Futurism was an artistic and social movement that originated in Italy in the early 20th century. It emphasized and glorified themes associated with contemporary concepts of the future, including speed, technology, youth and violence, and objects such as the car, the airplane and the industrial city. It was largely an Italian phenomenon, though there were parallel movements in Russia, England and elsewhere. The Futurists practiced in every medium of art, including painting, sculpture, ceramics, graphic design, industrial design, interior design, theatre, film, fashion, textiles, literature, music, architecture and even gastronomy. Key figures of the movement include the Italians Filippo Tommaso Marinetti, Umberto Boccioni, Carlo Carrà, Gino Severini, Giacomo Balla, Antonio Sant'Elia, Tullio Crali and Luigi Russolo, and the Russians Natalia Goncharova, Velimir Khlebnikov, and Vladimir Mayakovsky. Important works include its seminal piece of the literature, Marinetti's ''Manifesto of Futurism'', as well as Boccioni's sculpture, ''Unique Forms of Continuity in Space'', and Balla's painting, ''Abstract Speed + Sound'' (pictured). Futurism influenced art movements such as Art Deco, Constructivism, Surrealism, Dada, and to a greater degree, Rayonism and Vorticism.

Futurism in Italy 1909-1916

The founder of Futurism and its most influential personality was the Italian writer Filippo Tommaso Marinetti. Marinetti launched the movement in his ''Futurist Manifesto'', which he published for the first time on 5 February 1909 in ''La gazzetta dell'Emilia'', an article then reproduced in the French daily newspaper ''Le Figaro'' on 20 February 1909. He was soon joined by the painters Umberto Boccioni, Carlo Carrà, Giacomo Balla, Gino Severini and the composer Luigi Russolo.

Marinetti expressed a passionate loathing of everything old, especially political and artistic tradition. "We want no part of it, the past", he wrote, "we the young and strong ''Futurists!''" The Futurists admired speed, technology, youth and violence, the car, the airplane and the industrial city, all that represented the technological triumph of humanity over nature, and they were passionate nationalists. They repudiated the cult of the past and all imitation, praised originality, "however daring, however violent", bore proudly "the smear of madness", dismissed art critics as useless, rebelled against harmony and good taste, swept away all the themes and subjects of all previous art, and gloried in science.

Publishing manifestos was a feature of Futurism, and the Futurists (usually led or prompted by Marinetti) wrote them on many topics, including painting, architecture, religion, clothing and cooking.

The founding manifesto did not contain a positive artistic programme, which the Futurists attempted to create in their subsequent ''Technical Manifesto of Futurist Painting''. This committed them to a "universal dynamism", which was to be directly represented in painting. Objects in reality were not separate from one another or from their surroundings: "The sixteen people around you in a rolling motor bus are in turn and at the same time one, ten four three; they are motionless and they change places. ... The motor bus rushes into the houses which it passes, and in their turn the houses throw themselves upon the motor bus and are blended with it."

The Futurist painters were slow to develop a distinctive style and subject matter. In 1910 and 1911 they used the techniques of Divisionism, breaking light and color down into a field of stippled dots and stripes, which had been originally created by Giovanni Segantini and others. Later, Severini, who lived in Paris, attributed their backwardness in style and method at this time to their distance from Paris, the centre of avant garde art. Severini was the first to come into contact with Cubism and following a visit to Paris in 1911 the Futurist painters adopted the methods of the Cubists. Cubism offered them a means of analysing energy in paintings and expressing dynamism.

They often painted modern urban scenes. Carrà's ''Funeral of the Anarchist Galli'' (1910–11) is a large canvas representing events that the artist had himself been involved in, in 1904. The action of a police attack and riot is rendered energetically with diagonals and broken planes. His ''Leaving the Theatre'' (1910–11) uses a Divisionist technique to render isolated and faceless figures trudging home at night under street lights.

Boccioni's ''The City Rises'' (1910) represents scenes of construction and manual labour with a huge, rearing red horse in the centre foreground, which workmen struggle to control. His ''States of Mind'', in three large panels, ''The Farewell'', ''Those who Go'', and ''Those Who Stay'', "made his first great statement of Futurist painting, bringing his interests in Bergson, Cubism and the individual's complex experience of the modern world together in what has been described as one of the 'minor masterpieces' of early twentieth century painting." The work attempts to convey feelings and sensations experienced in time, using new means of expression, including "lines of force", which were intended to convey the directional tendencies of objects through space, "simultaneity", which combined memories, present impressions and anticipation of future events, and "emotional ambience" in which the artist seeks by intuition to link sympathies between the exterior scene and interior emotion.

Boccioni's intentions in art were strongly influenced by the ideas of Bergson, including the idea of intuition, which Bergson defined as a simple, indivisible experience of sympathy through which one is moved into the inner being of an object to grasp what is unique and ineffable within it. The Futurists aimed through their art thus to enable the viewer to apprehend the inner being of what they depicted. Boccioni developed these ideas at length in his book, ''Pittura scultura Futuriste: Dinamismo plastico'' (''Futurist Painting Sculpture: Plastic Dynamism'') (1914).

Balla's [''Dynamism of a Dog on a Leash''] (1912) exemplifies the Futurists' insistence that the perceived world is in constant movement. The painting depicts a dog whose legs, tail and leash — and the feet of the person walking it — have been multiplied to a blur of movement. It illustrates the precepts of the ''Technical Manifesto of Futurist Painting'' that, "On account of the persistency of an image upon the retina, moving objects constantly multiply themselves; their form changes like rapid vibrations, in their mad career. Thus a running horse has not four legs, but twenty, and their movements are triangular." His ''Rhythm of the Bow'' (1912) similarly depicts the movements of a violinist's hand and instrument, rendered in rapid strokes within a triangular frame.

The adoption of Cubism determined the style of much subsequent Futurist painting, which Boccioni and Severini in particular continued to render in the broken colors and short brush-strokes of divisionism. But Futurist painting differed in both subject matter and treatment from the quiet and static Cubism of Picasso, Braque and Gris. Although there were Futurist portraits (e.g. Carrà's ''Woman with Absinthe'' (1911), Severini's ''Self-Portrait'' (1912), and Boccioni's ''Matter'' (1912)), it was the urban scene and vehicles in motion that typified Futurist painting — e.g. Boccioni's ''The Street Enters the House'' (1911), Severini's ''Dynamic Hieroglyph of the Bal Tabarin'' (1912), and Russolo's ''Automobile at Speed'' (1913)

In 1912 and 1913, Boccioni turned to sculpture to translate into three dimensions his Futurist ideas. In ''Unique Forms of Continuity in Space'' (1913) he attempted to realise the relationship between the object and its environment, which was central to his theory of "dynamism". The sculpture represents a striding figure, cast in bronze posthumously and exhibited in the Tate Modern. (It now appears on the national side of Italian 20 eurocent coins). He explored the theme further in ''Synthesis of Human Dynamism'' (1912), ''Speeding Muscles'' (1913) and ''Spiral Expansion of Speeding Muscles'' (1913). His ideas on sculpture were published in the ''Technical Manifesto of Futurist Sculpture'' In 1915 Balla also turned to sculpture making abstract "reconstructions", which were created out of various materials, were apparently moveable and even made noises. He said that, after making twenty pictures in which he had studied the velocity of automobiles, he understood that "the single plane of the canvas did not permit the suggestion of the dynamic volume of speed in depth ... I felt the need to construct the first dynamic plastic complex with iron wires, cardboard planes, cloth and tissue paper, etc."

In 1914, personal quarrels and artistic differences between the Milan group, around Marinetti, Boccioni, and Balla, and the Florence group, around Carrà, Ardengo Soffici (1879–1964) and Giovanni Papini (1881–1956), created a rift in Italian Futurism. The Florence group resented the dominance of Marinetti and Boccioni, whom they accused of trying to establish "an immobile church with an infallible creed", and each group dismissed the other as ''passéiste''.

Futurism had from the outset admired violence and was intensely patriotic. The ''Futurist Manifesto'' had declared, "We will glorify war — the world's only hygiene — militarism, patriotism, the destructive gesture of freedom-bringers, beautiful ideas worth dying for, and scorn for woman." Although it owed much of its character and some of its ideas to radical political movements, it was not much involved in politics until the autumn of 1913. Then, fearing the re-election of Giolitti, Marinetti published a political manifesto. In 1914 the Futurists began to campaign actively against the Austro-Hungarian empire, which still controlled some Italian territories, and Italian neutrality between the major powers. In September, Boccioni, seated in the balcony of the Teatro dal Verme in Milan, tore up an Austrian flag and threw it into the audience, while Marinetti waved an Italian flag. When Italy entered the First World War in 1915, many Futurists enlisted.

The outbreak of war disguised the fact that Italian Futurism had come to an end. The Florence group had formally acknowledged their withdrawal from the movement by the end of 1914. Boccioni produced only one war picture and was killed in 1916. Severini painted some significant war pictures in 1915 (e.g. ''War'', ''Armored Train'', and ''Red Cross Train''), but in Paris turned towards Cubism and post-war was associated with the Return to Order.

After the war, Marinetti revived the movement. This revival was called ''il secondo Futurismo'' (Second Futurism) by writers in the 1960s. The art historian Giovanni Lista has classified Futurism by decades: “Plastic Dynamism” for the first decade, “Mechanical Art” for the 1920s, “Aeroaesthetics” for the 1930s.

Futurist architecture

The Futurist architect Antonio Sant'Elia expressed his ideas of modernity in his drawings for ''La Città Nuova'' (The New City) (1912–1914). This project was never built and Sant'Elia was killed in the First World War, but his ideas influenced later generations of architects and artists. The city was a backdrop onto which the dynamism of Futurist life is projected. The city had replaced the landscape as the setting for the exciting modern life. They wanted to see the bare bones, the structure behind things as part of the aesthetic quality. Sant'Elia aimed to create a city as an efficient, fast-paced machine. He manipulates light and shape to emphasize the sculptural quality of his projects. Baroque curves and encrustations had been stripped away to reveal the essential lines of forms unprecedented from their simplicity. In the new city, every aspect of life was to be rationalized and centralised into one great powerhouse of energy. The city was not meant to last, and each subsequent generation was expected to build their own city rather that inheriting the architecture of the past.

Futurist architects were sometimes at odds with the Fascist state's tendency towards Roman imperial-classical aesthetic patterns. Nevertheless, several Futurist buildings were built in the years 1920–1940, including public buildings such as railway stations, maritime resorts and post offices. Examples of Futurist buildings still in use today are Trento's railway station, built by Angiolo Mazzoni, and the Santa Maria Novella station in Florence. The Florence station was designed in 1932 by the ''Gruppo Toscano'' (Tuscan Group) of architects, which included Giovanni Michelucci and Italo Gamberini, with contributions by Mazzoni.

Russian Futurism

Russian Futurism was a movement of literature and the visual arts. The poet Vladimir Mayakovsky was a prominent member of the movement. Visual artists such as David Burlyuk, Mikhail Larionov, Natalia Goncharova and Kazimir Malevich found inspiration in the imagery of Futurist writings and were poets themselves. Other painters adopting Futurism included Velimir Khlebnikov and Aleksey Kruchenykh. Poets and painters collaborated on theatre production such as the Futurist opera ''Victory Over the Sun'', with texts by Kruchenykh and sets by Malevich.

The main style of painting was Cubo-Futurism, adopted in 1913 when Aristarkh Lentulov returned from Paris and exhibited his paintings in Moscow. Cubo-Futurism combines the forms of Cubism with the representation of movement. Like their Italian predecessors the Russian Futurists were fascinated with dynamism, speed and the restlessness of modern urban life.

The Russian Futurists sought controversy by repudiating the art of the past, saying that Pushkin and Dostoevsky should be "heaved overboard from the steamship of modernity". They acknowledged no authority and professed not to owe anything even to Marinetti, whose principles they had earlier adopted, obstructing him when he came to Russia to proselytize in 1914.

The movement began to decline after the revolution of 1917. Some Futurists died, others emigrated. Mayakovsky and Malevich became part of the Soviet establishment and the Agitprop movement of the 1920s. Khlebnikov and others were persecuted.

Futurism in music

Futurist music rejected tradition and introduced experimental sounds inspired by machinery. It influenced several 20th century composers.

Francesco Balilla Pratella joined the Futurist movement in 1910 and wrote a ''Manifesto of Futurist Musicians'' in which he appealed to the young, as had Marinetti, because only they could understand what he had to say. According to Pratella, Italian music was inferior to music abroad. He praised the "sublime genius" of Wagner and saw some value in the work of other contemporary composers, for example Richard Strauss, Elgar, Mussorgsky, and Sibelius. By contrast, the Italian symphony was dominated by opera in an "absurd and anti-musical form". The conservatories encouraged backwardness and mediocrity. The publishers perpetuated mediocrity and the domination of music by the "rickety and vulgar" operas of Puccini and Umberto Giordano. The only Italian Pratella could praise was his teacher Pietro Mascagni, because he had rebelled against the publishers and attempted innovation in opera, but even Mascagni was too traditional for Pratella's tastes. In the face of this mediocrity and conservatism, Pratella unfurled "the red flag of Futurism, calling to its flaming symbol such young composers as have hearts to love and fight, minds to conceive, and brows free of cowardice".

Luigi Russolo (1885–1947) wrote ''The Art of Noises'' (1913), an influential text in 20th century musical aesthetics. Russolo used instruments he called ''intonarumori'', which were acoustic noise generators that permitted the performer to create and control the dynamics and pitch of several different types of noises. Russolo and Marinetti gave the first concert of Futurist music, complete with ''intonarumori'', in 1914.

Futurism was one of several 20th century movements in art music that paid homage to, included or imitated machines. Feruccio Busoni has been seen as anticipating some Futurist ideas, though he remained wedded to tradition. Russolo's ''intonarumori'' influenced Stravinsky, Arthur Honegger, George Antheil, Edgar Varèse, Stockhausen and John Cage. In Pacific 231, Honegger imitated the sound of a steam locomotive. There are also Futurist elements in Prokofiev's ''The Steel Step''.

Most notable in this respect, however, is Antheil. His fascination with machinery is evident in his ''Airplane Sonata'', ''Death of the Machines'', and the 30-minute ''Ballet Mécanique''. The ''Ballet Mécanique'' was originally intended to accompany an experimental film by Fernand Léger, but the musical score is twice the length of the film and now stands alone. The score calls for a percussion ensemble consisting of three xylophones, four bass drums, a tam-tam, three airplane propellers, seven electric bells, a siren, two "live pianists", and sixteen synchronized player pianos. Antheil's piece was the first to synchronize machines with human players and to exploit the difference between what machines and humans can play.

Futurism in literature

Futurism as a literary movement made its official debut with F.T. Marinetti's ''Manifesto of Futurism'' (1909), as it delineated the various ideals Futurist poetry should strive for. Poetry, the predominate medium of Futurist literature, can be characterized by its unexpected combinations of images and hyper-conciseness (not to be confused with the actual length of the poem). The Futurists called their style of poetry ''parole in libertà'' (word autonomy) in which all ideas of meter were rejected and the word became the main unit of concern. In this way, the Futurists managed to create a new language free of syntax punctuation, and metrics that allowed for free expression.

Theater also has an important place within the Futurist universe. Works in this genre have scenes that are few sentences long, have an emphasis on nonsensical humor, and attempt to discredit the deep rooted traditions via parody and other devaluation techniques.

Futurism in film

When interviewed about her favorite film of all times, famed movie critic Pauline Kael stated that the director Dimitri Kirsanoff, in his silent experimental film ''Ménilmontant'' "developed a technique that suggests the movement known in painting as Futurism".

Futurism in the 1920s and 1930s

Many Italian Futurists supported Fascism in the hope of modernizing a country divided between the industrialising north and the rural, archaic South. Like the Fascists, the Futurists were Italian nationalists, radicals, admirers of violence, and were opposed to parliamentary democracy. Marinetti founded the Futurist Political Party (''Partito Politico Futurista'') in early 1918, which was absorbed into Benito Mussolini's ''Fasci di combattimento'' in 1919, making Marinetti one of the first members of the National Fascist Party. He opposed Fascism's later exaltation of existing institutions, calling them "reactionary", and walked out of the 1920 Fascist party congress in disgust, withdrawing from politics for three years; but he supported Italian Fascism until his death in 1944. The Futurists' association with Fascism after its triumph in 1922 brought them official acceptance in Italy and the ability to carry out important work, especially in architecture. After the Second World War, many Futurist artists had difficulty in their careers because of their association with a defeated and discredited regime.

Marinetti sought to make Futurism the official state art of Fascist Italy but failed to do so. Mussolini was personally uninterested in art and chose to give patronage to numerous styles and movements in order to keep artists loyal to the regime. Opening the exhibition of art by the Novecento Italiano group in 1923 he said, "I declare that it is far from my idea to encourage anything like a state art. Art belongs to the domain of the individual. The state has only one duty: not to undermine art, to provide humane conditions for artists, to encourage them from the artistic and national point of view." Mussolini's mistress, Margherita Sarfatti, who was as able a cultural entrepreneur as Marinetti, successfully promoted the rival Novecento group, and even persuaded Marinetti to sit on its board. Although in the early years of Italian Fascism modern art was tolerated and even embraced, towards the end of the 1930s, right-wing Fascists introduced the concept of "degenerate art" from Germany to Italy and condemned Futurism.

Marinetti made numerous moves to ingratiate himself with the regime, becoming less radical and avant garde with each. He moved from Milan to Rome to be nearer the centre of things. He became an academician despite his condemnation of academies, married despite his condemnation of marriage, promoted religious art after the Lateran Treaty of 1929 and even reconciled himself to the Catholic Church, declaring that Jesus was a Futurist.

Although Futurism became identified with Fascism, it had leftist and anti-Fascist supporters. They tended to oppose Marinetti's artistic and political direction of the movement, and in 1924 the socialists, communists and anarchists walked out of the Milan Futurist Congress. The anti-Fascist voices in Futurism were not completely silenced until the annexation of Abyssinia and the Italo-German Pact of Steel in 1939. This association of Fascists, socialists and anarchists in the Futurist movement, which may seem odd today, can be understood in terms of the influence of George Sorel, whose ideas about the regenerative effect of political violence had adherents right across the political spectrum.

Futurism expanded to encompass many artistic domains and ultimately included painting, sculpture, ceramics, graphic design, industrial design, interior design, theatre design, textiles, drama, literature, music and architecture.

Aeropainting

Aeropainting (''aeropittura'') was a major expression of the second generation of Futurism beginning in 1926. The technology and excitement of flight, directly experienced by most aeropainters, offered aeroplanes and aerial landscape as new subject matter. Aeropainting was varied in subject matter and treatment, including realism (especially in works of propaganda), abstraction, dynamism, quiet Umbrian landscapes, portraits of Mussolini (e.g. Dottori's ''Portrait of il Duce''), devotional religious paintings and decorative art.

Aeropainting was launched in a manifesto of 1929, ''Perspectives of Flight'', signed by Benedetta, Depero, Dottori, Fillìa, Marinetti, Prampolini, Somenzi and Tato (Guglielmo Sansoni). The artists stated that "The changing perspectives of flight constitute an absolutely new reality that has nothing in common with the reality traditionally constituted by a terrestrial perspective" and that "Painting from this new reality requires a profound contempt for detail and a need to synthesise and transfigure everything." Crispolti identifies three main "positions" in aeropainting: "a vision of cosmic projection, at its most typical in Prampolini's 'cosmic idealism' ... ; a 'reverie' of aerial fantasies sometimes verging on fairy-tale (for example in Dottori ...); and a kind of aeronautical documentarism that comes dizzyingly close to direct celebration of machinery (particularly in Crali, but also in Tato and Ambrosi)."

Eventually there were over a hundred aeropainters. Major figures include Fortunato Depero, Enrico Prampolini, and Gerardo Dottori. Tullio Crali, who continued to produce ''aeropittura'' through the 1980s.

The legacy of Futurism

Futurism influenced many other twentieth century art movements, including Art Deco, Vorticism, Constructivism, Surrealism and Dada. Futurism as a coherent and organized artistic movement is now regarded as extinct, having died out in 1944 with the death of its leader Marinetti, and Futurism was, like science fiction, in part overtaken by 'the future'.

Nonetheless the ideals of futurism remain as significant components of modern Western culture; the emphasis on youth, speed, power and technology finding expression in much of modern commercial cinema and culture. Ridley Scott consciously evoked the designs of Sant'Elia in ''Blade Runner''. Echoes of Marinetti's thought, especially his "dreamt-of metallization of the human body", are still strongly prevalent in Japanese culture, and surface in manga/anime and the works of artists such as Shinya Tsukamoto, director of the "''Tetsuo''" (lit. "Ironman") films; Marinetti's legacy is also obvious in philosophical ingredients of transhumanism, especially in Europe. Futurism has produced several reactions, including the literary genre of cyberpunk — in which technology was often treated with a critical eye — whilst artists who came to prominence during the first flush of the Internet, such as Stelarc and Mariko Mori, produce work which comments on futurist ideals.

A revival of sorts of the Futurist movement began in 1988 with the creation of the Neo-Futurist style of theatre in Chicago, which utilizes Futurism's focus on speed and brevity to create a new form of immediate theatre. Currently, there are active Neo-Futurist troupes in Chicago, New York, and Montreal.

Futurist artists

Giacomo Balla, Italian painter

Umberto Boccioni, Italian painter, sculptor

Anton Giulio Bragaglia Italian

Baldo Savonari, Italian painter

David Burliuk, Russian painter

Vladimir Burliuk, Russian book illustrator

Mario Carli Italian poet

Carlo Carrà, Italian painter

Ambrogio Casati, Italian painter

Primo Conti, Italian artist

Tullio Crali Italian artist

Luigi De Giudici, Italian painter

Mikhail Gnesin, Russian composer

Alexander Goedicke, Russian composer

Natalia Goncharova, Russian painter

Fortunato Depero, Italian painter

Nikolay Diulgheroff, Bulgarian painter, designer and architect

Gerardo Dottori, Italian painter, poet and art critic

Robert Falk, Russian painter

Fillìa, Italian artist

Vasily Kamensky, Russian poet

Pyotr Konchalovsky, Russian painter

Aleksei Kruchenykh, Russian poet

Mikhail Larionov, Russian painter

Aristarkh Lentulov, Russian painter

Filippo Tommaso Marinetti, Italian poet, playwright, novelist, journalist & theorist

Mikhail Matyushin, Russian painter and composer

Vladimir Mayakovsky, Russian poet & designer

Angiolo Mazzoni, Italian architect

Alexander Mosolov, Russian composer

Alexander Osmerkin, Russian painter, graphic artist & stage designer

Aldo Palazzeschi, Italian writer

Giovanni Papini, Italian writer

Lyubov Popova, Russian painter

Luigi Russolo, Italian painter, musician, instrument builder

Valentine de Saint-Point, French performer, theoretician, writer

Antonio Sant'Elia, Italian architect

Jules Schmalzigaug, Belgian painter

Gino Severini, Italian painter

Igor Severyanin, Russian poet

Mario Sironi, Italian painter

Ardengo Soffici, Italian painter and writer

See also

Musica Futurista

Cubo-Futurism

Futurology

Rayonism (also as ''Rayonnism'')

Universal Flowering

Vorticism

Neo-Futurism

Russian futurism

Art manifesto

Futurist meals

Googie architecture

Raygun Gothic

Further reading

Conversi, Daniele 2009 ‘Art, Nationalism and War: Political Futurism in Italy (1909–1944)’, Sociology Compass, 3/1 (2009): 92– 117

D'Orsi Angelo 2009 'Il Futurismo tra cultura e politica. Reazione o rivoluzione?'. Editore: Salerno

Gentile, Emilo. 2003. ''The Struggle for Modernity: Nationalism, Futurism, and Fascism.'' Praeger Publishers. ISBN 0-275-97692-0

''I poeti futuristi'', dir. by M. Albertazzi, w. essay of G. Wallace and M. Pieri, Trento, La Finestra editrice, 2004. ISBN 88-88097-82-1

John Rodker (1927). ''The future of futurism.'' New York: E.P. Dutton & company.

Lawrence Rainey, Christine Poggi, and Laura Wittman, eds., ''Futurism: An Anthology '' (Yale, 2009).

''Futurism & Sport Design'', edited by M. Mancin, Montebelluna-Cornuda, Antiga Edizioni, 2006. ISBN 88-88997-29-6

''Manifesto of Futurist Musicians'' by Francesco Balilla Pratella

Donatella Chiancone-Schneider (editor) "Zukunftsmusik oder Schnee von gestern? Interdisziplinarität, Internationalität und Aktualität des Futurismus", Cologne 2010 Congress papers

References

External links

Exhibition Futurism and After: David Burliuk, 1882-1967 The Ukrainian Museum in New York, USA. October 31, 2008 - March 1, 2009

Italian Futurism News

Centenary exhibition at the Quirinale, Rome, opening 20 February 2009

Futurism: Manifestos and Other Resources

The Futurist Moment: Howlers, Exploders, Crumplers, Hissers, and Scrapers by Kenneth Goldsmith

1910 Futurist Movement Manifesto

Encyclopedia Britannica Futurism entry

The influence of Futurism on sport design

The Chicago Neo-Futurists

The New York Neo-Futurists

VIVA IL FUTURISMO! Scientific, artistic and multimedial contributions about Futurism

Artyfacts

* Category:Art movements Category:Avant-garde art Category:Modern art Futurism Category:Edwardian era

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Coordinates	12°2′36″N77°1′42″N
name	Luigi Russolo
background	non_vocal_instrumentalist
birth name	Luigi Russolo
born	April 30, 1883
died	February 04, 1947
genre	Experimental music, Avant-garde
occupation	"Machine music" pioneerFuturist painterCustom instrument builder
years active	1901-1947
associated acts	}}

Luigi Russolo (30 April 1883 – 4 February 1947) was an Italian Futurist painter and composer, and the author of the manifesto ''The Art of Noises'' (1913). He is often regarded as one of the first noise music experimental composers with his performances of "noise concerts" in 1913-14 and then again after World War I, notably in Paris in 1921. He is also one of the first theorists of electronic music.

Biography

Luigi Russolo was perhaps the first noise artist. His 1913 manifesto, ''L'Arte dei Rumori'', translated as ''The Art of Noises'', stated that the industrial revolution had given modern men a greater capacity to appreciate more complex sounds. Russolo found traditional melodic music confining and envisioned noise music as its future replacement.

The ''Art of Noises'' classified "noise-sound" into six groups: # Roars, Thunderings, Explosions, Hissing roars, Bangs, Booms # Whistling, Hissing, Puffing # Whispers, Murmurs, Mumbling, Muttering, Gurgling # Screeching, Creaking, Rustling, Buzzing, Crackling, Scraping # Noises obtained by beating on metals, woods, skins, stones, pottery, etc. # Voices of animals and people, Shouts, Screams, Shrieks, Wails, Hoots, Howls, Death rattles, Sobs

He designed and constructed a number of noise-generating devices called Intonarumori and assembled a noise orchestra to perform with them. A performance of his ''Gran Concerto Futuristico'' (1917) was met with strong disapproval and violence from the audience, as Russolo himself had predicted. None of his intoning devices have survived, though recently some have been reconstructed and used in performances. Although Russolo's works bear little resemblance to modern noise music, his pioneering creations cannot be overlooked as an essential stage in the evolution of this genre, and many artists are now familiar with his manifesto.

At first the art of music sought purity, limpidity and sweetness of sound. Then different sounds were amalgamated, care being taken, however, to caress the ear with gentle harmonies. Today music, as it becomes continually more complicated, strives to amalgamate the most dissonant, strange and harsh sounds. In this way we come ever closer to ''noise-sound.''

Antonio Russolo, another Italian Futurist composer and Luigi's brother, produced a recording of two works featuring the original Intonarumori. The 1921 made phonograph with works entitled ''Corale'' and ''Serenata'', combined conventional orchestral music set against the famous noise machines and is the only surviving sound recording.

Russolo and Marinetti gave the first concert of Futurist music, complete with ''intonarumori'', in April 1914 (causing a riot). The program comprised four "networks of noises" with the following titles:

''Awakening of Capital.''

''Meeting of cars and aeroplanes''

''Dining on the terrace of the Casino'' and

''Skirmish in the oasis.''

All of his instruments were destroyed in World War II during the bombings on Paris. In 2009 replicas were being made for the Performa Festival in New York City, where his musical pieces were played.

See also

Musica Futurista

Experimental music

Custom-made instruments

List of custom-made instrument builders

Noise music

Futurism

List of noise musicians

Further Reading & Audio Clips

Further reading

">Luigi Russolo's "The Art of Noises"

Audio

mp3 audio files of the music of Luigi Russolo on UbuWeb

Three audio clips by Luigi Russolo: ''Serenata'', ''Corale'' and ''Risveglio di una città''. (Thereminvox.com)

Modern recordings of noise intoners and a fragment of Luigi Russolo's key Futurist

References

Ian Chilvers & John Glaves-Smith, ''A Dictionary of Modern and Contemporary Art''. Oxford University Press

External links

''Intonarumori'': history, working and photographs of Russolo's Intonarumori (noise makers) at thereminvox.com

Media Art Net | Russolo, Luigi: Intonarumori (at medienkunstnetz.de)

Peggy Guggenheim Collection: Luigi Russolo

">"Art of Noise" at zakros.com

JahSonic.com: Luigi Russolo

Bob Osborn's Futurism: Luigi Russolo

Prof. Russolo & His Noise Intoners

mp3 audio files of the noise music of Luigi Russolo on UbuWeb

Russolo's Intonarumori

Footnotes

Category:Italian musical instrument makers Category:Italian composers Category:20th-century classical composers Category:Italian painters Category:Modern painters Category:Italian Futurist painters Category:Futurist composers Category:Experimental musicians Category:Experimental composers Category:1885 births Category:1947 deaths Category:People from the Province of Venice Category:Inventors of musical instruments

ca:Luigi Russolo de:Luigi Russolo es:Luigi Russolo fr:Luigi Russolo it:Luigi Russolo lv:Luidži Rusolo nl:Luigi Russolo ja:ルイージ・ルッソロ pl:Luigi Russolo pt:Luigi Russolo ru:Руссоло, Луиджи simple:Luigi Russolo sv:Luigi Russolo