“Before us, art relied on memory, an anxious re-evocation of an Object lost (happiness, love, a landscape), and hence was nostalgic, static, charged with suffering and distance. With Futurism, instead, art is turning into art-action, which is to say, into will, optimism, aggression, possession, penetration, delight, brutal reality within art (example: onomatopoiea; —example: noise-tuners = motors), geometrical splendor of forces, projections forward. Thus, art is becoming Presence, new Object, new reality created with the abstract elements of the universe. The hands of the passéist artist used to suffer for the sake of the lost Object; our hand will twitch for the new Object to be created. That is why the new Object (the plastic complex) has miraculously appeared in your hands.”

— Filippo Tommaso Marinetti

Quote in: Fortunato Depero & Giacomo Balla 'The Futurist Reconstruction of the Universe' in: Direzione del Movimento Futurista, March 11, 1915. Transl. Caroline Tisdall, 1973.
1910's

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "Before us, art relied on memory, an anxious re-evocation of an Object lost (happiness, love, a landscape), and hence wa…" by Filippo Tommaso Marinetti?

Filippo Tommaso Marinetti photo

Filippo Tommaso Marinetti27

Italian poet and editor, founder of the Futurist movement 1876–1944

Related quotes

“Art is not to be looked at. Art is looking at us. What is art to others is not necessarily art to me. Nor for the same reason and vice versa. What was art to me or was not some time ago might have lost that value or gained it in the meantime and maybe again though art is not an object but experience. To be able to perceive it we need to be receptive. Therefore art is there where art meets us now. The content of art is visual formulation of our relation to life. The measure of art, the ratio of effort to effect, the aim of art revelation and evocation of vision.”

Josef Albers (1888–1976) German-American artist and educator

Homage to the square' (1964), Oral history interview with Josef Albers' (1968)

“The art of seeing Nature, or in other words, the art of using Models, is in reality the great object, the point to which all our studies are directed.”

Joshua Reynolds (1723–1792) English painter, specialising in portraits

Discourse no. 12; vol. 2, p. 104.
Discourses on Art

“The object isn't to make art, it's to be in that wonderful state which makes art inevitable.”

Robert Henri (1865–1929) American painter

“Works of art, in my opinion, are the only objects in the material universe to possess internal order, and that is why, though I don't believe that only art matters, I do believe in Art for Art's sake.”

E.M. Forster (1879–1970) English novelist

“The subject matter of creation is chaos. The present feeling seems to be that the artist is concerned with form, color, and spatial arrangement. This objective approach to art reduces it to a kind of ornament. The whole attitude of abstract painting, for example, has been such that it has reduced painting to an ornamental art whereby the picture surface is broken up in geometrical fashion into a new kind of design-image. It is a decorative art built on a slogan of purism where the attempt is made for an unworldly statement…”

Barnett Newman (1905–1970) American artist

Source: 1940 - 1950, The Plasmic Image 1. 1943-1945, p. 139

“The dance of the future will have to become again a high religious art as it was with the Greeks. For art which is not religious is not art. It is mere merchandise.”

Isadora Duncan (1877–1927) American dancer and choreographer

Source: The Art of the Dance (1928), p. 62.

“Duchamp realized that there was something false in art, but his limitation was that, rather than demystifying, he amplified it. By taking a manufactured object and placing it out of context, he quite simply symbolized art. His actions tended to “represent” and not “present” the object. Duchamp, like all artists, could not “present” anything at all without “re-presenting” it. And if he symbolized art in this way, it was because as soon as he exhibited a bottle rack, a shovel, or a urinal, he was really stating that anything was art as soon as you pointed at it. By extension, and this is very important, that means that a cow in a field becomes art in a painting, a tree by Courbet becomes art, and a woman by Rubens becomes art; now this cow, this tree, and this woman exist in another way. Duchamp dismantled this process supposedly to take away its sanctity, but he went about it in such a way that by being against art, he was in art. Let’s clarify an important point right away: Duchamp is not anti-art. He belongs to art. The art of extolling the consumer society.”

Daniel Buren (1938) sculptor from France

Source: Art is no longer justifiable or setting the record straight, 2000, p. 66

“The one object of fifty years of abstract art is to present art-as-art and as nothing else, to make it into the one thing it is only, separating and defining it more and more, making it purer and emptier, more absolute and exclusive – non-objective, non-representational, non-figurative, non-imagist, non-expressionist, non-subjective. The only and one way to say what abstract art or art-as-art is, is to say what it is not.”

Ad Reinhardt (1913–1967) American painter

Source: 1956 - 1967, Art-as-Art Dogma' part II, (1964), p. 154

“Art is higher than reality and has no direct relation to reality. To approach the spiritual in art, one will make as little use as possible of reality, because reality is opposed to the spiritual. We find ourselves in the presence of an abstract art. Art should be above reality, otherwise it would have no value for man.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote of Mondrian, 1914 from Wikipedia; as cited by Michel Seuphor, in 'Piet Mondrian: Life and Work;Abrams, New York, 1956, p. 117
1910's

“The object of art — like every other product — creates a public which is sensitive to art and enjoys beauty.”

Karl Marx (1818–1883) German philosopher, economist, sociologist, journalist and revolutionary socialist

Grundrisse (1857-1858)
Source: Introduction, p. 12.

Related topics