Details

Subject(s)

• Futurism (Art)—Italy [Browse]
• Painting, Italian—20th century [Browse]
• Art, Italian—20th century [Browse]

Summary note

MYou scream with fear and horror. These pictures are the innermost, the most shocking, the most grandiose, the most incomprehensible, made since time immemorial. "The artist Hugo Ball (1886-1927) was truly overwhelmed in 1913 after his visit to the Kunstsalon Emil Richter in Dresden in view of the paintings of the Futurists exhibited there, Elsewhere, the artists Umberto Boccioni, Carlo Carrà, Giacomo Balla, Luigi Russolo and Gino Severini also caused some violent reactions. The Italian avant-garde movement was founded in 1909 with the publication of the Manifesto Le Futurisme by the poet Filippo Tommaso Marinetti. In the statement made in it "Beauty exists only in the fight. A work without an aggressive character can not be a masterpiece", violence is proclaimed as the ideological basis of the movement. If the holistic renewal of Italian art and culture was the goal of the Futurists, they shared the conviction that this could only be based on the (idealistic) destruction of traditional cultural and social values. The present research explores the origin of the theme of violence in the futuristic manifestos of the late 19th century mentality and analyzes the way futurist artists transferred the theme of violence to their pictorial works. Reactions by observers such as Hugo Ball are used to investigate to what extent art has been used in futurism as a means of communication of social demands and aesthetic content of futurist ideology.

Bibliographic references

Includes bibliographical references.

Language note

Text in German

ISBN

• 9783863952426
• 3863952421

OCLC

965456901

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