“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

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Umberto Boccioni41

Italian painter and sculptor 1882–1916

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“I was walking along the Boulevard des Italiens [in February 1912, during a group exhibition of Futurist painters in Paris] when, as I passed in front of a newspaper stand, I had the pleasant surprise of seeing on the front page of the Journal the reproduction of my picture 'The Funeral of the Anarchist Galli.”

Carlo Carrà (1881–1966) Italian painter

Source: 1940's, La mia Vita (1945), Carlo Carrà; as quoted in Futurism, ed. Didier Ottinger (2008), p. 29 - In his quote Carrà is refering to his painting 'The Funeral of the Anarchist Galli', he painted ca 1910/11

“It was during this early period of experiment that I first went to Paris. The time was around 1910 when Cubism was in its beginnings. I admired Matisse, Van Dongen and the other Fauves, but I was immediately drawn to the Cubists, especially to Picasso and Léger. Of all the abstractionists (Kandinsky and the Futurists) I felt that only the Cubists had discovered the right path; and, for a time, I was much influenced by them.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Source: Quote of Mondrian about 1910; in 'Mondrian, Essays' ('Plastic art and pure plastic art', 1937 and his other essays, (1941-1943) by Piet Mondrian; Wittenborn-Schultz Inc., New York, 1945, p. 10; as cited in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé http://www.dbnl.org/tekst/jaff001stij01_01/jaff001stij01_01.pdf; J.M. Meulenhoff, Amsterdam 1956, p. 41

“.. that dizzy seething of forms and acoustic lights, rowdy and smelly [visible in the paintings at the Futurist exhibition, February 1912 in Paris].... to obtain this total painting which calls for the active cooperation of all the senses: painting of the plastic mood of the universal, you have to paint the way drunkards sing and vomit, sounds, noises and smells.”

Carlo Carrà (1881–1966) Italian painter

Quote in The painting of Sounds, Noises and Smells Carrà, in 'Lacerba' vol. 1. no. 17, 1,Florence, 1 September 1913, pp. 186-187
1910's

“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 (1882–1916) Italian painter and sculptor

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

“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 (1882–1916) Italian painter and sculptor

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

“.. the art of futurism…. achieved great momentum in the first quarter of the Twentieth Century and remains a basic stimulus in the following forms of new art: Suprematism, Simultaneism, Purism, Odorism, Pankinetism, Tactilism, Haptism, Expressionism and Légerísm [referring to Fernand Léger in the last… ism, mentioned]”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

1910 - 1920
Source: 'Cubofuturism', Malevich, in Essays on Art, op. cit., vol 2; as quoted in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 59

“Never had the critics been so violent as they were at that time. From which it became clear that these paintings - and I specify the names of the painters who were, alone, the reluctant causes of all this frenzy: Jean Metzinger, Le Fauconnier, Fernand Léger, Robert Delaunay and myself - appeared as a threat to an order that everyone thought had been established forever.”

Albert Gleizes (1881–1953) French painter

after 1920, The Epic, From immobile form to mobile form (1925)

“In the early days the Cubists' method of grasping an object was to go round and round it; the futurists declared that one had to get inside it. In my opinion the two views can be reconciled in a poetic cognition of the world. But to the very fact that they appealed to the creative depths in the painter by awakening in him hidden forces which were intuitive and vitalizing, the Futurist theories did more than the Cubist principles to open up unexplored and boundless horizons.”

Gino Severini (1883–1966) Italian painter

Source: The Life of a Painter - autobiography', 1946, Letters of the great artists', 1963, p. 248

“Surrealism, such as I conceive of it, asserts our complete nonconformism clearly enough so that there can be no question of translating it, at the trial of the real world, as evidence for the defense. It could, on the contrary, only serve to justify the complete state of distraction which we hope to achieve here below. Kant's absentmindedness regarding women, Pasteur's absentmindedness about 'grapes', Curies absentmindedness with respect to vehicles, are in this regard profoundly symptomatic. This world is only very relatively in tune with thought, and incidents of this kind are only the most obvious episodes of a war in which I am proud to be participating. 'Ce monde nest que très relativement à la mesure de la pensée et les incidents de ce genre ne sont que les épisodes jusquici les plus marquants dune guerre dindépendence à laquelle je me fais gloire de participer'. Surrealism is the 'invisible ray' which will one day enable us to win out over our opponents. 'You are no longer trembling, carcass.”

André Breton (1896–1966) French writer

This summer the roses are blue; the wood is of glass. The earth, draped in its verdant cloak, makes as little impression upon me as a ghost. It is living and ceasing to live which are imaginary solutions. Existence is elsewhere.
The last sentences of the Surrealist Manifesto, 1924
Le Manifeste du Surréalisme, Andre Breton (Manifesto of Surrealism; 1924)

“Lenin was a Great Russian peasant et rien de plus, mais r-r-rien de plus. Oh yes, he was a dialectician, the only true one among them. But most of all he was a Russian and that is to be a peasant.”

Whittaker Chambers (1901–1961) Defected Communist spy

Source: Notes from the Underground (1997), p. 274

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