Umberto Boccioni Quotes

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Not only have we radically abandoned the motive fully developed according to its determined and, therefore, artificial equilibrium, but we suddenly and purposely intersect each motif with one or more other motifs of which we never give the full development but merely the initial, central, of final notes... We thus arrived at what we call the painting of states of mind.

Umberto Boccioni
.. since our past is the greatest in the world and thus all the more dangerous for our life!... We must smash, demolish and destroy our traditional harmony, which makes us fall into a 'gracefullness' created by timid and sentimental cubs [cubs refers sneering to the Cubists].

Umberto Boccioni
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
No one can any longer believe that an object ends where another begins.

Umberto Boccioni
If we paint the phases of a riot, the crowd bustling with uplifted fists and the noisy onslaughts of cavalry are translated upon the canvas in sheaves of lines corresponding with all the conflicting forces, following the general laws of violence of the picture... These force-lines must encircle and involve the spectator so that he will in a manner be forced to struggle himself with the persons in the picture.

Umberto Boccioni
The gesture which we would reproduce on canvas shall no longer be a fixed moment in universal dynamism. It shall simply be the dynamic sensation itself. Indeed, all things move, all things run, all things are rapidly changing... We would at any price re-enter into life.

Umberto Boccioni
.. the number of the engine [of the train], its profile shown in the upper part of the picture, its wind-cutting fore-part in the center, symbolical of parting, indicates the features of the scene that remain indelibly impressed upon the mind [of the viewer].

Umberto Boccioni
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.

Umberto Boccioni
The sixteen people around you in a rolling omnibus are in turn and at the same time one, ten, four, three; they are motionless and they change places; they come and go, bound into the street, are suddenly swallowed up by the sunshine, then come back and sit before you, like persistent symbols of universal vibration. How often have we not seen upon the cheek of the person with whom we are talking the horse which we passes at the end of the street.

Umberto Boccioni
Who can still believe in the opacity of bodies since our sharpened and modified sensitivity has already penetrated the obscure manifestations of the medium? Why should we forget in our creations the double power of our sight, capable of giving results analogous to those of X-rays?

Umberto Boccioni
While the impressionists make a table to give one particular moment and subordinate the life of the table to its resemblance to this moment, we synthesize every moment (time, place, form, color-tone) and thus build the table.

Umberto Boccioni
We wanted a complementarity of form and colour. So we made a synthesis of analyses of colour (the divisionism of Seurat, Signac and Cross) and analyses of form (of Picasso and Georges Braque).

Umberto Boccioni
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.

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

Umberto Boccioni
Our bodies penetrate the sofas upon which we sit and the sofas penetrate our bodies. The motorbus rushes into the houses which it passes, and in their turn the houses throw themselves upon the bus and are blended with it.

Umberto Boccioni
.. the moving whirlwind of modernity through its crowds, its cars, its telegraph poles, its bare, working-class neighbourhoods, its noises, its squeals, its violence, its cruelty, its cynicism, and its relentless pushiness.

Umberto Boccioni
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.

Umberto Boccioni
It will be readily admitted that brown tints have never coursed beneath our skin; it will be discovered that yellow shines forth in our flesh, that red blazes, and that green, blue and violet dance upon it with untold charms, voluptuous and caressing.

Umberto Boccioni
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.

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

Umberto Boccioni
Balla [his former art teacher in Italy] flabbergasted us because, not content with being involved in a Futurist campaign, as you can well imagine him doing, he launched himself into a complete transformation. He rejected all his works and all his working methods. He started work on four pictures of movement (one painting was his 'Girl running on a balcony'), which were still realist but incredible ahead of their time.... He confided this to Aldo Pallazzeschi: 'They (Balla's former - so much younger pupils Boccioni and Severini) did not want anything to do with me in Paris and they were right: they have gone much further than I, but I will work and I too will progress.'

Umberto Boccioni
The characteristic motion peculiar to the object (absolute motion), with the transformations the object undergoes in its shifting in relation to the environment, mobile or immobile (relative motion; both motions should be conceived in art)

Umberto Boccioni
With this new tendency [of Orphism] the Cubists dubbed Impressionism of forms according to Appolinaire, is entering a final and glorious phase:.. Orphism, pure painting, simultaneity. And there you have it, as many obvious plagiarisms of what has formed, from its earliest appearances, the essence of Futurist painting and sculpture.... But we insist on sorting things out. Orphism [initiated by former Cubist artist Robert Delaunay as an colorful alternative for strict Cubism], let us say it right away, is just an elegant masquerade of the basic principles of Futurist painting. This new trend simply illustrates the profit that our French colleagues managed to driver from our first Futurist exhibition in Paris.

Umberto Boccioni
Sculpture is based on the abstract of the planes and volumes that determine the forms, not their figurative value.

Umberto Boccioni
.. Is it indisputable that several aesthetic declarations of our French comrades (the Cubists) display a sort of masked academicism. It is not, indeed, a return to the Academy to declare that the subject, in painting, has a perfectly insignificant value?... To paint from the posing model as an absurdity, and an act of mental cowardice, even if the model be translated upon the picture in linear, spherical and cubic forms..

Umberto Boccioni