Umberto Boccioni: Paint

“With this new tendency [of Orphism] the Cubists dubbed Impressionism of forms according to Appolinaire, is entering a final and glorious phase:.. Orphism, pure painting, simultaneity. And there you have it, as many obvious plagiarisms of what has formed, from its earliest appearances, the essence of Futurist painting and sculpture…. But we insist on sorting things out. Orphism [initiated by former Cubist artist Robert Delaunay as an colorful alternative for strict Cubism ], let us say it right away, is just an elegant masquerade of the basic principles of Futurist painting. This new trend simply illustrates the profit that our French colleagues managed to driver from our first Futurist exhibition in Paris.”

Umberto Boccioni

Boccioni's critical art quote to Orphism and simultaneity pictures Orphism, as alternative concept for Cubism as a soft version of Futurist painting; in 'Les futurists plagues en France', Boccioni, in 'Lacerba', Florence 1, no. 7, 1 April 1913
1913

Color , Appearance , Painting

“.. Is it indisputable that several aesthetic declarations of our French comrades (the Cubists) display a sort of masked academicism. It is not, indeed, a return to the Academy to declare that the subject, in painting, has a perfectly insignificant value?... To paint from the posing model as an absurdity, and an act of mental cowardice, even if the model be translated upon the picture in linear, spherical and cubic forms..”

Umberto Boccioni

Source: 1912, Les exposants au public', 1912, pp. 2, 3.

Painting

“Your eyes, accustomed to semi-darkness, will soon open to more radiant visions of light. The shadows which we shall paint shall be more luminous than the high-lights of our predecessors, and our pictures, next to those of the museums, will shine like blinding daylight, compared with deepest night. We conclude that painting cannot exist today without divisionism... w:Divisionism - [ Paul Signac initiated divisionism slightly earlier, together with Seurat ] - for the modern painter, must be an innate complementariness which we declare to be essential and necessary.”

Umberto Boccioni

As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 92.
1910, Manifesto of Futurist Painters,' April 1910

Light , Painting , Night

“Not only have we radically abandoned the motive fully developed according to its determined and, therefore, artificial equilibrium, but we suddenly and purposely intersect each motif with one or more other motifs of which we never give the full development but merely the initial, central, of final notes... We thus arrived at what we call the painting of states of mind.”

Umberto Boccioni

Source: 1912, Les exposants au public', 1912, p. 8.

Motivation , Painting

“From our very first conversation in the Closerie des Lilas the day after the opening of the first exhibition of Futurist painting [in Paris, February 1912] I noticed that Fernand Léger was one of the most gifted and promising Cubists... Léger's article ('Les origins de la peinture et sa valeur representative', Mai 1913) is a true act of Futurist faith which give us great satisfaction - all the more so since the author is kind enough to mention us.”

Umberto Boccioni

Quote from 'Il dinamismo futurista et la pittura francese', Boccioni, in 'Lacerba', August 1913; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 118
1913

Faith , Painting

“Balla [his former art teacher in Italy] flabbergasted us because, not content with being involved in a Futurist campaign, as you can well imagine him doing, he launched himself into a complete transformation. He rejected all his works and all his working methods. He started work on four pictures of movement (one painting was his 'Girl running on a balcony'), which were still realist but incredible ahead of their time.... He confided this to w:Aldo Pallazzeschi: 'They (Balla's former - so much younger pupils Boccioni and Severini] did not want anything to do with me in Paris and they were right: they have gone much further than I, but I will work and I too will progress.”

Umberto Boccioni

In a letter to Gino Severini, Jan. 1913; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008
Boccioni is referring in this quote to their common former teacher Balla who lived and worked that time in Paris
1913

Art , Confidence , Imagination , Girl

“The first painting to appear with an affirmation of simultaneity was mine and had the following title: 'Simultaneous visions', [Boccioni painted in 1911]. It was exhibited in the galerie Bernheim in Paris, and in the same exhibition my Futurist painter friends also appeared with similar experiments in simultaneity.”

Umberto Boccioni

Boccioni's quote on early realized simultaneity in his art; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 458.
1914 - 1916, Pittura e scultura futuriste' Milan, 1914

Appearance , Painting

“If we paint the phases of a riot, the crowd bustling with uplifted fists and the noisy onslaughts of cavalry are translated upon the canvas in sheaves of lines corresponding with all the conflicting forces, following the general laws of violence of the picture... These force-lines must encircle and involve the spectator so that he will in a manner be forced to struggle himself with the persons in the picture.”

Umberto Boccioni

Source: 1912, Les exposants au public', 1912, p. 8.

Law , Painting , Personality

“The time has passed for our sensations in painting to be whispered. We wish them in the future to sing and re-echo upon our canvasses in deafening and triumphant flourishes.”

Umberto Boccioni

As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 132.
1910, Manifesto of Futurist Painters,' April 1910

Singing , Time , Future , Painting

“A time will come when the picture will no longer be enough. Its immobility will become an archaism with the vertiginous movement of human life. The eye of man will perceive colours as feelings within itself. Multiplied colours will not need form to be understood and paintings will be swirling musical compositions of great coloured gases, which, on the scene of a free horizon, will move and electrify the complex soul of a crowd that we cannot yet conceive of.”

Umberto Boccioni

Quote in his lecture at the Associazione Artistica Internationale, Rome May 1911, Boccioni's lecture 'La Pittura Futurista', 1911; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 55.
1911

Life , Music , Feeling , Soul

“[the Cubist painters who].. continued to paint objects motionless, frozen, and all the static aspects of Nature; they worship the traditionalism of w:Poussin, of w:Ingres, of Corot, ageing and petrifying their art with an obstinate attachment to the past, which to our eyes remains totally incomprehensible.”

Umberto Boccioni

Source: 1912, Les exposants au public', 1912, pp. 2, 3.

Age , Art , Nature , Past

“What was the truth for the painters of yesterday is but a falsehood today. We declare, for instance, that a portrait must not like the sitter... To paint a human figure, you must not paint it; you must render its surrounding [aura-like] atmosphere. Space no longer exists... Who can still believe in the opacity of bodies, since our sharpened and multiplied sensibilities has already penetrated the obscure manifestations of mediums? Why should we forget in our creations the doubled power of our sight, capable of giving analogous to those of X-rays?”

Umberto Boccioni

As quoted in: John F. Moffitt (2003) Alchemist of the Avant-Garde: The Case of Marcel Duchamp, p. 87.
1910, Manifesto of Futurist Painters,' April 1910

Truth , Painting , Forgetting

“A profile is never motionless before our eyes, but it constantly appears and disappears. On account of the persistency of an image upon the retina, moving objects constantly multiply themselves; their form changes like rapid vibrations... To paint a human figure you must not paint it; you must render the whole of its surrounding atmosphere.”

Umberto Boccioni

As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 172.
1910, Manifesto of Futurist Painters,' April 1910

Appearance , Change , Painting

“Let us explain again by examples. In painting a person on a balcony, seen from inside the room do not limit the scene to what the square of the window renders visible; we try to render the sum total of visual sensations which the person on the balcony has experienced; the sun-baked throng in the street, the double row of houses which stretch to right and left, the beflowered balconies etc. This implies the simultaneity of the ambient, and, therefore, the dislocation and the dislocation and dismemberment of objects, the scattering and fusion of details, freed from accepted logic and independent from one another. In order to make the spectator live in the center of the picture, as we express it in our manifesto the picture must be the synthesis of what one remembers and what one sees. You must render the invisible which stirs lives beyond intervening obstacles, what we have on the right, or the left, or behind us, and not merely the small square of life artificially compressed, as it were, by the wings of a stage set. We have declared in our manifesto that what must be rendered is the dynamic sensation, that is to say, the particular rhythm of each object, its inclination, its movement, or more exactly, its interior force.”

Umberto Boccioni

Boccioni is referring in this quote to the 'Manifesto of Futurist Painters' of 1910, and its core Futurist concept of dynamic sensation; p. 47.
1912, Les exposants au public', 1912

Life , Sun , Painting , Housing