Three columns opening of the first page of the Paris daily Le Figaro, February 20, 1909, were occupied by a great article, entitled The Futurisme. With the effe capital, how should the name of something very important. There followed an enthusiastic presentation of the movement and his manifesto in full until the signing of Filippo Tommaso Marinetti. That newspaper was the most influential and popular in Paris, circulated in the sphere of power, embassies and came abroad. Among his signature had read the names of Emile Zola, Marcel Proust, André Gide, George Sand, Guy de Maupassant, Octave Mirbeau, Théophile Gautier. The manifesto of futurism was released two weeks ago (February 5, 1909), but in Italy, for the first publication, he had to content themselves with the daily chronicle of a literary Bologna minor, "La Gazzetta dell'Emilia (Emilia, the package leader was already "Il Resto del Carlino). The noise will come next, all the Italian newspapers.
Filippo Tommaso Marinetti was from Alexandria in Egypt, where he was born December 22, 1876 because his father working there, the profession Legal, who had made the family rich. But who was really Marinetti? The theory of a new art? The precursor of the avant garde of the '900? A revolutionary? A skilled self-promoter? A fraud? Crazy? There was perhaps a bit 'of all these elements. However, the part that has characterized the visual arts of the 900, right in his movement had made in his footsteps, sometimes decisive. This is not meant. Marinetti, we prefer to remember only the extravagant flair. If we want to see the serene cultural link between Marinetti and the beginnings of modern art, we should read the book by Giordano Bruno Guerri, Filippo Tommaso Marinetti. Inventions, adventures and passions of a revolutionary, written without professorial arrogance and darkness, but solidly documented (Mondadori ed., pp. VI-338, € 20). As Marinetti, it may be recalled that the book is not limited to his artistic personality, the founder of Futurism, but also makes known the personal lives and families.
When an idea and a political system they are defeated, you use everything you send to hell has revolved around art, culture, people. That was evident also with the future, because the founder, Marinetti, had match his personal life and politics with a whole season of fascism. Him, then total Cassation, without wanting to know the story. All wound up. He had lost the opportunity to remember that the movement had been active in the most important names in the visual arts of the 900 Italian: Carlo Carrà, Giacomo Balla, Umberto Boccioni, Gino Severini. They were the signatures of the Manifesto of Futurist Painting, which had lifted the image and perspective, introducing the view from several points of view he wanted to express the dynamism. Those rules, in fact, for decades have dominated the visual arts, going well beyond our country because there was even a Hungarian and Russian Futurism. The list of future is not limited to the names we have mentioned. The group of Milanese artists moved to Rome, to found "in the future," and then the third. The names, in various fields, were those of Mario Sironi, Enrico Prampolini, Ardengo Soft, Bruno Munari, the master of new expressions of design and graphics. It was not therefore a fleeting breath, nor was it limited to the arts. It flowed while the history of fascism, more than twenty years for Marinetti. Futurism, he was artistic expression, Marinetti and Mussolini wanted to follow up to Salò. So what? Aspects, for Marinetti, are two: the artistic and political. Life does not quite get to learn it at a table in advance, with calculation and coldness. There are strong passions that can help you choose. Some people feel the need for consistency with itself and with its own past, as it must have been for Marinetti. So it can happen to leave politics to bear witness to fascism dying. Damned for the rest of time. Honest, lively, passionate, broad, scrupulously documented biography is that Giordano Bruno Guerri dedicated to Marinetti. He has brought to light damage. Twice damned, art and politics.
Nico Perrone
Professor, University of Bari
source: noreporter.org
0 comments:
Post a Comment