LaurieAnnie's photos with the keyword: Futurism

Gino Severini Armored Train in Action 1915 Medium: Oil on canvas Dimensions: 45 5/8 x 34 7/8" (115.8 x 88.5 cm) Credit: Gift of Richard S. Zeisler Object number: 287.1986 Copyright: © Gino Severini / Artists Rights Society (ARS), New York / ADAGP, Paris Department: Painting and Sculpture Painted in 1915, the year Italy entered World War I, this work reflects a Futurist declaration of the same year: "War is a motor for art." Although poor health prevented Severini from enlisting in the military, he was obsessed by this first fully mechanized war. Living in Paris, he witnessed the city's bombardment, and from his studio he had an aerial view of the Denfert-Rochereau station and trains transporting soldiers, supplies, and weapons. Here, five faceless figures crouch in a militarized locomotive car, aiming their rifles in unison. Smoke from gun and cannon fire eclipse the natural landscape. Severini celebrated war, which the Futurists believed could generate a new Italian identity—one of military and cultural power.-- Gallery label from 2009 Text from: www.moma.org/collection/works/79418

Gino Severini Armored Train in Action 1915 Medium: Oil on canvas Dimensions: 45 5/8 x 34 7/8" (115.8 x 88.5 cm) Credit: Gift of Richard S. Zeisler Object number: 287.1986 Copyright: © Gino Severini / Artists Rights Society (ARS), New York / ADAGP, Paris Department: Painting and Sculpture Painted in 1915, the year Italy entered World War I, this work reflects a Futurist declaration of the same year: "War is a motor for art." Although poor health prevented Severini from enlisting in the military, he was obsessed by this first fully mechanized war. Living in Paris, he witnessed the city's bombardment, and from his studio he had an aerial view of the Denfert-Rochereau station and trains transporting soldiers, supplies, and weapons. Here, five faceless figures crouch in a militarized locomotive car, aiming their rifles in unison. Smoke from gun and cannon fire eclipse the natural landscape. Severini celebrated war, which the Futurists believed could generate a new Italian identity—one of military and cultural power.-- Gallery label from 2009 Text from: www.moma.org/collection/works/79418

Gino Severini Armored Train in Action 1915 Medium: Oil on canvas Dimensions: 45 5/8 x 34 7/8" (115.8 x 88.5 cm) Credit: Gift of Richard S. Zeisler Object number: 287.1986 Copyright: © Gino Severini / Artists Rights Society (ARS), New York / ADAGP, Paris Department: Painting and Sculpture Painted in 1915, the year Italy entered World War I, this work reflects a Futurist declaration of the same year: "War is a motor for art." Although poor health prevented Severini from enlisting in the military, he was obsessed by this first fully mechanized war. Living in Paris, he witnessed the city's bombardment, and from his studio he had an aerial view of the Denfert-Rochereau station and trains transporting soldiers, supplies, and weapons. Here, five faceless figures crouch in a militarized locomotive car, aiming their rifles in unison. Smoke from gun and cannon fire eclipse the natural landscape. Severini celebrated war, which the Futurists believed could generate a new Italian identity—one of military and cultural power.-- Gallery label from 2009 Text from: www.moma.org/collection/works/79418

Gino Severini Armored Train in Action 1915 Medium: Oil on canvas Dimensions: 45 5/8 x 34 7/8" (115.8 x 88.5 cm) Credit: Gift of Richard S. Zeisler Object number: 287.1986 Copyright: © Gino Severini / Artists Rights Society (ARS), New York / ADAGP, Paris Department: Painting and Sculpture Painted in 1915, the year Italy entered World War I, this work reflects a Futurist declaration of the same year: "War is a motor for art." Although poor health prevented Severini from enlisting in the military, he was obsessed by this first fully mechanized war. Living in Paris, he witnessed the city's bombardment, and from his studio he had an aerial view of the Denfert-Rochereau station and trains transporting soldiers, supplies, and weapons. Here, five faceless figures crouch in a militarized locomotive car, aiming their rifles in unison. Smoke from gun and cannon fire eclipse the natural landscape. Severini celebrated war, which the Futurists believed could generate a new Italian identity—one of military and cultural power.-- Gallery label from 2009 Text from: www.moma.org/collection/works/79418

The Milliner La Modiste Gino Severini, Italian, 1883 - 1966 Date: 1910-11 Medium: Oil on canvas Dimensions: 25 1/2 x 19 inches (64.8 x 48.3 cm) Copyright: © Artists Rights Society (ARS), New York / SIAE, Rome Curatorial Department: Modern Art Object Location: Gallery 172, Modern and Contemporary Art, first floor Accession Number: 2004-45-2 Credit Line: Gift of Sylvia and Joseph Slifka, 2004 Label: This effervescent painting of a young hatmaker strolling in the street was included in the first Futurist exhibition in Paris, held in February 1912. It conveys a sense of whirling motion through a combination of shifting planes of color and repeated elements of the hatmaker’s figure. Italian Futurism celebrated the speed, fragmentation, and sensory overload of modern cities. Text from: www.philamuseum.org/collections/permanent/279338.html?mulR=381739267|3

The Milliner La Modiste Gino Severini, Italian, 1883 - 1966 Date: 1910-11 Medium: Oil on canvas Dimensions: 25 1/2 x 19 inches (64.8 x 48.3 cm) Copyright: © Artists Rights Society (ARS), New York / SIAE, Rome Curatorial Department: Modern Art Object Location: Gallery 172, Modern and Contemporary Art, first floor Accession Number: 2004-45-2 Credit Line: Gift of Sylvia and Joseph Slifka, 2004 Label: This effervescent painting of a young hatmaker strolling in the street was included in the first Futurist exhibition in Paris, held in February 1912. It conveys a sense of whirling motion through a combination of shifting planes of color and repeated elements of the hatmaker’s figure. Italian Futurism celebrated the speed, fragmentation, and sensory overload of modern cities. Text from: www.philamuseum.org/collections/permanent/279338.html?mulR=381739267|3

Gino Severini. Italian, 1883-1966. Dancer- Airplane Propeller- Sea 1915 Oil on canvas Accession # 49.70.3 Text from the Metropolitan Museum of Art label.

Artist: Umberto Boccioni (Italian, 1882–1916) Title: The Street Pavers Date: 1914 Medium: Oil on canvas Dimensions: H. 39-3/8, W. 39-3/8 inches (100 x 100 cm.) Classification: Paintings Credit Line: Bequest of Lydia Winston Malbin, 1989 Accession Number: 1990.38.5 Description: In Boccioni's nearly abstract composition, two crouching workers emerge as the heirs to the toiling subjects of Gustave Courbet's famed Stone Breakers (1849, destroyed 1945), which the artist may have seen at the 1910 Venice Biennale. Composed of staccato brushstrokes, this painting conveys both the laborious movements of the pickax-wielding workers and their anonymity, particularly in the background, where figures are merely suggested by an indistinguishable mass of color. Text from: www.metmuseum.org/Works_of_Art/collection_database/modern...

Umberto Boccioni. Italian, 1882-1916. Unique Forms of Continuity in Space 1913 Bronze Accession # 1990.38.3 Text from the Metropolitan Museum of Art label.

Umberto Boccioni. Italian, 1882-1916. Unique Forms of Continuity in Space 1913 Bronze Accession # 1990.38.3 Text from the Metropolitan Museum of Art label.

Umberto Boccioni. Italian, 1882-1916. Development of a Bottle in Space 1913 Bronze Accession # 1990.38.2 Text from the Metropolitan Museum of Art label.

Umberto Boccioni. Italian, 1882-1916. Development of a Bottle in Space 1913 Bronze Accession # 1990.38.2 Text from the Metropolitan Museum of Art label.

Artist: Manierre Dawson (American, 1887-1969) Title: Meeting (The Three Graces) Date: 1912 Medium: Oil on canvas Dimensions: 58 1/8 x 48 in. (147.6 x 121.9 cm) Classification: Paintings Credit Line: Gift of Myra Bairstow and Lewis J. Obi, M.D., 2007 Accession Number: 2007.331 Rights and Reproduction: © ObiArts, Inc. Description: In 1910 the young Chicago artist spent six months traveling throughout England, France, Germany, Switzerland, and Italy, where he visited museums, collectors, and archeological sites. Following this sojourn, he created a series of modernist works in 1911-12 based on images from classical art and Old Master paintings. Here, his reinterpretation of a first-century Pompeian fresco transformed mythological maidens into emblems of Cubo-Futurist modernity. Although Dawson did not receive the same recognition during his lifetime as some of his American contemporaries in the Stieglitz and Arensberg circles, his avant-garde work was in the forefront of American modernism at the time. Text from: www.metmuseum.org/Works_of_Art/collection_database/modern...

Giacomo Balla. (Italian, 1871-1958). Swifts: Paths of Movement + Dynamic Sequences. 1913. Oil on canvas, 38 1/8 x 47 1/4" (96.8 x 120 cm). Purchase. Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 72 "All things move, all things run, all things are rapidly changing," wrote the Futurists, one of them Balla, in 1910. Elaborating on Cubism's experiment in fracturing forms into planes, the Futurists further tried to make painting answer to movement: while the Cubists were concentrating on still lifes and portraits—in other words, were examining stationary bodies—the Futurists were looking at speed. They said: "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." The backdrop to this painting is fixed architecture—a window, a drainpipe, a balcony—but the arcs that snake across the foreground are pure rush. The shapes of the swifts (are there four or forty of them?) repeat in stuttering bands, but their substance seems to evaporate: melting into light, the birds are lost in the paths of their own swooping soar. "Dynamic sensation," in Balla's time, was newly susceptible to scientific and visual analysis. Balla knew the photography of Étienne-Jules Marey, which described the movements of animals—including birds—through closely spaced sequences of images; Swifts emulates Marey's scientific visual analysis, which, in Balla's time, subjected "dynamic sensation to scrutiny," but adds to it a sense of exhilarated pleasure. Text from: www.moma.org/collection/browse_results.php?object_id=79347

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

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