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Umberto Boccioni

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Umberto Boccioni
Umberto Boccioni, portrait photograph.jpg
Umberto Boccioni
Born19 October 1882 (1882-10-19)
Died17 August 1916(1916-08-17) (aged 33)
Verona, Italy
EducationAccademia di Belle Arti di Roma
Notable workUnique Forms of Continuity in Space
The City Rises
The Street Enters the House
MovementFuturism

Umberto Boccioni (US: /bˈni, bɒˈ-, bɔːˈ-/,[1][2][3] Italian: [umˈbɛrto botˈtʃoːni]; 19 October 1882 – 17 August 1916) was an influential Italian painter and sculptor. He helped shape the revolutionary aesthetic of the Futurism movement as one of its principal figures. Despite his short life, his approach to the dynamism of form and the deconstruction of solid mass guided artists long after his death.[4] His works are held by many public art museums, and in 1988 the Metropolitan Museum of Art in New York City organized a major retrospective of 100 pieces.[5]

Biography

Umberto Boccioni was born on 19 October 1882 in Reggio Calabria. His father was a minor government employee, originally from the Romagna region in the north, and his job included frequent reassignments throughout Italy. The family soon relocated further north, and Umberto and his older sister Amelia grew up in Forlì (Emilia-Romagna), Genoa and finally Padua. At the age of 15, in 1897, Umberto and his father moved to Catania, Sicily, where he would finish school. Some time after 1898, he moved to Rome and studied art at the Scuola Libera del Nudo of the Accademia di Belle Arti di Roma.[6] He also studied under the Liberty style poster artist Giovanni Mataloni.[7]

The little known about his years in Rome is found in the autobiography of his friend Gino Severini (1883–1966), who recalled their meeting in 1901 and mutual interest in Nietzsche, rebellion, life experiences and socialism. Boccioni's writings at this time already express the combination of outrage and irony that would become a lifelong characteristic. His critical and rebellious nature, and overall intellectual ability, would contribute substantially to the development of the Futurism movement. After building a foundation of skills, having studied the classics through Impressionism, both he and Severini became students of Giacomo Balla (1871–1958), a painter focusing on the modern Divisionist technique, painting with divided rather than mixed color and breaking the painted surface into a field of stippled dots and stripes. Severini wrote "It was a great stroke of luck for us to meet such a man, whose direction was decisive of all our careers."[6]

Self portrait, 1905, oil on canvas
Self portrait, 1905, oil on canvas

In 1906, he briefly moved to Paris, where he studied Impressionist and Post-Impressionist styles, before visiting Russia for three months, getting a first-hand view of the civil unrest and governmental crackdowns. Returning to Italy in 1907, he briefly took drawing classes at the Accademia di Belle Arti of Venice. He had first visited the Famiglia Artistica, a society for artists in Milan, in 1901.

As he travelled from one city to the other, in parallel with his most ground-breaking artistic endeavours, he worked as a commercial illustrator. Between 1904 and 1909 he provided lithographs and gouache paintings to internationally renowned publishing houses, such as Berlin-based Stiefbold & Co. Boccioni's production in this field shows his awareness of contemporary European illustration, such as the work of Cecil Aldin, Harry Eliott, Henri Cassiers and Albert Beerts, and attests to his information of contemporary trends in the visual arts more in general.[8]

Boccioni moved to Milan in 1907. There, early in 1908, he met the Divisionist painter Gaetano Previati. In early 1910 he met Filippo Tommaso Marinetti, who had already published his Manifesto del Futurismo ("Manifesto of Futurism") in the previous year.[9] On 11 February 1910 Boccioni, with Balla, Carlo Carrà, Luigi Russolo and Severini, signed the Manifesto dei pittori futuristi ("Manifesto of Futurist painters"), and on 8 March he read the manifesto at the Politeama Chiarella theatre in Turin.[9][10]

Boccioni became the main theorist of the artistic movement.[11] "Only when Boccioni, Balla, Severini and a few other Futurists traveled to Paris toward the end of 1911 and saw what Braque and Picasso had been doing did the movement begin to take real shape."[12] He also decided to be a sculptor after he visited various studios in Paris, in 1912, including those of Georges Braque, Alexander Archipenko, Constantin Brâncuși, Raymond Duchamp-Villon, August Agero and, probably, Medardo Rosso.[6] In 1912 he exhibited some paintings together with other Italian futurists at the Galerie Bernheim-Jeune, and the following year returned to show his sculptures at the Galerie La Boétie: all related to the elaboration of what Boccioni had seen in Paris, where he had visited the studios of Cubist sculptors, including those of Constantin Brâncuși, Raymond Duchamp-Villon and Alexander Archipenko to further his knowledge of avant-garde sculpture.[13]

Umberto Boccioni, 1913, Synthèse du dynamisme humain (Synthesis of Human Dynamism), sculpture destroyed
Umberto Boccioni, 1913, Synthèse du dynamisme humain (Synthesis of Human Dynamism), sculpture destroyed

In 1914 he published Pittura e scultura futuriste (dinamismo plastico) explaining the aesthetics of the group:

"While the impressionists paint a picture to give one particular moment and subordinate the life of the picture to its resemblance to this moment, we synthesize every moment (time, place, form, color-tone) and thus paint the picture.

He exhibited in London, together with the group, in 1912 (Sackville Gallery) and 1914 (Doré Gallery): the two exhibitions made a deep impression on a number of young English artists, in particular C.R.W. Nevinson, who joined the movement. Others aligned themselves instead to its British equivalent, Vorticism, led by Wyndham Lewis.

"Boccioni's gift was to bring a fresh eye to reality in ways that, we now recognise, defined the nature of the modern movement in the visual arts and literature, too."[14] --Michael Glover (art critic, The Independent)

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Padua

Padua

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Accademia di Belle Arti di Roma

Accademia di Belle Arti di Roma

The Accademia di Belle Arti di Roma is a public tertiary academy of art in Rome, Italy. It was founded in the sixteenth century, but the present institution dates from the time of the unification of Italy and the capture of Rome by the Kingdom of Italy in 1870.

Liberty style

Liberty style

Liberty style was the Italian variant of Art Nouveau, which flourished between about 1890 and 1914. It was also sometimes known as stile floreale, arte nuova, or stile moderno. It took its name from Arthur Lasenby Liberty and the store he founded in 1874 in London, Liberty Department Store, which specialized in importing ornaments, textiles and art objects from Japan and the Far East. Major Italian designers using the style included Ernesto Basile, Ettore De Maria Bergler, Vittorio Ducrot, Carlo Bugatti, Raimondo D'Aronco, Eugenio Quarti, and Galileo Chini. The major event of the style was the 1902 Turin International Exposition, which featured by works of both Italian designers and other Art Nouveau designers from around Europe.

Gino Severini

Gino Severini

Gino Severini was an Italian painter and a leading member of the Futurist movement. For much of his life he divided his time between Paris and Rome. He was associated with neo-classicism and the "return to order" in the decade after the First World War. During his career he worked in a variety of media, including mosaic and fresco. He showed his work at major exhibitions, including the Rome Quadrennial, and won art prizes from major institutions.

Futurism

Futurism

Futurism was an artistic and social movement that originated in Italy, and to a lesser extent in other countries, in the early 20th century. It emphasized dynamism, speed, technology, youth, violence, and objects such as the car, the airplane, and the industrial city. Its key figures included the Italians Filippo Tommaso Marinetti, Umberto Boccioni, Carlo Carrà, Fortunato Depero, Gino Severini, Giacomo Balla, and Luigi Russolo. Italian Futurism glorified modernity and according to its doctrine, aimed to liberate Italy from the weight of its past. Important Futurist works included Marinetti's 1909 Manifesto of Futurism, Boccioni's 1913 sculpture Unique Forms of Continuity in Space, Balla's 1913–1914 painting Abstract Speed + Sound, and Russolo's The Art of Noises (1913).

Giacomo Balla

Giacomo Balla

Giacomo Balla was an Italian painter, art teacher and poet best known as a key proponent of Futurism. In his paintings he depicted light, movement and speed. He was concerned with expressing movement in his works, but unlike other leading futurists he was not interested in machines or violence with his works tending towards the witty and whimsical.

Accademia di Belle Arti di Venezia

Accademia di Belle Arti di Venezia

The Accademia di Belle Arti di Venezia is a public tertiary academy of art in Venice, Italy.

Milan

Milan

Milan is a city in northern Italy, capital of Lombardy, and the second-most populous city proper in Italy after Rome. The city proper has a population of about 1.4 million, while its metropolitan city has 3.26 million inhabitants. Its continuously built-up urban area is the fourth largest in the EU with 5.27 million inhabitants. According to national sources, the population within the wider Milan metropolitan area, is estimated between 8.2 million and 12.5 million making it by far the largest metropolitan area in Italy and one of the largest in the EU.

Cecil Aldin

Cecil Aldin

Cecil Charles Windsor Aldin, was a British artist and illustrator best known for his paintings and sketches of animals, sports, and rural life. Aldin executed village scenes and rural buildings in chalk, pencil and also wash sketching. He was an enthusiastic sportsman and a Master of Fox Hounds, and many of his pictures illustrated hunting. Aldin's early influences included Randolph Caldecott and John Leech.

Military service and death

Italian involvement in the First World War began late in May 1915 with Italy's declaration of war on Austro-Hungary. The "Lombard Battalion Volunteers Cyclists and Motorists", which Boccioni was part of, set off in early June from Milan to Gallarate, then on to Peschiera del Garda, in the rear of the Trentino front. In July 1915, the volunteers were intended for a sector of the front around Ala and the Gardesana. On 24 October 1915, Boccioni participated in the battle of Dosso Casina. On 1 December 1915, the battalion was dissolved as part of a general reorganization; the volunteers were laid off temporarily, then each was called up along with the class. In May 1916 Boccioni was drafted into the Italian Army, and was assigned to an artillery regiment at Sorte of Chievo, near Verona. On 16 August 1916, he was thrown from his horse during a cavalry training exercise and was trampled.[15][16] He died the following day, age thirty-three, at Verona Military Hospital, and he was buried in the Monumental Cemetery of that city.

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Gallarate

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Gallarate is a city and comune of Alto Milanese of Lombardy and of Milan metropolitan area, northern Italy, in the Province of Varese. It has a population of some 54,000 people.

Peschiera del Garda

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Trentino

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Ala, Trentino

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Italian Army

Italian Army

The Italian Army is the land-based component of the Italian Armed Forces. The army's history dates back to the Italian unification in the 1850s and 1860s. The army fought in colonial engagements in China, Libya, Northern Italy against the Austro-Hungarian Empire during World War I, Abyssinia before World War II and in World War II in Albania, Balkans, North Africa, the Soviet Union, and Italy itself. During the Cold War, the army prepared itself to defend against a Warsaw Pact invasion from the east. Since the end of the Cold War, the army has seen extensive peacekeeping service and combat in Afghanistan and Iraq. Its best-known combat vehicles are the Dardo infantry fighting vehicle, the Centauro tank destroyer and the Ariete tank and among its aircraft the Mangusta attack helicopter, recently deployed in UN missions. The headquarters of the Army General Staff are located in Rome opposite the Quirinal Palace, where the president of Italy resides. The army is an all-volunteer force of active-duty personnel.

Verona

Verona

Verona is a city on the Adige River in Veneto, Italy, with 258,031 inhabitants. It is one of the seven provincial capitals of the region, and is the largest city municipality in the region and the second largest in northeastern Italy. The metropolitan area of Verona covers an area of 1,426 km2 (550.58 sq mi) and has a population of 714,310 inhabitants. It is one of the main tourist destinations in northern Italy because of its artistic heritage and several annual fairs and shows as well as the opera season in the Arena, an ancient Roman amphitheater.

Works

Three Women, 1909–10
Three Women, 1909–10
The Morning, 1909
The Morning, 1909

Early portraits and landscapes

From 1902 to 1910, Boccioni focused initially on drawings, then sketched and painted portraits – with his mother as a frequent model. He also painted landscapes – often including the arrival of industrialization, trains and factories for example. During this period, he weaves between Pointillism and Impressionism, and the influence of Giacomo Balla, and Divisionism techniques are evident in early paintings (although later largely abandoned). The Morning (1909) was noted for "the bold and youthful violence of hues" and as "a daring exercise in luminosity."[6] His 1909–10 Three Women, which portrays his mother and sister, and longtime lover Ines at center, was cited as expressing great emotion – strength, melancholy and love.[6]

Development of Futurism

Boccioni worked for nearly a year on La città sale or The City Rises, 1910, a huge (2m by 3m) painting, which is considered his turning point into Futurism. "I attempted a great synthesis of labor, light and movement" he wrote to a friend.[6] Upon its exhibition in Milan in May 1911, the painting attracted numerous reviews, mostly admiring. By 1912 it had become a headline painting for the exhibition traveling Europe, the introduction to Futurism. It was sold to the great pianist, Ferruccio Busoni for 4,000 lire that year,[6] and today is frequently on prominent display at the Museum of Modern Art in New York, at the entrance to the paintings department.[4]

The Laugh, 1911
The Laugh, 1911

La risata (1911, The Laugh) is considered Boccioni's first truly Futurist work. He had fully parted with Divisionism, and now focused on the sensations derived from his observation of modern life. Its public reception was quite negative, compared unfavorably with Three Women, and it was defaced by a visitor, running his fingers through the still fresh paint.[6] Subsequent criticism became more positive, with some considering the painting a response to Cubism. It was purchased by Albert Borchardt, a German collector who acquired 20 Futurist works exhibited in Berlin, including The Street Enters the House (1911) which depicts a woman on a balcony overlooking a busy street. Today the former also is owned by the Museum of Modern Art,[4] and the latter by the Sprengel Museum in Hanover.[6]

Boccioni spent much of 1911 working on a trilogy of paintings titled "Stati d'animo" ("States of Mind"), which he said expressed departure and arrival at a railroad station – The Farewells, Those Who Go, and Those Who Stay.[6] All three paintings were originally purchased by Marinetti, until Nelson Rockefeller acquired them from his widow and later donated them to the Museum of Modern Art in New York.[4][17]

Elasticity, 1912
Elasticity, 1912
Portrait of Ferruccio Busoni, 1916
Portrait of Ferruccio Busoni, 1916

Beginning in 1912, with Elasticità or Elasticity, depicting the pure energy of a horse, captured with intense chromaticism, he completed a series of Dynamist paintings: Dinamismo di un corpo umano (Human Body), ciclista (Cyclist), Foot-baller, and by 1914 Dinamismo plastico: cavallo + caseggiato (Plastic Dynamism: Horse + Houses).

While continuing this focus, he revived his previous interest in portraiture. Beginning with L'antigrazioso (The antigraceful) in 1912 and continuing with I selciatori (The Street Pavers) and Il bevitore (The Drinker) both in 1914.

In 1914 Boccioni published his book, Pittura, scultura futuriste (Futurist Painting and Sculpture), which caused a rift between himself and some of his Futurist comrades. As a result, perhaps, he abandoned his exploration of Dynamism, and instead sought further decomposition of a subject by means of colour.[6] With Horizontal Volumes in 1915 and the Portrait of Ferruccio Busoni in 1916, he completed a full return to figurative painting. Perhaps fittingly, this last painting was a portrait of the maestro who purchased his first Futurist work, The City Rises.

Sculpture

Spiral Expansion of Muscles in Action, plaster, photograph published in 1914 and 1919, in Cubists and Post-Impressionism, by Arthur Jerome Eddy, and exhibited at Erster Deutscher Herbstsalon, Berlin 1913, Herwarth Walden, titled Spiralförmige ausdehnung von muskeln in bewegung. Published 1913 catalogue by Der Sturm in Berlin
Spiral Expansion of Muscles in Action, plaster, photograph published in 1914 and 1919, in Cubists and Post-Impressionism, by Arthur Jerome Eddy, and exhibited at Erster Deutscher Herbstsalon, Berlin 1913, Herwarth Walden, titled Spiralförmige ausdehnung von muskeln in bewegung. Published 1913 catalogue by Der Sturm in Berlin

The writing of his Manifesto tecnico della scultura futurista (Technical manifesto of Futurist sculpture), published on 11 April 1912, was Boccioni's intellectual and physical launch into sculpture; he had begun working in sculpture in the previous year.[9]

By the end of 1913 he had completed what is considered his masterpiece, Forme uniche della continuità nello spazio (Unique Forms of Continuity in Space), in wax. His goal for the work was to depict a "synthetic continuity" of motion, instead of an "analytical discontinuity" that he saw in such artists as František Kupka and Marcel Duchamp.[18] During his life, the work only existed as a plaster cast. It was first cast in bronze in 1931.[19] This sculpture has been the subject of extensive commentary, and in 1998 it was selected as the image to be engraved on the back of the Italian 20-cent euro coin.

Soon after Boccioni's death in 1916 (and after a memorial exhibition was held in Milan[20]), his family entrusted them for an impermanent time to a fellow sculptor, Piero da Verona; da Verona then requested that his assistant place them in the local rubbish-dump.[21] Marinetti's outraged account of the destruction of the sculptures was slightly different; in his memoirs, he stated that the sculptures were destroyed by workmen to clear the room the "envious passèist narrow-minded sculptor" had placed them.[22] Thus, much of his experimental work from late 1912 to 1913 was destroyed, including pieces relating to contemporaneous paintings, which are known only through photographs. One of the few surviving pieces is the Antigrazioso (Anti-Graceful, also called The Mother).

In 2019, the Estorick Collection of Modern Italian Art held an exhibition reconstructing several of the destroyed sculptures.

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Pointillism

Pointillism

Pointillism is a technique of painting in which small, distinct dots of color are applied in patterns to form an image.

Impressionism

Impressionism

Impressionism was a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities, ordinary subject matter, unusual visual angles, and inclusion of movement as a crucial element of human perception and experience. Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s.

Divisionism

Divisionism

Divisionism, also called chromoluminarism, was the characteristic style in Neo-Impressionist painting defined by the separation of colors into individual dots or patches which interacted optically.

Milan

Milan

Milan is a city in northern Italy, capital of Lombardy, and the second-most populous city proper in Italy after Rome. The city proper has a population of about 1.4 million, while its metropolitan city has 3.26 million inhabitants. Its continuously built-up urban area is the fourth largest in the EU with 5.27 million inhabitants. According to national sources, the population within the wider Milan metropolitan area, is estimated between 8.2 million and 12.5 million making it by far the largest metropolitan area in Italy and one of the largest in the EU.

Ferruccio Busoni

Ferruccio Busoni

Ferruccio Busoni was an Italian composer, pianist, conductor, editor, writer, and teacher. His international career and reputation led him to work closely with many of the leading musicians, artists and literary figures of his time, and he was a sought-after keyboard instructor and a teacher of composition.

Museum of Modern Art

Museum of Modern Art

The Museum of Modern Art (MoMA) is an art museum located in Midtown Manhattan, New York City, on 53rd Street between Fifth and Sixth Avenues.

Berlin

Berlin

Berlin is the capital and largest city of Germany by both area and population. Its 3.7 million inhabitants make it the European Union's most populous city, according to population within city limits. One of Germany's sixteen constituent states, Berlin is surrounded by the State of Brandenburg and contiguous with Potsdam, Brandenburg's capital. Berlin's urban area, which has a population of around 4.5 million, is the second most populous urban area in Germany after the Ruhr. The Berlin-Brandenburg capital region has around 6.2 million inhabitants and is Germany's third-largest metropolitan region after the Rhine-Ruhr and Rhine-Main regions.

Sprengel Museum

Sprengel Museum

Sprengel Museum is a museum of modern art in Hanover, Lower Saxony, holding one of the most significant collections of modern art in Germany. It is located in a building situated adjacent to the Masch Lake approximately 150 metres (490 ft) south of the state museum. The museum opened in 1979, and the building, designed by Peter and Ursula Trint and Dieter Quast, was extended in 1992.

Hanover

Hanover

Hanover is the capital and largest city of the German state of Lower Saxony. Its 535,932 (2021) inhabitants make it the 13th-largest city in Germany as well as the fourth-largest city in Northern Germany after Berlin, Hamburg and Bremen. Hanover's urban area comprises the towns of Garbsen, Langenhagen and Laatzen and has a population of about 791,000 (2018). The Hanover Region has approximately 1.16 million inhabitants (2019).

States of Mind I:The Farewells

States of Mind I:The Farewells

States of Mind I:The Farewells is the first in a series of three oil paintings by the Italian Futurist painter Umberto Boccioni which are all in the collection of the Museum of Modern Art (MOMA) in New York City. Executed in 1911 and set in a railway station, the three works attempt to depict the psychological aspects of the drama and emotion of modern travel.

Dynamism of a Cyclist

Dynamism of a Cyclist

Dynamism of a Cyclist is a 1913 painting by Italian Futurist artist Umberto Boccioni (1882–1916) that demonstrates the Futurist fascination with speed, modern methods of transport, and the depiction of the dynamic sensation of movement.

Nelson Rockefeller

Nelson Rockefeller

Nelson Aldrich Rockefeller, sometimes referred to by his nickname Rocky, was an American businessman and politician who served as the 41st vice president of the United States from 1974 to 1977 under President Gerald Ford. A member of the Republican Party and wealthy Rockefeller family, he previously served as the 49th governor of New York from 1959 to 1973. Rockefeller also served as assistant secretary of State for American Republic Affairs for Presidents Franklin D. Roosevelt and Harry S. Truman (1944–1945) as well as under secretary of Health, Education and Welfare (HEW) under Dwight D. Eisenhower from 1953 to 1954. A son of John D. Rockefeller Jr. and Abby Aldrich Rockefeller as well as a grandson of Standard Oil co-founder John D. Rockefeller, he was a noted art collector and served as administrator of Rockefeller Center in Manhattan, New York City.

Publications

  • Article – Manifesto dei pittori futuristi, 1910 (Manifesto of Futurist Painters)[23]
  • Article – Manifesto of Futurist Sculpture, April 1912
  • Article – The Plastic Foundation of Futurist Sculpture and Painting, in Lacerba, March 1913 issue[24]
  • Article – Esposizione di scultura futurista del pittore e scultore futurista, 1913[25]
  • Article – Manifesto tecnico della scultura futurista, 1914[26]
  • Book – Pittura, scultura futuriste (Futurist painting and sculpture), 1914[27]

Exhibitions

Retrospective catalogue: Umberto Boccioni, by Ester Coen, 272pp, 1988[6][30]

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Estorick Collection of Modern Italian Art

Estorick Collection of Modern Italian Art

The Estorick Collection of Modern Italian Art is a museum in Canonbury Square in the district of Islington on the northern fringes of central London. It is the United Kingdom's only gallery devoted to modern Italian art and is a registered charity under English law.

Solomon R. Guggenheim Museum

Solomon R. Guggenheim Museum

The Solomon R. Guggenheim Museum, often referred to as The Guggenheim, is an art museum at 1071 Fifth Avenue between 88th and 89th Streets on the Upper East Side of Manhattan in New York City. It is the permanent home of a continuously expanding collection of Impressionist, Post-Impressionist, early Modern, and contemporary art and also features special exhibitions throughout the year. The museum was established by the Solomon R. Guggenheim Foundation in 1939 as the Museum of Non-Objective Painting, under the guidance of its first director, Hilla von Rebay. The museum adopted its current name in 1952, three years after the death of its founder Solomon R. Guggenheim.

Metropolitan Museum of Art

Metropolitan Museum of Art

The Metropolitan Museum of Art in New York City, colloquially "the Met", is the largest art museum in the Americas. In 2022 it welcomed 3,208,832 visitors, ranking it eighth in the list of Most visited art museums in the world, and the second-most visited art museum in the United States. Its permanent collection contains over two million works, divided among 17 curatorial departments. The main building at 1000 Fifth Avenue, along the Museum Mile on the eastern edge of Central Park on Manhattan's Upper East Side, is by area one of the world's largest art museums. The first portion of the approximately 2-million-square-foot (190,000 m2) building was built in 1880. A much smaller second location, The Cloisters at Fort Tryon Park in Upper Manhattan, contains an extensive collection of art, architecture, and artifacts from medieval Europe.

Castelvecchio Museum

Castelvecchio Museum

Castelvecchio Museum is a museum in Verona, northern Italy, located in the eponymous medieval castle. Restoration by the architect Carlo Scarpa between 1959 and 1973 has enhanced the appearance of the building and exhibits. Scarpa's architectural style is visible in the details for doorways, staircases, furnishings, and even fixtures designed to hold a specific piece of artwork. The renovation carefully balanced new and old, revealing the history of the original building where appropriate. Unusual at the time, this approach has now become a common approach to renovation.

Pinacoteca di Brera

Pinacoteca di Brera

The Pinacoteca di Brera is the main public gallery for paintings in Milan, Italy. It contains one of the foremost collections of Italian paintings from the 13th to the 20th century, an outgrowth of the cultural program of the Brera Academy, which shares the site in the Palazzo Brera.

Gallery

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Museum of Modern Art

Museum of Modern Art

The Museum of Modern Art (MoMA) is an art museum located in Midtown Manhattan, New York City, on 53rd Street between Fifth and Sixth Avenues.

Estorick Collection of Modern Italian Art

Estorick Collection of Modern Italian Art

The Estorick Collection of Modern Italian Art is a museum in Canonbury Square in the district of Islington on the northern fringes of central London. It is the United Kingdom's only gallery devoted to modern Italian art and is a registered charity under English law.

Islington

Islington

Islington is a district in the north of Greater London, England, and part of the London Borough of Islington. It is a mainly residential district of Inner London, extending from Islington's High Street to Highbury Fields, encompassing the area around the busy High Street, Upper Street, Essex Road, and Southgate Road to the east.

The Street Enters the House

The Street Enters the House

The Street Enters the House is an oil on canvas painting by Italian artist Umberto Boccioni. Painted in the Futurist style, the work centres on a woman on a balcony in front of a busy street, with the sounds of the activity below portrayed as a riot of shapes and colours.

Hanover

Hanover

Hanover is the capital and largest city of the German state of Lower Saxony. Its 535,932 (2021) inhabitants make it the 13th-largest city in Germany as well as the fourth-largest city in Northern Germany after Berlin, Hamburg and Bremen. Hanover's urban area comprises the towns of Garbsen, Langenhagen and Laatzen and has a population of about 791,000 (2018). The Hanover Region has approximately 1.16 million inhabitants (2019).

Wuppertal

Wuppertal

Wuppertal is, with a population of approximately 355,000, the seventh-largest city in North Rhine-Westphalia as well as the 17th-largest city in Germany. It was founded in 1929 by the merger of the cities and towns of Elberfeld, Barmen, Ronsdorf, Cronenberg and Vohwinkel, and was initially "Barmen-Elberfeld" before adopting its present name in 1930. It is regarded as the capital and largest city of the Bergisches Land.

Development of a Bottle in Space

Development of a Bottle in Space

Development of a Bottle in Space is a bronze futurist sculpture by Umberto Boccioni. Initially a sketch in Boccioni’s "Technical Manifesto of Futurist Sculpture"," the design was later cast into bronze by Boccioni himself in the year 1913. Consistent with many of themes in Boccioni’s manifesto, the work of art highlights the artist’s first successful attempt at creating a sculpture that both molds and encloses space within itself.

Metropolitan Museum of Art

Metropolitan Museum of Art

The Metropolitan Museum of Art in New York City, colloquially "the Met", is the largest art museum in the Americas. In 2022 it welcomed 3,208,832 visitors, ranking it eighth in the list of Most visited art museums in the world, and the second-most visited art museum in the United States. Its permanent collection contains over two million works, divided among 17 curatorial departments. The main building at 1000 Fifth Avenue, along the Museum Mile on the eastern edge of Central Park on Manhattan's Upper East Side, is by area one of the world's largest art museums. The first portion of the approximately 2-million-square-foot (190,000 m2) building was built in 1880. A much smaller second location, The Cloisters at Fort Tryon Park in Upper Manhattan, contains an extensive collection of art, architecture, and artifacts from medieval Europe.

Milan

Milan

Milan is a city in northern Italy, capital of Lombardy, and the second-most populous city proper in Italy after Rome. The city proper has a population of about 1.4 million, while its metropolitan city has 3.26 million inhabitants. Its continuously built-up urban area is the fourth largest in the EU with 5.27 million inhabitants. According to national sources, the population within the wider Milan metropolitan area, is estimated between 8.2 million and 12.5 million making it by far the largest metropolitan area in Italy and one of the largest in the EU.

Dynamism of a Speeding Horse + Houses

Dynamism of a Speeding Horse + Houses

Dynamism of a speeding Horse + Houses is a sculpture from Umberto Boccioni realized in 1914-1915.

Solomon R. Guggenheim Museum

Solomon R. Guggenheim Museum

The Solomon R. Guggenheim Museum, often referred to as The Guggenheim, is an art museum at 1071 Fifth Avenue between 88th and 89th Streets on the Upper East Side of Manhattan in New York City. It is the permanent home of a continuously expanding collection of Impressionist, Post-Impressionist, early Modern, and contemporary art and also features special exhibitions throughout the year. The museum was established by the Solomon R. Guggenheim Foundation in 1939 as the Museum of Non-Objective Painting, under the guidance of its first director, Hilla von Rebay. The museum adopted its current name in 1952, three years after the death of its founder Solomon R. Guggenheim.

Source: "Umberto Boccioni", Wikipedia, Wikimedia Foundation, (2023, January 25th), https://en.wikipedia.org/wiki/Umberto_Boccioni.

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References
  1. ^ "Boccioni". The American Heritage Dictionary of the English Language (5th ed.). HarperCollins. Retrieved 28 July 2019.
  2. ^ "Boccioni". Collins English Dictionary. HarperCollins. Retrieved 28 July 2019.
  3. ^ "Boccioni". Merriam-Webster Dictionary. Retrieved 28 July 2019.
  4. ^ a b c d "Museum of Modern Art – Umberto Boccioni in the Collection".
  5. ^ a b Michael Brenson (16 September 1988). Met Retrospective Explores Boccioni And Futurism. The New York Times. Retrieved October 2015.
  6. ^ a b c d e f g h i j k l Ester Coen (1989). Umberto Boccioni. New York: The Metropolitan Museum of Art. pp. xiii–xvi. ISBN 0870995227.
  7. ^ Coen, Ester, Boccioni (1988, New York: Museum of Modern Art), p. 209, footnoted by translator in Severini, Gino, The Life of a Painter (1995, Princeton University Press; translated by Franchina, Jennifer).
  8. ^ Niccolò D’Agati, ‘Fox-Hunt Garbage: Umberto Boccioni and British Illustration’, Print Quarterly, XXXVI, no. 1, March 2019, pp. 31–44.
  9. ^ a b c Maurizio Calvesi (1969). Boccioni, Umberto (in Italian). Dizionario Biografico degli Italiani. Rome: Istituto dell'Enciclopedia Italiana. Retrieved October 2015.
  10. ^ Mark Stevens (1 March 2004). Futurist Tense. New York. Retrieved October 2015.
  11. ^ Grace Glueck (13 February 2004). Blurring the Line Between the Present and the Future. The New York Times. Retrieved October 2015.
  12. ^ Michael Kimmelman (3 November 1989). Out of the Past, the Spirit of Italian Futurism. The New York Times. Retrieved October 2015.
  13. ^ Christine Poggi, In Defiance of Painting: Cubism, Futurism, and the Invention of Collage, Yale University Press, 1992, pp. 20, 177, ISBN 0300051093
  14. ^ a b Michael Glover (27 January 2009). The drawing and sculpture of Umberto Boccioni. The Independent. Retrieved October 2015.
  15. ^ a b Laura Cumming (18 January 2009). Impossible dreams of a speed freak. The Guardian. Retrieved October 2015.
  16. ^ Umberto Boccioni Archived 28 July 2012 at the Wayback Machine. New York: The Solomon R. Guggenheim Foundation. Retrieved October 2015.
  17. ^ "Copy of Tate Gallery Immunity from Seizure filing, 2009" (PDF).
  18. ^ Henderson, Linda (1981). "Italian Futurism and 'The Fourth Dimension'". Art Journal. Art Journal, Vol. 41, No. 4. 41 (4): 317–323. doi:10.2307/776440. JSTOR 776440.
  19. ^ "Met Museum, Description of Unique Forms of Continuity in Space, by Umberto Boccioni".
  20. ^ Tisdall, Caroline and Bozzolla, Angelo, Futurism, p. 72; Thames and Hudson.
  21. ^ Estorick Collection of Modern Italian Art (@Estorick) on Twitter, 18 December 2019; "After Boccioni's premature death his large sculptures were temporarily entrusted by the family to a fellow sculptor named Piero da Verona, who asked his assistant to dispose of them in a nearby rubbish dump." Accessed 3 January 2020.
  22. ^ Quoted by the Estorick Collection of Modern Italian Art (@Estorick) on Twitter, 20 December 2019; FT Marinetti recalled the destruction of Boccioni’s sculptures in his memoirs: "Absurdly entrusted to an envious passèist narrow-minded sculptor they were ripped apart by the workmen anxious to clear out a profitable part of the building and all is ended". Accessed 3 January 2020.
  23. ^ Manifesto dei pittori futuristi, by Umberto Boccioni, 2pp, Milano : Direzione del movimento futurista, 1910. OCLC 3215620.
  24. ^ Lacerba (Journal), Firenze : Tipografia di A. Vallecchi e C., 1913–1915. OCLC 11111517.
  25. ^ Esposizione di scultura futurista del pittore e scultore futurista, by Umberto Boccioni, 30pp, Roma : Galleria futurista, 1913. OCLC 54141991.
  26. ^ Manifesto tecnico della scultura futurista, by Umberto Boccioni, 4pp, Venezia : Edizioni del Cavallino, 1914. OCLC 4689174.
  27. ^ WorldCat Reference for Pittura, scultura futuriste (dinamismo plastico), by Umberto Boccioni, 472pp, Milano : edizioni futuriste di 'Poesia', 1914. OCLC 458587324.
  28. ^ "Guggenheim Museum Boccioni Exhibition Overview".
  29. ^ Long, Jim (March 2004). "Boccioni's Materia: A Futurist Masterpiece and the Avant-garde in Milan and Paris: Solomon R. Guggenheim Museum". The Brooklyn Rail. Retrieved 10 August 2020.
  30. ^ "Metropolitan Museum of Art, MetPublications Page for Umberto Boccioni".
Further reading
  • Giovanni Lista, Futurisme : manifestes, documents, proclamations, L'Age d'Homme, coll. "Avant-gardes", Lausanne, 1973.
  • Umberto Boccioni, Dynamisme plastique, textes réunis, annotés et préfacés par Giovanni Lista, traduction de Claude Minot et Giovanni Lista, L'Age d'Homme, coll. "Avant-gardes", Lausanne, 1975.
  • Giovanni Lista, "De la chromogonie de Boccioni à l'art spatial de Fontana", in Ligeia, dossiers sur l'art, n° 77-78-79-80, juillet-décembre 2007, Paris.
  • Giovanni Lista, Le Futurisme : création et avant-garde, Éditions L'Amateur, Paris, 2001.
  • Danih Meo, Della memoria di Umberto Boccioni, Mimesis, Milano 2007.
  • Gino Zaccaria, The Enigma of Art. On the Provenance of Artistic Creation, Brill, Leiden-Boston 2021.
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