Why can’t I stop painting my mother?
From Pointillist to Facist
Boccioni was trained from 1898 to 1902 in the studio of the painter Giacomo Balla, where he learned to paint in the manner of the Pointillists. In 1907 he settled in Milan and gradually came under the influence of the poet Filippo Marinetti, who launched the literary movement Futurism, which glorified the dynamism of modern technology. Boccioni adapted Marinetti’s ideas to the visual arts and became the leading theoretician of Futurist art. In 1910 he and other painters drew up and published the “Technical Manifesto of the Futurist Painters,” promoting the representation of the symbols of modern technology—violence, power, and speed.
Boccioni’s first major Futurist painting, Riot in the Gallery (1909), remained close to Pointillism and showed an affiliation with Futurism mainly in its violent subject matter and dynamic composition. The City Rises (1910–11), however, is an exemplary Futurist painting in its representation of dynamism, motion, and speed. The swirling human figures in these crowd scenes are repetitively fragmented according to the Futurist style, but the rhythmic, muscular energy they generate is unrelated to the Futurist cult of the machine.
Exploring Cubism in three dimentions
Boccioni was probably influenced by Cubism in 1911–12, and about this time he also became interested in sculpture. In 1912 he published the “Manifesto of Futurist Sculpture,” several of whose suggestions anticipated developments in modern sculpture. Boccioni advocated the use in sculpture of non-traditional materials such as glass, wood, cement, cloth, and electric lights, and he called for the combination of a variety of materials in one piece of sculpture. He also envisioned a new type of sculpture that would mold and enclose the space within itself. In practice, however, Boccioni’s sculpture was much more traditional than his theories. Only Development of a Bottle in Space (1912) successfully creates a sculptural environment. His most famous work, Unique Forms of Continuity in Space (1913), is one of the masterpieces of early modern sculpture.
Boccioni enlisted in the army during World War I and was killed by a fall from a horse in 1916, his death marked the virtual end of the movement.
Writings by Umberto Boccioni
Manifesto of the Futurist Painters1910
We will declare war on all artists and institutions which insist a façade of false modernity...they are ensnared by tradition, academicism and nauseating cerebral laziness.
Technical Manifesto of Futurist Painting1910
The motor bus rushes into the houses, and the houses throw themselves on the motor bus. The construction of pictures has hitherto been foolishly traditional.
It is the creation of a new form which expresses the relativity between weight and expansion, between rotation and revolution; here, in fact, we have life itself caught in a form which life has created in its infinite succession of events.
Technical Manifesto of Futurist Sculpture1912
How can generations of sculptors can continue to construct dummies without asking why the exhibition halls of sculpture have become reservoirs of boredom and nausea?