Painters From Italy

"The intellectual abstraction of the second period of Cubism was of great importance, however. By its aspirations to the eternal and its 'concept of proportion inspired by the Classics' it revived the sense of craftsmanship concept in many painters. And this perfectly coincided with another of my ambitions – which was to make, with paint, an object having the same perfection of craftsmanship that a cabinet-maker would put into a piece of furniture."

"..[a] generous display of scantily clad beauties and a carnavalesque inventiveness.. ..[the] beautifully masked and under-dressed women, with showers of confetti, multicolored streamers. The atmosphere was one of frenzy.."

"Before my encounter with Thomist philosophy through Maritain, I had almost reached the same conclusions through the logical development of my work, intuition and thought, but what a great sense of joy I felt upon discovering, in Maritain, the confirmation of certain thought patterns, certain ways of clarifying these to myself and to others."

"It should also be born in mind that the research on 'movement' and the dynamic outlook on the world, which were the basis of Futurist theory, in no way required one to paint nothing but speeding cars or ballerinas in action; for a person who is seated, or an inanimate object, though apparently static, could be considered dynamically and suggest dynamic forms. I may mention as an example [his paintings] the 'Portrait of Madame S.' (1912) and the 'Seated Woman' (1914)."

"..the most important work ['Pan Pan'] yet painted by a futurist. Movement is well rendered in this canvas, and since no optical fusion of colors occurs, everything is in motion, as the artist wished."

"..it was Seurat who first and most successfully established a balance between subject, composition and technique .. ..the modern world that Seurat wished to paint.. .I understood his importance as soon as I arrived in Paris [1906].. .I chose Seurat as my master for once and for all."

"Philosophers and aestheticians may offer elegant and profound definitions of art and beauty, but for the painter they are all summed up in this phrase: To create a harmony"

"[Severini characterized his approach to the importance of Divisionism for Futurism as] ..a consequence of Neo-Impressionism (Seurat, Signac) and Van Gogh, Toulouse Lautrec, Degas.. [compared to that of his Milanese colleagues who works were] influenced by Jugendstil [and] a continuation of the Lombardian tradition of Segantini, Previati.."

"I was interested in achieving a creative freedom, a style that I could express with Seurat's.. ..color technique [color-divisionism], but shaped to my own needs. Proof that I found it is in my paintings of that period, among which is the famous 'Pan-Pan a Monico' [Severini painted in 1912]. My preference for Neo-Impressionism dates from those works. At times I tried to suppress it, but it always worked its way back to the surface."

"Futurism and Cubism are comparable in importance tot the invention of perspective, for which they substituted a new concept op space. All subsequent movements were latent in them or brought about by them.. ..the two movements cannot be regarded as in opposition to each other, even though they started from opposite points; I maintain (an idea approved by Apollinaire and later by Matisse) that they are two extremes of the same sign, tending to coincide at certain points which only the poetic instinct of the painter can discover: poetry being the content and raison d'être of art."

"In 1913 Severini began work on a series of images exploring popular dances such as the 'Bear Dance' and the Argentine Tango. In contrast to his earlier paintings and the abstracted analogies that follow, where the representation of the artist's state of mind is a priority, these works emphasized the evocative power of strong color and simplified form. American 'animal' dances and the Latin based tango were introduced to Paris by 1911 through, among others, the music of Irving Berlin and the popular dance couple 'Vernon and Irene Castle'."

"The truth lies somewhere between these two aesthetics [static Cubism and dynamic Futurism]. The 'pure form' of w:Ingres led inevitably to a life-less Platonism; the lyricism and Romanticism of Eugène Delacroix no longer tailed with our cerebral and geometric age.. ..as in all great ages, today's artwork must be the synthesis of these two things [quote, 1917]."

"this complex form of realism.. ..totally destroys the integrity of the subject-matter.. .The abstract colors and forms that we portray belong to Universe outside time and space."

"I found in your book the confirmation of my ultimate conclusions and the tools for deepening this aspect of the artistic problem."

"The sea dancing, it's zig-zag movements and contrasting silver and emerald, evokes within my plastic sensibility the distant vision of a dancer covered in a sparkling sequins in her world of light, noise and sound. Therefore 'Sea = dancer' [= title of a painting he made in 1914]"

"The need for abstraction and symbols is a characteristic sign of the intensity and rapidity with which life is lived today. It often happens that a word, [or] a phrase, will serve to synthesize a complete action, an entire psychology. In the same way, one gesture, one essential feature, may, by suddenly throwing light upon our intuition, succeed in presenting to our vision the total reality."

"The spiraling shapes, and the beautiful contrasts of yellow and blue, that are intuitively felt one evening while living the movements of a girl dancing may be found again later, through a process of plastic preferences or aversions, or through combination of both, in the concentric circling of an aeroplane or in the onrush of an express train"

"..ambition to surpass Impressionism, destroying the subject's unity of time and place.. ..[to render its relations to] things that apparently had nothing to do with it, but that in reality were linked to it in my imagination, in my memories or by feeling. In the same canvas I brought together the Arc of Triumph, the Tour Eiffel, the Alps, the head of my father, an autobus, the municipal hall of Pienza, the boulevard..."

"[..that the execution of 'Pan Pan'] was influenced by the sounds of the ambiance [and the painting].. ..was only musical, to the detriment of the volumes and the forms that I had unconsciously neglected.. ..[in] following the greater emotional cause: the sounds."

"[the] circular rhythmic movement of a dancer, the folds of whose dress are held out by means of a hoop. These folds preserve their exterior form, modified in a uniform manner through the rotary movement. In order the better to convey the notion of relief, I have attempted to model the essential portions in a manner almost sculptural. Light and ambiance act simultaneously on the forms in movement."

"The metaphysical forms which compose our futurist pictures are the result of realities conceived and realities created entirely by the artist. These last are inspired by the emotion or intuition and dependent on atmosphere-ambience."

"Appolinaire [spokesman of French Cubism ] told me about a book of his on the Cubists that's about to come out. He divides the Cubists into Physical Cubists, (Gleize) [sic], who add some dramatic elements to their expression of external realities; Scientific Cubists (Picasso, Metzinger) and 'Orphiques' [sic]. (I give you [ Umberto Boccioni ] this last classification in French because I don't know how to translate it); in Appolinaire's opinion the 'Orphiques' [sic] seek new elements of expressing abstract realities; and we Futurists belong with the latter."

"[Severini referred to himself as a] ..primitive who is thrilled by the movement of a dancer and boulevard filled with people."

"The Cubists and the other avantgarde [in France] can see the danger of being called Futurists. They are attracted by research involving the movement and the complexity of subjects. To avoid this kind of treat, they invented Orphism."

"..displacement of bodies in [the] atmosphere [where] two persons form but one plastic unity, rhythmically balanced."

"In our young days, when Modigliani and I first came to Paris, in 1906, nobody was very clear about ideas. But unconsciously, we knew quite a lot of things, of which we became aware later on."

"I would like my colors to be diamonds and to be able to make abundant use of them in my pictures so as to make them gleam with light and richness."

"It was during the first years [1906-1910] that we [the Futurist artists] realized the presence of a dualism deep down within us, where another person, whom we ourselves do not know, tends, at the moment of the creative act, to supplant the person we believe ourselves to be and would like to be. It is difficult to bring these two individualities into accord, yet it is upon this accord that the development of a personality largely depends. My first contact with the art of Seurat whom I adopted, once and for all, as my master, did a great deal to help me to express myself in terms of the two simultaneous and often opposed aspirations. This opposition caused me much mental torture, I must admit.."

"..the gesture that we want.. ..will be the dynamic sensation itself."

"Art is nothing but humanized science."

"Conceptual Art is a sounding instrument between printed words, luminous writings, and letters scrawled in a hasty nervous instinctive calligraphy."

"The author [Balla] wrote 'Macchina typografica', [his first work for theater, never performed] placed us in geometric order [during a rehearsal in the Salon of Serge Diaghilev, 1916] and with the unfailing grey-rectangular walking stick, directed out machine-like movements and the gestures that we each had to carry out in order to represent the spirit of the single pieces of a rotary newspaper press. I was assigned a 'STA' to be reiterated violently with an arm gymnastically. I felt as if I were in the courtyard of a training barracks. Balla, needless to say, reserved for himself the hissings the onomatopoeias, the most delicate verbalizations, that emerged from his lips intermingled with that memorably Piemontese 'neh' and the uncorking of bottles of Frascati by the incorrigible, bearded Semenoff, which turned everything into an extremely intelligent and amusing grotesque."

"Balla (former art teacher of Boccioni and Severini) 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 'Girl running on a balcony'), which were still realist but incredible ahead of their time.. .He confided this to Aldo Pallazzeschi: 'They (Balla's former 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.'"

"Using complex, constructive, noise-producing abstraction, that is, the Futurist Style. Any action developed in space, any emotion felt, will represent for us the intuition of a discovery."

"We [Futurists, Balla and Depero ], seek to realize this total fusion in order to reconstruct the universe by making it more joyful, in other words by an integral re-creation. We will give skeleton and flesh to the invisible, the impalpable, the imponderable and the imperceptible. We will find abstract equivalents for all the forms and elements of the universe, and then we will combine them according to the caprice of our inspiration, to shape plastic complexes which we will set in motion."

"Further developing his first synthesis of a speeding automobile, Balla has arrived at the first plastic complex. This has revealed to us an abstract landscape of cones, pyramids, polyhedrons, spirals of mountains, rivers, lights, shadows. In short, there is a deep analogy between the essential force-lines of speed and the essential force-lines of a landscape."

"We want Futurist clothes to be comfortable and practical Dynamic Aggressive Shocking Energetic Violent Flying (i.e. giving the idea of flying, rising and running) Peppy Joyful Illuminating (in order to have light even in the rain) Phosphorescent Lit by electric lamps."

"And we must invent dynamic designs to go with them and express them in equally dynamic shapes: triangles, cones, spirals, ellipses, circles, etc."

"As a result we shall have the necessary variety of clothes, even if the people of a given city lack the imagination themselves. The happiness of our Futurist clothes will help to spread the kind of good humour aimed at by my great friend PaIazzeschi in his futurist 'Manifesto against Sadness'."

"WE MUST INVENT FUTURIST CLOTHES, hap-hap-hap-hap-happy clothes, daring clothes with brilliant colours and dynamic lines. They must be simple, and above all they must be made to last for a short time only in order to encourage industrial activity and to provide constant and novel enjoyment for our bodies."

"WE MUST DESTROY ALL PASSÉIST CLOTHES, and everything about them which is tight-fitting, colourless, funereal, decadent, boring and unhygienic. As far as materials are concerned, we must abolish: wishywashy, pretty-pretty, gloomy, and neutral colours, along with patterns composed of lines, checks and spots."

"Use materials with forceful MUSCULAR colours – the reddest of reds, the most purple of purples, the greenest of greens, intense yellows, orange, vermillion – and SKELETON tones of white, grey and black."

"Futurism, as it has developed over six years, has solidified and surpassed Impressionism, has proposed plastic dynamism, atmospheric modeling, and the interpenetration of planes and states of mind."

"In the evening I study a fair.. ..if you could see the pomp and luxury of the merry-go-round and the stands and booths. Everything is decorated in Baroque-style, all gold and silver; there are mirrors, fabrics, and electric lightning. By night the whole thing is fantastic and rowdy. First of all I shall make a small picture and some drawings for illustrations."

"It will interest artists because, in it, I have made a special study of the way of walking of this girl, and, in fact, I have succeeded in giving the illusion that she is in the process of moving forward."

"Villages and valleys pass by [Balla viewed during his train voyage to Düsseldorf in July 1912] and with my friend the binoculars [field glasses] I stare into the closest windows; semi-undressed people who wash themselves, bedding on balconies, clean almost empty rooms, a stupendous white shoulder of a women who, with a nude arm opens a door and goes inside."

"The Rhine, with two long branches, stretches out and loses itself among inlets and hills, the boats of tourists and of industry smoke, white, black, and gray, and small, small, seem almost not to move; the silver clear, transparent water, calm and ordered, contrasts with all the rest.. ..the water gurgles, the sides of the boat are covered in spray, many people greet each other, white handkerchiefs are waved from on high, the hotels, the flags, the inscriptions, the hills and the pointed tips of the bell towers, everything seems unreal, untouchable."

"They [ 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."

"There's no doubt but that without this liberté, égalité and fraternité there could not have been a Monet, Modigliani, Picasso, or Giacometti."

"The function of art is to struggle against obligation."