Umberto Boccioni cytaty

Umberto Boccioni – włoski malarz i rzeźbiarz; jeden z twórców futuryzmu, współautor Manifestu futuryzmu . Wikipedia  

✵ 19. Październik 1882 – 17. Sierpień 1916
Umberto Boccioni Fotografia
Umberto Boccioni: 43   Cytaty 0   Polubień

Umberto Boccioni cytaty

Umberto Boccioni: Cytaty po angielsku

“.. since our past is the greatest in the world and thus all the more dangerous for our life!... We must smash, demolish and destroy our traditional harmony, which makes us fall into a 'gracefullness' created by timid and sentimental cubs”

cubs refers sneering to the Cubists
as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008.
1912, Boccioni's 'Sculptural Manifesto', 1912,

“Our bodies penetrate the sofas upon which we sit and the sofas penetrate our bodies. The motorbus rushes into the houses which it passes, and in their turn the houses throw themselves upon the bus and are blended with it.”

As quoted in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 64.
1910, Manifesto of Futurist Painters,' April 1910

“.. the characteristic motion peculiar to the object (absolute motion), with the transformations the object undergoes in its shifting in relation to the environment, mobile or immobile (relative motion; both motions should be conceived in art)”

Boccioni's quote on motion; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 328.
1914 - 1916, Pittura e scultura futuriste' Milan, 1914

“To the Young Artists of Italy!
The cry of rebellion that we launch, linking our ideals with those of the Futurist poets, does not originate in an aesthetic clique. It expresses the violent desire that stirs in the veins of every creative artist today.”

Original text:
Agli artisti giovani d'Italia!
Il grido di ribellione che noi lanciamo, associando i nostri ideali a quelli dei poeti futuristi, non parte già da una chiesuola estetica, ma esprime il violento desiderio che ribolle oggi nelle vene di ogni artista creatore.
Źródło: 1910, Manifesto of Futurist Painters', Feb. 1910, p. 24: Lead paragraph

“.. if the objects will be mathematical values, the ambient in which they live will be a particular rhythm in the emotion which surrounds them. The graphic translation of this rhythm will be a state of form, a state of color, each of which will give back to the spectator the 'state of mind' which produced it..”

in a letter of 12 Feb. 1912 from Paris, to his friend Nino Barbantini (director of the Ca' Pesaro in Venice); as cited in: Shannon N. Pritchard, Gino Severini and the symbolist aesthetics of his futurist dance imagery, 1910-1915 https://getd.libs.uga.edu/pdfs/pritchard_shannon_n_200305_ma.pdf Diss. uga, 2003, p. 67
1912

“No one can any longer believe that an object ends where another begins.”

Quote from Boccioni's text 'Dynamism of a Speeding Horse & Houses', 1914/15
Boccioni is here referring to the starting photography of 'moving horses' c. 1914
1914 - 1916

“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.”

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 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.”

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

“The street enters the house.”

the title of one of Boccioni's most Futurist paintings: street enters the house' https://upload.wikimedia.org/wikipedia/commons/7/74/Boccioni_The_Street_Enters_The_House.jpg'The; Boccioni painted it in 1911.
1911

“We wanted a complementarity of form and colour. So we made a synthesis of analyses of colour (the divisionism of Seurat, Signac and Cross) and analyses of form”

of Picasso and Georges Braque
In 'Dynanisme plastique' 1914, Boccioni; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 134
1914 - 1916

“.. the number of the engine [of the train], its profile shown in the upper part of the picture, its wind-cutting fore-part in the center, symbolical of parting, indicates the features of the scene that remain indelibly impressed upon the mind”

of the viewer
Quote from Inventing Futurism: The Art and Politics of Artificial Optimism, by Christine Poggi, Princeton University Press, 2009, p. 21
a note on his tryptich painting, he made late in 1911, containing the canvasses 'States of Mind II', 'The farewells', 'Those Who go Those who Stay'.
1911