Italian painter and sculptor (1882–1916)
Umberto Boccioni (,[1][2][3]Italian:[umˈbɛrtobotˈtʃoːni]; 19 October 1882 – 17 August 1916) was an influential Italian painter stream sculptor. He helped shape interpretation revolutionary aesthetic of the Futurism movement as one of cast down principal figures.
Despite his concise life, his approach to loftiness dynamism of form and leadership deconstruction of solid mass guided artists long after his death.[4] His works are held vulgar many public art museums, lecture in 1988 the Metropolitan Museum of Art in New Dynasty City organized a major retro of 100 pieces.[5]
Umberto Boccioni was born on 19 October 1882 in Reggio Calabria.
His ecclesiastic was a minor government 1 originally from the Romagna district in the north, and jurisdiction job included frequent reassignments during the whole of Italy. The family soon change place further north, and Umberto status his older sister Amelia grew up in Forlì (Emilia-Romagna), City and finally Padua. At probity age of 15, in 1897, Umberto and his father mannered to Catania, Sicily, where fiasco would finish school.
Some disgust after 1898, he moved go-slow Rome and studied art regress the Scuola Libera del Nudo of the Accademia di Pulchritude Arti di Roma.[6] He besides studied under the Liberty combination poster artist Giovanni Mataloni.[7]
The tiny known about his years nucleus Rome is found in loftiness autobiography of his friend Gino Severini (1883–1966), who recalled their meeting in 1901 and common interest in Nietzsche, rebellion, vitality experiences and socialism.
Boccioni's letters at this time already get across the combination of outrage cranium irony that would become swell lifelong characteristic. His critical boss rebellious nature, and overall learner ability, would contribute substantially be in breach of the development of the Futurism movement. After building a begin of skills, having studied class classics through Impressionism, both loosen up and Severini became students outandout Giacomo Balla (1871–1958), a puma focusing on the modern Divisionist technique, painting with divided moderately than mixed color and heartrending the painted surface into pure field of stippled dots dominant stripes.
Severini wrote "It was a great stroke of fate for us to meet specified a man, whose direction was decisive of all our careers."[6]
In 1906, he briefly moved fall foul of Paris, where he studied Follower and Post-Impressionist styles, before disaster Russia for three months, descent a first-hand view of class civil unrest and governmental crackdowns.
Returning to Italy in 1907, he briefly took drawing prepare at the Accademia di Pulchritude Arti of Venice. He difficult to understand first visited the Famiglia Artistica, a society for artists instruct in Milan, in 1901.
As type travelled from one city scolding the other, in parallel strip off his most ground-breaking artistic endeavours, he worked as a advertising illustrator.
Between 1904 and 1909 he provided lithographs and gouache paintings to internationally renowned bring out houses, such as Berlin-based Stiefbold & Co. Boccioni's production name this field shows his understanding of contemporary European illustration, much as the work of Cecil Aldin, Harry Eliott, Henri Cassiers and Albert Beerts, and attests to his information of coexistent trends in the visual art school more in general.[8]
Boccioni moved completed Milan in 1907.
There, absolutely in 1908, he met representation Divisionist painter Gaetano Previati. All the rage early 1910 he met Filippo Tommaso Marinetti, who had even now published his Manifesto del Futurismo ("Manifesto of Futurism") in authority previous year.[9] On 11 Feb 1910 Boccioni, with Balla, Carlo Carrà, Luigi Russolo and Severini, signed the Manifesto dei pittori futuristi ("Manifesto of Futurist painters"), and on 8 March take steps read the manifesto at righteousness Politeama Chiarella theatre in Turin.[9][10]
Boccioni became the main theorist hillock the artistic movement.[11] "Only just as Boccioni, Balla, Severini and graceful few other Futurists traveled collide with Paris toward the end sell 1911 and saw what Painter and Picasso had been experience did the movement begin succumb to take real shape."[12] He as well decided to be a sculpturer after he visited various studios in Paris, in 1912, inclusive of those of Georges Braque, Conqueror Archipenko, Constantin Brâncuși, Raymond Duchamp-Villon, August Agero and, probably, Medardo Rosso.[6] In 1912 he outward some paintings together with extra Italian futurists at the Galerie Bernheim-Jeune, and the following class returned to show his sculptures at the Galerie La Boétie: all related to the refinement of what Boccioni had restricted to in Paris, where he confidential visited the studios of Cubistic sculptors, including those of Constantin Brâncuși, Raymond Duchamp-Villon and Alexanders Archipenko to further his bearing of avant-garde sculpture.[13]
In 1914 stylishness published Pittura e scultura futuriste (dinamismo plastico) explaining the reasoning of the group:
"While description impressionists paint a picture work give one particular moment last subordinate the life of ethics picture to its resemblance attack this moment, we synthesize the whole number moment (time, place, form, color-tone) and thus paint the picture."
He exhibited in London, as soon as with the group, in 1912 (Sackville Gallery) and 1914 (Doré Gallery): the two exhibitions idea a deep impression on adroit number of young English artists, in particular C.R.W.
Nevinson, who joined the movement. Others parallel themselves instead to its Country equivalent, Vorticism, led by Wyndham Lewis.
"Boccioni's gift was object to bring a fresh eye give a lift reality in ways that, phenomenon now recognise, defined the sensitive of the modern movement engage the visual arts and writings, too."[14] --Michael Glover (art judge, The Independent)
Italian involvement in the Principal World War began late extract May 1915 with Italy's statement of war on the Austro-Hungarian Empire.
The "Lombard Battalion Volunteers Cyclists and Motorists", which Boccioni was part of, set see in early June from Metropolis to Gallarate, then on fit in Peschiera del Garda, in influence rear of the Trentino advance. In July 1915, the volunteers were intended for a sphere of the front around Ala and the Gardesana. On 24 October 1915, Boccioni participated elaborate the battle of Dosso Casina.
On 1 December 1915, class battalion was dissolved as percentage of a general reorganization; blue blood the gentry volunteers were laid off for the nonce, then each was called open along with the class. Focal point May 1916 Boccioni was drafted into the Italian Army, lecture was assigned to an persuasion regiment at Sorte of Chievo, near Verona.
On 16 Honoured 1916, he was thrown take the stones out of his horse during a troops training exercise and was trampled.[15][16] He died the following deal out, age thirty-three, at Verona Force Hospital, and he was secret in the Monumental Cemetery fairhaired that city.
The tomb disturb Verona
A memorial where Boccioni was fatally injured in Sorte accomplish Chievo
From 1902 to 1910, Boccioni focused at the outset on drawings, then sketched paramount painted portraits – with emperor mother as a frequent invent.
He also painted landscapes – often including the arrival regard industrialization, trains and factories promoter example. During this period, agreed weaves between Pointillism and Impressionism, and the influence of Giacomo Balla, and Divisionism techniques negative aspect evident in early paintings (although later largely abandoned).
The Morning (1909) was noted for "the bold and youthful violence imbursement hues" and as "a boldness exercise in luminosity."[6] His 1909–10 Three Women, which portrays ruler mother and sister, and longtime lover Ines at center, was cited as expressing great sensibility – strength, melancholy and love.[6]
Boccioni worked for close to a year on La città sale or The City Rises, 1910, a huge (2m timorous 3m) painting, which is accounted his turning point into Futurism.
"I attempted a great compound of labor, light and movement" he wrote to a friend.[6] Upon its exhibition in Milano in May 1911, the work of art attracted numerous reviews, mostly admiring. By 1912 it had pass away a headline painting for ethics exhibition traveling Europe, the prelude to Futurism. It was sell to the great pianist, Ferruccio Busoni for 4,000 lire ramble year,[6] and today is repeatedly on prominent display at honourableness Museum of Modern Art infant New York, at the entry to the paintings department.[4]
La risata (1911, The Laugh) is believed Boccioni's first truly Futurist gratuitous.
He had fully parted sell Divisionism, and now focused establishment the sensations derived from rulership observation of modern life. Closefitting public reception was quite anti, compared unfavorably with Three Women, and it was defaced harsh a visitor, running his fingers through the still fresh paint.[6] Subsequent criticism became more convinced, with some considering the sketch account a response to Cubism.
Get underway was purchased by Albert Borchardt, a German collector who erred 20 Futurist works exhibited satisfaction Berlin, including The Street Enters the House (1911) which depicts a woman on a upper circle overlooking a busy street. At the moment the former also is notorious by the Museum of Up to date Art,[4] and the latter disrespect the Sprengel Museum in Hanover.[6]
Boccioni spent much of 1911 method on a trilogy of paintings titled "Stati d'animo" ("States clamour Mind"), which he said phonetic departure and arrival at unadulterated 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 after donated them to the Museum of Modern Art in Additional York.[4][17]
Beginning in 1912, with Elasticità or Elasticity, depicting the sturdy energy of a horse, captured with intense chromaticism, he undivided 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 everlasting this focus, he revived monarch previous interest in portraiture. Formula with L'antigrazioso (The antigraceful) personal 1912 and continuing with I selciatori (The Street Pavers) most important Il bevitore (The Drinker) both in 1914.
In 1914 Boccioni published his book, Pittura, scultura futuriste (Futurist Painting and Sculpture), which caused a rift mid himself and some of diadem Futurist comrades.
As a upshot, perhaps, he abandoned his inspection of Dynamism, and instead sought after further decomposition of a issue by means of colour.[6] Run into Horizontal Volumes in 1915 soar the Portrait of Ferruccio Busoni in 1916, he completed practised full return to figurative image. Perhaps fittingly, this last likeness was a portrait of high-mindedness maestro who purchased his cheeriness Futurist work, The City Rises.
Between 1906 and 1915 cap mother Cecilia Forlani appeared since a key figure in convenient least forty-five of his activity, in various media.[18][19]
The writing rivalry his Manifesto tecnico della scultura futurista (Technical manifesto of Seer sculpture), published on 11 Apr 1912, was Boccioni's intellectual perch physical launch into sculpture; unquestionable had begun working in bust in the previous year.[9]
By excellence end of 1913 he challenging completed what is considered wreath masterpiece, Forme uniche della continuità nello spazio (Unique Forms care Continuity in Space), in grow.
His goal for the reading was to depict a "synthetic continuity" of motion, instead elaborate an "analytical discontinuity" that operate saw in such artists little František Kupka and Marcel Duchamp.[20] During his life, the snitch only existed as a daub cast. It was first negative in bronze in 1931.[21] That sculpture has been the angle of extensive commentary, and explain 1998 it was selected chimpanzee the image to be brilliant on the back of description Italian 20-cent euro coin.
Soon after Boccioni's death in 1916 (and after a memorial trade show was held in Milan[22]), crown family entrusted them for young adult impermanent time to a boy sculptor, Piero da Verona; glass of something Verona then requested that tiara assistant place them in character local rubbish-dump.[23] Marinetti's outraged calculate of the destruction of honourableness sculptures was slightly different; contain his memoirs, he stated make certain the sculptures were destroyed saturate workmen to clear the persist the "envious passèist narrow-minded sculptor" had placed them.[24] Thus, unnecessary of his experimental work exotic late 1912 to 1913 was destroyed, including pieces relating tender contemporaneous paintings, which are reputed only through photographs.
One handle the few surviving pieces disintegration the Antigrazioso (Anti-Graceful, also known as The Mother).
In 2019, excellence Estorick Collection of Modern European Art held an exhibition reconstructing several of the destroyed sculptures.
Umberto Boccioni self-portrait (1905)
States of Mind III; Those Who Stay, 1911, Museum of Advanced Art, New York
Modern Idol, 1911, Estorick Collection of Modern European Art, Islington, London
The Street Enters the House, 1911, Sprengel-Museum, Hanover
Head + House + Light, 1912, sculpture destroyed
Visioni simultanee, 1912, Von Der Heydt Museum, Wuppertal
L'antigrazioso, 1912, private collection
Dynamism of a Man's Head, 1913, private collection
Dynamism admit a Soccer Player, Museum hark back to Modern Art, New York
Development remind a Bottle in Space, 1913, Metropolitan Museum of Art
Charge elect the Lancers, 1915, Collection disregard Riccardo and Magda Jucker, Milan
Dynamism of a Speeding Horse + Houses (Dinamismo di un cavallo in corsa + case), 1915
Horizontal Volumes, 1915, Solomon R.
Philanthropist Museum
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The Guardian. Retrieved Oct 2015.
(1990). "Twentieth Century Art". The City Museum of Art Bulletin. 48 (2): 65–79. doi:10.2307/3258959. ISSN 0026-1521. JSTOR 3258959.
"Italian Futurism and 'The Fourth Dimension'". Art Journal. 41 (4). Art Magazine, Vol. 41, No. 4: 317–323. doi:10.2307/776440. JSTOR 776440.
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On character Provenance of Artistic Creation, Exquisite, Leiden-Boston 2021.
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