Fortunato Depero è stato un pittore, scultore e pubblicitario italiano.
Fu uno dei firmatari del manifesto dell'aeropittura e rappresentante del cosiddetto "secondo futurismo".
“Quando vivrò di quello che ho pensato ieri, comincerò ad avere paura di chi mi copia.”
Origine: Da Corriere d'America, 1929; Citato in Gabriella Belli, La Casa del Mago. [Le Arti applicate nell'opera di Fortunato Depero 1920-1942], Catalogo Mostra, Museo d'Arte Moderna e Contemporanea di Trento e Rovereto, Edizioni Charta, Milano-Firenze, 1992, p. 13. ISBN 88-86158-09-2
Origine: So I think, so I paint (1947), p. 112
The Futurist Reconstruction of the Universe http://www.italianfuturism.org/manifestos/futurist-reconstruction-of-the-universe/ Manifesto with Giacomo Balla, in: Direzione del Movimento Futurista, March 11, 1915. Translation by Caroline Tisdall, 1973. <br class="br">Contesto: We Futurists, Balla and Depero, seek to realize this total fusion in order to reconstruct the universe by making it more joyful, in other words by an integral re-creation. 'We will give skeleton and flesh to the invisible, the impalpable, the imponderable and the imperceptible. We will find abstract equivalents for all the forms and elements of the universe, and then well will combine them according to the caprice of our inspiration, to shape plastic complexes which we will set in motion.
“The art of the future will be largely advertising.”
Depero (1931) "Futurism and Adverticing Art"; Partly quoted in: Jonathon Keats, " Fortunato Depero's Italian Futurism http://www.forbes.com/forbes-life-magazine/2009/0608/art-fortunato-depero-italian-futurism.html," forbes.com, 2009/06/08 <br class="br">Contesto: The art of the future will be largely advertising.<br>that bold and unimpeachable lesson I have learned from museums and great works from the past—<br>all art for centuries past has been marked by advertising purposes: the exaltation of the warrior, the saint; documentation of deeds, ceremonies, and historical personages depicted at their victories, with their symbols, in the regalia of command and splendor—<br>even their highest products were simultaneously meant to glorify something: architecture, royal palaces, thrones, drapery, halberds, standards, heraldry and arms of every sort—<br>there is scarcely an ancient work that doesn’t have advertising motifs, a garland with a trophy, with weapons of war and victory, all stamped with seals and the original symbols of clans, all with the self-celebrating freedom of ultra-advertising
Origine: So I think, so I paint (1947), p. 14; Cited in: Maurizio Scudiero, David Leiber, Fortunato Depero (1986) Depero futurista & New York: il futurismo e l'arte pubblicitaria, p. 112
Depero (1931) "Futurism and Adverticing Art"; Republished in: Futurism : an anthology http://modernistarchitecture.files.wordpress.com/2011/09/ebooksclub-org__futurism__an_anthology__henry_mcbride_series_in_modernism_.pdf. edited by Lawrence Rainey, Christine Poggi, and Laura Wittman, (2011), p. 290
p 97.
So I think, so I paint (1947)
