MoMA

Pablo Picasso. (Spanish, 1881-1973). Card Player. Paris, winter 1913-14. Oil on canvas, 42 1/2 x 35 1/4" (108 x 89.5 cm). Acquired through the Lillie P. Bliss Bequest. Text from: www.moma.org/collection/browse_results.php?object_id=79052

Pablo Picasso. (Spanish, 1881-1973). Harlequin. Paris, late 1915. Oil on canvas, 6' 1/4" x 41 3/8" (183.5 x 105.1 cm). Acquired through the Lillie P. Bliss Bequest. Text from: www.moma.org/collection/browse_results.php?object_id=78696

Pablo Picasso. (Spanish, 1881-1973). Woman's Head (Fernande). Paris, fall 1909. Bronze, 16 1/4 x 9 3/4 x 10 1/2" (41.3 x 24.7 x 26.6 cm). Purchase. Text from: www.moma.org/collection/browse_results.php?object_id=82049

Umberto Boccioni. (Italian, 1882-1916). Unique Forms of Continuity in Space. 1913 (cast 1931). Bronze, 43 7/8 x 34 7/8 x 15 3/4" (111.2 x 88.5 x 40 cm). Acquired through the Lillie P. Bliss Bequest Gallery label text 2006 Boccioni, who sought to infuse art with dynamism and energy, exclaimed, "Let us fling open the figure and let it incorporate within itself whatever may surround it." The contours of this marching figure appear to be carved by the forces of wind and speed as it forges ahead. While its wind–swept silhouette is evocative of an ancient statue, the polished metal alludes to the sleek modern machinery beloved by Boccioni and other Futurist artists. Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999 In Unique Forms of Continuity in Space, Boccioni puts speed and force into sculptural form. The figure strides forward. Surpassing the limits of the body, its lines ripple outward in curving and streamlined flags, as if molded by the wind of its passing. Boccioni had developed these shapes over two years in paintings, drawings, and sculptures, exacting studies of human musculature. The result is a three-dimensional portrait of a powerful body in action. In the early twentieth century, the new speed and force of machinery seemed to pour its power into radical social energy. The new technologies and the ideas attached to them would later reveal threatening aspects, but for Futurist artists like Boccioni, they were tremendously exhilarating. Innovative as Boccioni was, he fell short of his own ambition. In 1912, he had attacked the domination of sculpture by "the blind and foolish imitation of formulas inherited from the past," and particularly by "the burdensome weight of Greece." Yet Unique Forms of Continuity in Space bears an underlying resemblance to a classical work over 2,000 years old, the Nike of Samothrace. There, however, speed is encoded in the flowing stone draperies that wash around, and in the wake of, the figure. Here the body itself is reshaped, as if the new conditions of modernity were producing a new man. Text from: www.moma.org/collection/browse_results.php?object_id=81179

Umberto Boccioni. (Italian, 1882-1916). Unique Forms of Continuity in Space. 1913 (cast 1931). Bronze, 43 7/8 x 34 7/8 x 15 3/4" (111.2 x 88.5 x 40 cm). Acquired through the Lillie P. Bliss Bequest Gallery label text 2006 Boccioni, who sought to infuse art with dynamism and energy, exclaimed, "Let us fling open the figure and let it incorporate within itself whatever may surround it." The contours of this marching figure appear to be carved by the forces of wind and speed as it forges ahead. While its wind–swept silhouette is evocative of an ancient statue, the polished metal alludes to the sleek modern machinery beloved by Boccioni and other Futurist artists. Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999 In Unique Forms of Continuity in Space, Boccioni puts speed and force into sculptural form. The figure strides forward. Surpassing the limits of the body, its lines ripple outward in curving and streamlined flags, as if molded by the wind of its passing. Boccioni had developed these shapes over two years in paintings, drawings, and sculptures, exacting studies of human musculature. The result is a three-dimensional portrait of a powerful body in action. In the early twentieth century, the new speed and force of machinery seemed to pour its power into radical social energy. The new technologies and the ideas attached to them would later reveal threatening aspects, but for Futurist artists like Boccioni, they were tremendously exhilarating. Innovative as Boccioni was, he fell short of his own ambition. In 1912, he had attacked the domination of sculpture by "the blind and foolish imitation of formulas inherited from the past," and particularly by "the burdensome weight of Greece." Yet Unique Forms of Continuity in Space bears an underlying resemblance to a classical work over 2,000 years old, the Nike of Samothrace. There, however, speed is encoded in the flowing stone draperies that wash around, and in the wake of, the figure. Here the body itself is reshaped, as if the new conditions of modernity were producing a new man. Text from: www.moma.org/collection/browse_results.php?object_id=81179

Umberto Boccioni. (Italian, 1882-1916). Unique Forms of Continuity in Space. 1913 (cast 1931). Bronze, 43 7/8 x 34 7/8 x 15 3/4" (111.2 x 88.5 x 40 cm). Acquired through the Lillie P. Bliss Bequest Gallery label text 2006 Boccioni, who sought to infuse art with dynamism and energy, exclaimed, "Let us fling open the figure and let it incorporate within itself whatever may surround it." The contours of this marching figure appear to be carved by the forces of wind and speed as it forges ahead. While its wind–swept silhouette is evocative of an ancient statue, the polished metal alludes to the sleek modern machinery beloved by Boccioni and other Futurist artists. Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999 In Unique Forms of Continuity in Space, Boccioni puts speed and force into sculptural form. The figure strides forward. Surpassing the limits of the body, its lines ripple outward in curving and streamlined flags, as if molded by the wind of its passing. Boccioni had developed these shapes over two years in paintings, drawings, and sculptures, exacting studies of human musculature. The result is a three-dimensional portrait of a powerful body in action. In the early twentieth century, the new speed and force of machinery seemed to pour its power into radical social energy. The new technologies and the ideas attached to them would later reveal threatening aspects, but for Futurist artists like Boccioni, they were tremendously exhilarating. Innovative as Boccioni was, he fell short of his own ambition. In 1912, he had attacked the domination of sculpture by "the blind and foolish imitation of formulas inherited from the past," and particularly by "the burdensome weight of Greece." Yet Unique Forms of Continuity in Space bears an underlying resemblance to a classical work over 2,000 years old, the Nike of Samothrace. There, however, speed is encoded in the flowing stone draperies that wash around, and in the wake of, the figure. Here the body itself is reshaped, as if the new conditions of modernity were producing a new man. Text from: www.moma.org/collection/browse_results.php?object_id=81179

Umberto Boccioni. (Italian, 1882-1916). Unique Forms of Continuity in Space. 1913 (cast 1931). Bronze, 43 7/8 x 34 7/8 x 15 3/4" (111.2 x 88.5 x 40 cm). Acquired through the Lillie P. Bliss Bequest Gallery label text 2006 Boccioni, who sought to infuse art with dynamism and energy, exclaimed, "Let us fling open the figure and let it incorporate within itself whatever may surround it." The contours of this marching figure appear to be carved by the forces of wind and speed as it forges ahead. While its wind–swept silhouette is evocative of an ancient statue, the polished metal alludes to the sleek modern machinery beloved by Boccioni and other Futurist artists. Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999 In Unique Forms of Continuity in Space, Boccioni puts speed and force into sculptural form. The figure strides forward. Surpassing the limits of the body, its lines ripple outward in curving and streamlined flags, as if molded by the wind of its passing. Boccioni had developed these shapes over two years in paintings, drawings, and sculptures, exacting studies of human musculature. The result is a three-dimensional portrait of a powerful body in action. In the early twentieth century, the new speed and force of machinery seemed to pour its power into radical social energy. The new technologies and the ideas attached to them would later reveal threatening aspects, but for Futurist artists like Boccioni, they were tremendously exhilarating. Innovative as Boccioni was, he fell short of his own ambition. In 1912, he had attacked the domination of sculpture by "the blind and foolish imitation of formulas inherited from the past," and particularly by "the burdensome weight of Greece." Yet Unique Forms of Continuity in Space bears an underlying resemblance to a classical work over 2,000 years old, the Nike of Samothrace. There, however, speed is encoded in the flowing stone draperies that wash around, and in the wake of, the figure. Here the body itself is reshaped, as if the new conditions of modernity were producing a new man. Text from: www.moma.org/collection/browse_results.php?object_id=81179

Umberto Boccioni. (Italian, 1882-1916). Dynamism of a Soccer Player. 1913. Oil on canvas, 6' 4 1/8" x 6' 7 1/8" (193.2 x 201 cm). The Sidney and Harriet Janis Collection Text from: www.moma.org/collection/browse_results.php?object_id=80009

Umberto Boccioni. (Italian, 1882-1916). Dynamism of a Soccer Player. 1913. Oil on canvas, 6' 4 1/8" x 6' 7 1/8" (193.2 x 201 cm). The Sidney and Harriet Janis Collection Text from: www.moma.org/collection/browse_results.php?object_id=80009

Umberto Boccioni. (Italian, 1882-1916). States of Mind I: The Farewells. 1911. Oil on canvas, 27 3/4 x 37 3/8" (70.5 x 96.2 cm). Gift of Nelson A. Rockefeller Gallery label text 2006 Set in a train station, this series of three paintings explores the psychological dimension of modern life's transitory nature. In The Farewells, Boccioni captures chaotic movement and the fusion of people swept away in waves as the train's steam bellows into the sky. Oblique lines hint at departure in Those Who Go, in which Boccioni said he sought to express "loneliness, anguish, and dazed confusion." In Those Who Stay, vertical lines convey the weight of sadness carried by those left behind. Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...

Umberto Boccioni. (Italian, 1882-1916). States of Mind I: The Farewells. 1911. Oil on canvas, 27 3/4 x 37 3/8" (70.5 x 96.2 cm). Gift of Nelson A. Rockefeller Gallery label text 2006 Set in a train station, this series of three paintings explores the psychological dimension of modern life's transitory nature. In The Farewells, Boccioni captures chaotic movement and the fusion of people swept away in waves as the train's steam bellows into the sky. Oblique lines hint at departure in Those Who Go, in which Boccioni said he sought to express "loneliness, anguish, and dazed confusion." In Those Who Stay, vertical lines convey the weight of sadness carried by those left behind. Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...

Carlo Carrà. (Italian, 1881-1966). Funeral of the Anarchist Galli. 1910-11. Oil on canvas, 6' 6 1/4" x 8' 6" (198.7 x 259.1 cm). Acquired through the Lillie P. Bliss Bequest. Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...

Gino Severini. (Italian, 1883-1966). Dynamic Hieroglyphic of the Bal Tabarin. 1912. Oil on canvas with sequins, 63 5/8 x 61 1/2" (161.6 x 156.2 cm). Acquired through the Lillie P. Bliss Bequest. Text from: www.moma.org/collection/browse_results.php?object_id=79419

Gino Severini. (Italian, 1883-1966). Dynamic Hieroglyphic of the Bal Tabarin. 1912. Oil on canvas with sequins, 63 5/8 x 61 1/2" (161.6 x 156.2 cm). Acquired through the Lillie P. Bliss Bequest. Text from: www.moma.org/collection/browse_results.php?object_id=79419

Gino Severini. (Italian, 1883-1966). Dynamic Hieroglyphic of the Bal Tabarin. 1912. Oil on canvas with sequins, 63 5/8 x 61 1/2" (161.6 x 156.2 cm). Acquired through the Lillie P. Bliss Bequest. On view at MoMA Text from: www.moma.org/collection/browse_results.php?object_id=79419

Gino Severini. (Italian, 1883-1966). Dynamic Hieroglyphic of the Bal Tabarin. 1912. Oil on canvas with sequins, 63 5/8 x 61 1/2" (161.6 x 156.2 cm). Acquired through the Lillie P. Bliss Bequest. Text from: www.moma.org/collection/browse_results.php?object_id=79419

Gino Severini. (Italian, 1883-1966). Dynamic Hieroglyphic of the Bal Tabarin. 1912. Oil on canvas with sequins, 63 5/8 x 61 1/2" (161.6 x 156.2 cm). Acquired through the Lillie P. Bliss Bequest. Text from: www.moma.org/collection/browse_results.php?object_id=79419

Gino Severini. (Italian, 1883-1966). Dynamic Hieroglyphic of the Bal Tabarin. 1912. Oil on canvas with sequins, 63 5/8 x 61 1/2" (161.6 x 156.2 cm). Acquired through the Lillie P. Bliss Bequest. Text from: www.moma.org/collection/browse_results.php?object_id=79419