Futurism Quotes

21 Sourced quotes

If we define Futurism as an exploration beyond accepted limits, then the nature of limiting systems becomes the first object of exploration.

The activities of these parasites and degenerates gave rise to Cubism, Fauvism, Futurism, Pointillism, Constructivism, Orphism, Surrealism, Dada, and also Impossibleism, Supersurrealism, Dynamic Double-Dog Realism, Ishkabibbleism, and Mama, which is like Dada only nicer.

Daniel Pinkwater

I have said that Marinetti was.... exceptionally gifted, and I should add that I never saw him twiddling his thumbs even for ten minutes.... beside his desk he often kept piles of books in which he would write dedications.... invariably with the purpose of spreading the word about Futurism.

Futurism attracted me and made me better, gave me a new strength, showed me new fields and possibilities.

Fortunato Depero

If a painter once devoted himself to dynamism and now abandons it, denies it and even criticizes it, it is his own business. This does not mean, however that futurism has had his day. It is always worthy of interest and many artists still work in its ranks with unchanged passion. Dynamism is in life and in nature itself.

Fortunato Depero

It is clear to me that this [his recent works and ideas on art] is art for the future. Futurism, although it has advanced beyond naturalism, occupies itself too much with human sensations. Cubism – which in its content is still too much concerned with earlier aesthetic products, and thus less rooted in its own time than Futurism – Cubism has taken a giant step in the direction of abstraction, and is in this respect of its own time and of the future. Thus in its content it is not modern, but in its effect it is.

Futurism, as it has developed over six years, has solidified and surpassed Impressionism, has proposed plastic dynamism, atmospheric modeling, and the interpenetration of planes and states of mind.

I cannot get over the strange conflict between my estimation of their ideas [the artists of Italian Futurism] most of which I find brilliant and fruitful, and my view of the [their] pictures [he saw on the Walden exhibition in Berlin, Spring 2012], which strike me as, without a doubt, utterly mediocre.

The truth lies somewhere between these two aesthetics [static Cubism and dynamic Futurism]. The 'pure form' of Ingres led inevitably to a life-less Platonism; the lyricism and Romanticism of Eugène Delacroix no longer tailed with our cerebral and geometric age.... as in all great ages, today's artwork must be the synthesis of these two things.

If the end of the twentieth century can be characterized by futurism, the twenty-first can be defined by presentism.

Douglas Rushkoff

It proved to be essential to clear the site for the new building. This idea was a forerunner of futurism which exposed the relentless nature of its motivating power. Revolutions had started undercover, everything grew more complicated. Painting economical in its creative output was still very complicated and uneconomical in its expression. cubism and futurism seized upon the purity of form treatment and colour and built a complicated and extensive system with them combining them without any regard for harmony. The rebuilding of life cast aside the old concept of nations classes patriotism and imperialism which had been completely discredited.

Marinetti's [leading Futurism founder and theorist] Tactilism can be seen as an instinctive effort in this direction [of the new architecture, acoording to Van Doesburg] even if it presents only the sensuous-tactile expression of space through using various materials. Picasso's earlier compositions in various materials also concerns us here. The Russian artists [Tatlin and Lissitzky, both Constructivist artists] also appreciated the exterior quality of the plane, not only optical, but also in a tactile manner.... Intuition already produced a foreknowledge of these new realms, but they can be established fully only by science.

Theo van Doesburg

When Marinetti founded Futurism in 1909, he called for 'incendiary violence' that might drive Italy and Italians out of the 'fetid somnolence' of dolce far niente. He incited Futurists and their allies to the destruction of museums, monuments, and universities—to decimate everything that 'stank of the past'… All of this was suffused with aggression and violence, with an appeal to slaps and blows, to culminate in an invocation to what he called the 'beauty of battle,' and the 'hygiene of war.'

A. James Gregor

When the true principles of design are forgotten; when, in art, the bizarre and novel is the aim rather than the beautiful; when complication and mystery take the place of what should be as simple and clear as the atmosphere, design runs amuck, and becomes so helplessly involved in difficulties that such manifestations as cubism, impressionism, futurism, and art nouveau shoe their ugly heads and pose as art.

Balla, he advanced Dynamic Futurism.... drawing closer, not to the human body but to the machine, as contemporary muscles of a man of today... The actual structure of each of Balla's works tells us that the dynamic power sensed by the artist is incomparable greater than the actual bodies of the machines, and the content of each machine is only a small part of this dynamic power, since each machine is a mere unit from the sum total of the forces of contemporary life.

Kazimir Malevich

[Futurism's].. superficial expression of velocity, the aeroplane, the racing-car and so on, is but a weak expression of the inner velocity of thought compared to which the velocity of radium represents nothing but inertia.... The mimetic expression of velocity (whatever its form may be: the aeroplane, the automobile, and so on) is diametrically opposed to the character of painting, the supreme origin of which is to be found in inner life.

Theo van Doesburg

With our enthusiastic adherence to Futurism, we will:
1. Destroy the cult of the past, the obsession with the ancients, pedantry and academic formalism.
2. Totally invalidate all kinds of imitation.
3. Elevate all attempts at originality, however daring, however violent.
4. Bear bravely and proudly the smear of 'madness' with which they try to gag all innovators.
5. Regard art critics as useless and dangerous.
6. Rebel against the tyranny of words: 'Harmony' and 'good taste' and other loose expressions which can be used to destroy the works of Rembrandt, Goya, Rodin..
7. Sweep the whole field of art clean of all themes and subjects which have been used in the past.
8. Support and glory in our day-to-day world, a world which is going to be continually and splendidly transformed by victorious Science.

Umberto Boccioni

At my arrival [in Paris], Fauvism. Cubism, and Futurism were in full swing. There was in the air the glamour of a battle, the holy battle raging for the assertion of a new truth. My youth plunged full in it.

The new vision.... does not proceed from a fixed point. Its viewpoint is everywhere, and not limited to any one position [in space]. Nor is it bound by space or time (in accordance with the theory of relativity) [of Einstein]. In practice, the viewpoint is in front of the plane... Thus this new vision sees architecture as a multiplicity of planes; again flat. This multiplicity composes itself (in an abstract sense) into a flat image [where Van Doesburg emphasis the dynamic position of the viewer – a central idea of Futurism.

Futurism and Cubism are comparable in importance tot the invention of perspective, for which they substituted a new concept op space. All subsequent movements were latent in them or brought about by them.... the two movements cannot be regarded as in opposition to each other, even though they started from opposite points; I maintain (an idea approved by Apollinaire and later by Matisse) that they are two extremes of the same sign, tending to coincide at certain points which only the poetic instinct of the painter can discover: poetry being the content and raison d'être of art.

Ecology movements, futurism, feminism, urbanism, protest and disarmament, personal individuation cannot alone save the world from the catastrophe inherent in our very idea of the world. They require a cosmological vision that saves the phenomenon 'world' itself, a move in soul that goes beyond measures of expediency to the archetypal source of our world's continuing peril: the fateful neglect, the repression, of the anima mundi.