Frasi di Umberto Boccioni (59 frasi, pagina 2)

Quote in his lecture at the Associazione Artistica Internationale, Rome May 1911, Boccioni's lecture 'La Pittura Futurista', 1911; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 55.
1911

“[the Cubist painters who].. continued to paint objects motionless, frozen, and all the static aspects of Nature; they worship the traditionalism of w:Poussin, of w:Ingres, of Corot, ageing and petrifying their art with an obstinate attachment to the past, which to our eyes remains totally incomprehensible.”

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Umberto Boccioni

Origine: 1912, Les exposants au public', 1912, pp. 2, 3.

“Get all the information you can about the Cubists, and about Georges Braque and Pablo Picasso. Go to Kahnweilers' (Paris art gallery). And if he's got photos of recent works – produced after I have left -, buy one or two. Bring us [the Futurists in Italy, like Boccioni himself] back all the information you can get.”

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Umberto Boccioni

Quote in Boccioni's letter to Gino Severini, staying in Paris in the Summer of 1911; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 27.
1911

“[to erect].... a new altar throbbing with dynamism as pure and exultant as those which were elevated to divine mystery through religious contemplation.”

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Umberto Boccioni

In Boccioni's letter to Nino Barbantini, 1913; as quoted in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008.
1913

“What was the truth for the painters of yesterday is but a falsehood today. We declare, for instance, that a portrait must not like the sitter... To paint a human figure, you must not paint it; you must render its surrounding [aura-like] atmosphere. Space no longer exists... Who can still believe in the opacity of bodies, since our sharpened and multiplied sensibilities has already penetrated the obscure manifestations of mediums? Why should we forget in our creations the doubled power of our sight, capable of giving analogous to those of X-rays?”

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Umberto Boccioni

As quoted in: John F. Moffitt (2003) Alchemist of the Avant-Garde: The Case of Marcel Duchamp, p. 87.
1910, Manifesto of Futurist Painters,' April 1910

“All shadows have their light, each shadow being an autonomous unit forming a new individuality with its own chiaroscuro: it is no longer a form that is half-shadow, half-light, as hat hitherto been the case.”

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Umberto Boccioni

In 'Dynanisme plastique' 1914, Boccioni; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 132
1914 - 1916

“A profile is never motionless before our eyes, but it constantly appears and disappears. On account of the persistency of an image upon the retina, moving objects constantly multiply themselves; their form changes like rapid vibrations... To paint a human figure you must not paint it; you must render the whole of its surrounding atmosphere.”

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Umberto Boccioni

As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 172.
1910, Manifesto of Futurist Painters,' April 1910

“In the first Manifesto that we launched on the 8th of March, 1910, from the stage of the Chiarella Theater in Turin, we expressed our deep-rooted disgust with, our proud contempt for, and our happy rebellion against vulgarity, mediocrity, the fanatical and snobbish worship of all that is old, attitudes which are suffocating Art in our Country.”

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Umberto Boccioni

1910, Manifesto of Futurist Painters,' April 1910
Origine: Rainey et al. (eds.) Futurism: An Anthology, (2009), p. 64 : Lead paragraph

“Let us explain again by examples. In painting a person on a balcony, seen from inside the room do not limit the scene to what the square of the window renders visible; we try to render the sum total of visual sensations which the person on the balcony has experienced; the sun-baked throng in the street, the double row of houses which stretch to right and left, the beflowered balconies etc. This implies the simultaneity of the ambient, and, therefore, the dislocation and the dislocation and dismemberment of objects, the scattering and fusion of details, freed from accepted logic and independent from one another. In order to make the spectator live in the center of the picture, as we express it in our manifesto the picture must be the synthesis of what one remembers and what one sees. You must render the invisible which stirs lives beyond intervening obstacles, what we have on the right, or the left, or behind us, and not merely the small square of life artificially compressed, as it were, by the wings of a stage set. We have declared in our manifesto that what must be rendered is the dynamic sensation, that is to say, the particular rhythm of each object, its inclination, its movement, or more exactly, its interior force.”

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Umberto Boccioni

Boccioni is referring in this quote to the 'Manifesto of Futurist Painters' of 1910, and its core Futurist concept of dynamic sensation; p. 47.
1912, Les exposants au public', 1912

“The harmony of the lines and folds of modern dress works upon our sensitiveness with the same emotional and symbolical power as did the nude upon the sensitiveness of the old masters.”

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Umberto Boccioni

as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 154.
1914 - 1916

“How is it possible still to see the human face pink, now that our life, redoubled by noctambulism, has multiplied our perceptions as colourists? The human face is yellow, red, green, blue, violet.”

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Umberto Boccioni

As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 174
1910, Manifesto of Futurist Painters,' April 1910