecture, music, photography, cinema, even clothing.

History and architects
Futurism was first announced on Feb. 20, 1909, when the Paris newspaper Le Figaro published amanifesto by the Italian poet and editor Filippo Tommaso Marinetti.

Marinetti’s manifesto inspired a group of young painters in Milan to apply Futurist ideas to the visual arts. Umberto Boccioni, CarloCarrà, Luigi Russolo, Giacomo Balla, and Gino Severini published several manifestos on painting in 1910. Like Marinetti, they glorified originality and expressed their disdain for inherited artistictraditions.

Futurist principles extended to architecture as well. Antonio Sant’Elia formulated a Futurist manifesto on architecture in 1914. His visionary drawings of highly mechanized cities andboldly modern skyscrapers prefigure some of the most imaginative 20th-century architectural planning.

Futurist architects were sometimes at odds with the Fascist state's tendency towards Roman...
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