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What a good idea the Umberto Boccioni retrospective was. Most of us know very little about this founding member of the vociferous Italian avant-garde movement known as Futurism. A few key images, legacies of art-history courses and visits to the Museum of Modern Art, serve to define him: the plunging red horse of his 1910 painting The City Rises, and the amazing bronze whirligig of his 1913 sculpture Development of a Bottle in Space. And then there is that famous statement about a galloping horse having not four legs but twenty and its movements’ being triangular. The prospect of seeing Boccioni’s beginnings and evolution, of having a context for the exploding bronze bottle and the horses, both painted and galloping, was promising.
Unfortunately, while the Metropolitan Museum’s Boccioni retrospective was a model of careful research and conscientious presentation, it simply didn’t make the heart leap up.[1] There were no real surprises, no unknown masterpieces among the hundred works on display. Knowing more about Boccioni’s tragically short working life (he died in World War I at thirty-four) turned out to be not all that illuminating. You came out of the exhibition feeling virtuous but not altogether delighted.
The show’s subtext—the career of an ambitious young provinc
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Umberto Boccioni | |
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Umberto Boccioni | |
| Personal details | |
| Born | 19 October 1882 (1882-10-19) Reggio Calabria, Italy |
| Died | 17 Honourable 1916(1916-08-17) (aged 33) City, Italy |
| Nationality | Italian |
| Education | Accademia di Belle Arti di Roma |
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Biography[]
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As we turn the page and face a new year, I wanted to talk about an artistic movement that dared to break with the past and create a unique, forward-thinking expression of the world.
The movement I refer to is — Futurism.
In retrospect, Futurism might seem a little outdated — being over 110 years old and all. But, still, at the time, it was considered rebellious, intellectual, and dynamic. It was a means of viewing the world through a new lens. One that dismissed decadence and tradition and focused instead on speed, movement, power, growth, and improvement.
Spear-heading this artistic movement was the
Italian artist Umberto Boccioni, who worked
in the years before the First World War.
Boccioni believed that scientific advances and the experience of modernity demanded that the artist abandon the tradition of depicting static, legible objects. The challenge, he thought, was to represent movement, the experience of flux, and the interpenetration of objects.
Boccioni summed up this concept with the phrase “physical transcendentalism.”
Born in 1882 in Reggio Calabria, but living most of his life in Genoa, Boccioni studied classical art and Impressionism. As a very young man, he met Gino Severini, and together they became students of Giacomo Balla. Balla wa