The Manifest Image: Recent Episodes
The Manifest Image
The 20th Century was the age of the Manifesto. No longer waiting to be retrospectively defined by critics and historians, writers like F.T.Marinetti, Tristan Tzara and Andre Breton took their identities, goals and methods into their own hands. They would decide what they are and how the world should be. Through manifestos, art and political movements would have a core set of documents that outlined their proposals, criticisms and practical solutions to problems they saw.
Yet, too few of us today are aware of the profound changes these movements and manifestos had. That’s where we come in. We’ll be selecting manifestos from the 20th century: examining their form and rhetoric, the ideas within them, offering judgments, and tracing history, as well as engaging with the art, music and writing these manifestos would inspire.
We aim to provide a copy of the core works that we look at in the description of each episode, so you can follow us.
Hosted by Ariel de la Garza and Thomas Greengrass
This week we venture into the Latin American avant garde with Vicente Huidobro’s Non Serviam. The first of several manifestos establishing the artist’s Creacionismo (Creationism), a novel approach to poetry that radically leaves behind all pretences to naturalism. Ostensibly written in 1916, Non Serviam, becomes popular in the Paris of the early 1920s when Huidobro meets Picasso, Ersnt, Gris, Reverdy, and Apollinaire among others. This is the first in a series of episodes on lesser known manifestos in the english speaking world. Our intro music is by Aron Gyenge, whom we greatly thank. Follow us on: Instagram @themanifestimagepodcast And support us on: ko-fi.com/themanifestimage
This week, while we recover from technical difficulties, we bring you the first of a sporadic bonus-series on the philosophy of art and aesthetics. In this episode we look at the distinction between the content of a work of art and its form, as always mustering manifestos and artists along the way. Our intro music is by Aron Gyenge, whom we greatly thank. Follow us on: Instagram @themanifestimagepodcast And support us on: ko-fi.com/themanifestimage
This week, while Thomas and Ariel are away, we bring the second episode of Baseless Theories. Each episode we bring you a series of wild speculations that don’t make it into the regular podcast. This week, did Oscar Wilde forsee his own fall? Tune in to find out.Our intro music is by Aron Gyenge, whom we greatly thank. Follow us on: Instagram @themanifestimagepodcast And support us on: ko-fi.com/themanifestimage
This week, while Thomas and Ariel are away, we bring you a mini-episode the first of a recurring series: Baseless Theories. Each episode we bring you a series of wild speculations that don’t make it into the regular podcast. Paintings referenced below. Feel free to share some of your favourite baseless theories.
Harmony In Red https://www.henrimatisse.org/the-dessert-harmony-in-red.jsp
La Charge https://www.collection.pictet/artwork/la-charge
L’Attente (Waiting) https://artdone.wordpress.com/2022/03/16/felix-vallotton-painter-of-disquiet/felix-vallotton-waiting-1899-priv-coll/
The Fine Pin https://www.metmuseum.org/art/collection/search/757436
Le Mensonge https://commons.wikimedia.org/wiki/File:Félix_Vallotton,_1898_-_Le_mensonge.jpg
French Window at Collioure https://www.wikiart.org/en/henri-matisse/french-window-at-collioure
Rothko https://ichef.bbci.co.uk/news/976/mcs/media/images/64129000/jpg/_64129537_rothko.jpg
View of Notre Dame (1914) https://www.moma.org/collection/works/78863
A Screaming Pope https://www.francis-bacon.com/artworks/paintings/pope-ii
Our intro music is by Aron Gyenge, whom we greatly thank. Follow us on: Instagram @themanifestimagepodcast And support us on: ko-fi.com/themanifestimage
This week, as we wrap up our Fauve digression, we take a look at a selection of Matisse’s Fauve paintings. In them we find the growth of Matisse’s personal style and draw from our previous episodes to understand his style and aesthetic concerns. Links below.
Luxe, Calme et Volupte, 1904 https://en.wikipedia.org/wiki/Luxe,_Calme_et_Volupt%C3%A9#/media/File:Matisse-Luxe.jpg
Woman with a Hat, 1905 https://en.wikipedia.org/wiki/Woman_with_a_Hat#/media/File:Matisse-Woman-with-a-Hat.jpg
Madame Matisse, “The Green Line”, 1905 https://en.wikipedia.org/wiki/The_Green_Stripe#/media/File:Matisse_-_Green_Line.jpeg
La Joie de Vivre, 1905/6 https://collection.barnesfoundation.org/objects/7199/Le-Bonheur-de-vivre-also-called-The-Joy-of-Life/
La Danse (1909, First Version) https://en.wikipedia.org/wiki/Dance_(Matisse)#/media/File:Henri_Matisse,_1909,_La_danse_(I),_Museum_of_Modern_Art.jpg
La Danse (1909/10) https://en.wikipedia.org/wiki/Dance_(Matisse)#/media/File:Matissedance.jpg
Our intro music is by Aron Gyenge, whom we greatly thank. Follow us on: Instagram @themanifestimagepodcast And support us on: ko-fi.com/themanifestimage
This week, we discuss Sarah Stein’s notes on Matisse’s pedagogy from 1908. Sarah, sister-0in-law to Gertrude Stein, was a close friend of Matisse and a pupil in his academy. Her notes give us great insight into Matisse’s process and his approach to different mediums, sculpture, drawing, and painting. Through these we further deepen our understanding of his essentialism and poetic vision.
Works Discussed: Matisse On Art (1978) ed. Jack D. Flam
Our intro music is by Aron Gyenge, whom we greatly thank. Follow us on: Instagram @themanifestimagepodcast And support us on: ko-fi.com/themanifestimage
This week we continue our series on Fauvism with Henri Matisse’s “Notes of a Painter” published in La Grande Revue on the 25th of December 1908. Matisse was one of the 20th century’s most influential artists and his work remains a towering testament to the power of levity and beauty. Join us as we explore his pictorial essentialism and the tensions between nature and expression that he sought to resolve through his art.
Reliable links to Matisse’s works are difficult to find in the UK for copyright issues but we encourage you to seek them out in print.
Our intro music is by Aron Gyenge, whom we greatly thank. Follow us on: Instagram @themanifestimagepodcast And support us on: ko-fi.com/themanifestimage
This week we take a look at the life and times of Andre Derain, one of the leadings Fauves. We dive into his world with his letters to Vlaminck (1905-1909) as a guide and find them particularly moving. In this episode we touch on colour, light and shadow, and the very value of art. Struggling artists will no doubt find as much solace in his candid retelling of experience as we have.
Paintings Mentioned
Le Pecq, hiver 1904-1905 and Le Vielle Arbre 1905 https://www.beauxarts.com/expos/derain-la-revolution-fauve/#&gid=1&pid=2
Ball of Soldiers in Suresnes 1903 https://www.wikiart.org/en/andre-derain/ball-of-soldiers-in-suresnes-1903
Still Life on A Table 1904 https://www.wikiart.org/en/andre-derain/still-life-on-the-table-1904
Music 1904 https://www.wikiart.org/en/andre-derain/music-1904
Bacchus Dances 1906 https://www.wikiart.org/en/andre-derain/bacchus-dance-1906
The Dance 1906 https://www.wikiart.org/en/andre-derain/the-dance-1906
The Palace of Westminster 1906-1907 https://www.wikiart.org/en/andre-derain/the-palace-of-westminster-1907
Martigues Landscape 1908 https://www.wikiart.org/en/andre-derain/martigues-landscape-1908
Landscape Near Martigues 1908 https://www.wikiart.org/en/andre-derain/landscape-near-martigues-1908
Our intro music is by Aron Gyenge, whom we greatly thank. Follow us on: Instagram @themanifestimagepodcast And support us on: ko-fi.com/themanifestimage
This week we take a look at a selection of Maurice de Vlaminck’s work including a few of his remarks about the loose movement which would come to be known as Fauvism. Although a painter fiercely resistant towards the aesthetic authorities of the past, Vlaminck was influenced by contemporaries like Van Gogh, and engaged in a thriving artistic scene with his friend André Derain. Images: https://www.wikiart.org/en/maurice-de-vlaminck/all-works#!#filterName:all-paintings-chronologically,resultType:masonryWritten Sources: “The Preface Letter” Translation: Lucy R. Lippard from Lettres, poèmes et 16 reproductions des oeuvres du peintre (1923)Concepts of Modern Art: From Fauvism to Postmodernism, Ed. Nick Stangos, chp. “Fauvism” by Sarah Whitfield (1994) Thames and Hudson, London. Our intro music is by Aron Gyenge, whom we greatly thank.Follow us on: Instagram @themanifestimagepodcast And support us on: ko-fi.com/themanifestimage
This week we take a look at Henri Rousseau's The Dream (1910), his relationship with Guillaume Apollinaire, and wether one can trust an artist's own explanation of their work. The Dream: https://www.moma.org/collection/works/79277Our intro music is by Aron Gyenge, whom we greatly thank.Follow us on: Instagram @themanifestimagepodcast And support us on: ko-fi.com/themanifestimage
For our first episode away from Futurism we look back at the Salon D'Automne of 1905, the exhibition that lead to the coining of the term Fauve, and Fauvism. But was this designation by critic Louis Vauxcelles correct? Was Fauvism ever a movement? Or just a loose taxonomy for limited critical minds to classify forms of expression as yet unseen? What is the role of art criticism? Can we see the emergent art movment Vauxcelles did? Can you? Join us! Links for images discussed are below. Our intro music is by Aron Gyenge, whom we greatly thank.Follow us on: Instagram @themanifestimagepodcast And support us on: ko-fi.com/themanifestimagehttps://www.metmuseum.org/art/collection/search/359875https://www.henrimatisse.org/woman-with-a-hat.jsp#prettyPhoto[image1]/0/https://upload.wikimedia.org/wikipedia/en/5/59/Matisse-Open-Window.jpgLe Séchage des voiles – The drying sails. Derainhttps://upload.wikimedia.org/wikipedia/en/c/c3/Andr%C3%A9_Derain%2C_1905%2C_Le_s%C3%A9chage_des_voiles_%28The_Drying_Sails%29%2C_oil_on_canvas%2C_82_x_101_cm%2C_Pushkin_Museum%2C_Moscow._Exhibited_at_the_1905_Salon_d%27Automne.jpghttps://totallyhistory.com/louis-valtat-paintings/https://upload.wikimedia.org/wikipedia/en/f/fd/Jean_Puy%2C_1905%2C_Fl%C3%A2nerie_sous_les_pins%2C_oil_on_canvas%2C_81_x_115_cm%2C_Mus%C3%A9e_Paul-Dini%2C_Villefranche-sur-Sa%C3%B4ne.jpgStrolling through pine woods)https://upload.wikimedia.org/wikipedia/en/d/d8/Georges_Rouault%2C_1905%2C_Jeu_de_massacre_%28Slaughter%29%2C_%28Forains%2C_Cabotins%2C_Pitres%29%2C_%28La_noce_%C3%A0_Nini_patte_en_l%27air%29%2C_watercolor%2C_gouache%2C_India_ink_and_pastel_on_paper%2C_53_x_67_cm%2C_Centre_Georges-Pompidou%2C_Paris.jpgGeorges Rouault, 1905, Jeu de massacre (Slaughter), (Forains, Cabotins, Pitres), (La noce à Nini patte en l'air), watercolor, gouache, India ink and pastel on paper,https://fr.wikipedia.org/wiki/David_%28Donatello%29#/media/Fichier:Donatello_-_David_-_Floren%C3%A7a.jpghttps://www.gutenberg.org/cache/epub/36676/pg36676-images.htmlhttps://commons.wikimedia.org/wiki/File:Henri_Manguin,_1905,_La_Sieste_%28Le_repos,_Jeanne%29,_oil_on_canvas,_88.9_x_116.84_cm,_Villa_Flora,_Winterthur.jpg
This week, our last with Futurism for a while, we take a look at Futurist Stage Design, written by Enrico Prampolini, one of the stranger prophesies the Futurists made of art to come: The staid walls of the naturalistic set were to be demolished, the theatrical unbound from mere mimesis and predictability. The actor would become a gaseous cloud of pure colour and activity.Our intro music is by Aron Gyenge, whom we greatly thank.Follow us on: Instagram @themanifestimagepodcast And support us on: ko-fi.com/themanifestimage
This week, as our dive into Futurism slowly comes to an end, we take a look at Futurist Synthetic Theatre, F.T. Marinetti, Emilio Settimelli, and, Bruno Corra's explosive foray into the theatrical arts. With characteristic verve they skewer the prevailing forms at the time and propose an audacious, and most importantly short, form of theatre that went on to influence the likes of Samuel Becket and other 20th century playwrights.Our intro music is by Aron Gyenge, whom we greatly thank.Follow us on: Instagram @themanifestimagepodcast And support us on: ko-fi.com/themanifestimage
This week we dive into the theatrical arts by reading the Futurist Variety Theatre, the first manifesto where they lay out the foundations of their distinct form of theatre. The theatre is for the Futurists more than just another vehicle for provocation, it was rather another terrain where they foresaw the development of a new art.Our intro music is by Aron Gyenge, whom we greatly thank.Follow us on: Instagram @themanifestimagepodcast And support us on: ko-fi.com/themanifestimage
This week we discuss "Destruction of Syntax – The Wireless Imagination – Words In Freedom" written by FT Marinetti in May 1913, and read at Galerie La Boetie in Paris on the 22nd of June of the same year. Also known as the "Radio Imagination", this manifesto follows up on A Response to Objections and the Tehcnical Manifesto of Futurist Litterature. In it the Futurists lay out a doctrine that goes on to have serious impact on 20th century modernism. Our intro music is by Aron Gyenge, whom we greatly thank.Follow us on: Instagram @themanifestimagepodcast And support us on: ko-fi.com/themanifestimage
This week we take a break from music and look at Futurist Litterature. Specifically, the Technical Manifesto of Futurist Litterature by F.T. Marinetti. Published in 1912, the manifesto seeks to revolutionize litterature and poetry by encouraging writers to liberate their words entirely from the shackles of syntax. The resulting noun-heavy poetic prose was ahead of its time and, like many aspects of Futurism, inlfuenced the development of arts in the 20th century.
Our intro music is by Aron Gyenge, whom we greatly thank.
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We are back this week with The Art of Noises by Luigi Russolo anda guest appearence by musician Aron Gyenge. This manifesto, that was originally written as a letter to his friend and fellow Futurist Francesco Balilla Pratella in 1913, had a huge influence on the development of musical aesthetics in the 20th century.
Our intro music is by Aron Gyenge, whom we greatly thank.
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In this episode we look at The Exhibitors to the Public written in 1911 by Umberto Boccioni. The English version we read is from the catalogue of The Exhibition of Works by the Italian Futurist Painters at the Sackville Gallery, London. The text presents new concepts like physical transcendentalism and futuristic primitivism and primes viewers for the novel paintings they are about to see. The texts also defend the Futurists against claims of latent academism in their work.
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This week we have composer Aron Gyenge joining us to discuss the Technical Manifesto of Futurist Musicians. Published in 1911 by Francesco Balilla Pratella, the manifesto was an attempt to flesh out the radical intentions set forth in his previous Manifesto of Futurist Musicians.
Pratella excoriates those that are still trapped by traditional narrative and formal constraints and outlines a brave new future for a music more akin to free verse than the sonnet.
This is the first of three episodes on Futurist music. This week we dive into the Manifesto of Futurist Musicians by Francesco Balilla Pratella, a successful composer in his time. Like most Futurist writings it is lively and scathing. Pratella reduces the singer to an instrument, elevates the composer to librettist, and aims to challenge audiences rather than mollify them. Join us through tangents, digressions, and mentions of Thomas’ favourites: Katy Perry and Henrik Ibsen.
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This week we take a look at the second part of Electrical War, written by F.T. Marinetti. It was originally publishes in Le Futurisme (1911), but was re-released in 1915 in two parts: The Birth of a Futurist Aesthetic and A Futurist Vision Hypothesis (the section we are analysing today).
In an exciting return to form, Marinetti brings to life his vision of a futurist tomorrow. With poverty and disease resolved, and human beings no longer having to work to live, the text has a strangely utopian flavour you might not expect. Does he predict tablets, kindles, and Ikea? Listen to find out.
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We return again to the key Futurist thinker, F.T.Marinetti; to consider his “Electrical War” First published in French, in 1911, in Le Futurisme, as a single piece. However, by 1915, when translating it, he divided it into two: the first part was renamed, “The Birth of a Futurist Aesthetic”, in Italian, “Nascita di un’estetica futurista”, while its second part was named, “Electrical War (Futurist Vision-Hypothesis)”, in Italian, “La guerra elettrica [Visione-ipotesi futurista]”.
This week we tackle the first part. A very different format, Marinetti eases us into his futurist world. Picking on modern life and it’s secularism, passion for hygiene, democracy and comfort, he uses modern life as impassible wall, separating us from the past and forcing us to ascent to his metal future. By the end of the first part, he has returned to his shocking brutality, discussing the practice of digging up graves to grind up human bones to make an artificial coal. A very different Manifesto and one that will challenge your core thoughts on Futurism.
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This week, we continue looking into Futurism’s conception of women as well as start to explore Futurist politics, namely through the issue of women’s suffrage. We start with Futurism And Woman by Margaret Wynne Nevinson (1910), a Futurist critic, and continue with Contempt For Woman by F.T. Marinetti (1911), later translated as Against Love And Parliamentarianism. Through these texts we see Marinetti’s position regarding parliamentarianism (he’s against it) and Nevinson’s short and witty characterisation of Futurism based on one evening at the Lyceum Club.
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[Includes a mention of sexual violence]. This week we look at the Futurist Manifesto of Lust proclaimed by Valentine de Saint-Point in Paris’ Salle Gaveau on the eve of war in 1913. In it she will declare lust a force, the primal drive from which creative energies flow, and impel us to free it from the smothering effect of sentimentality.
Her provocation is not only exciting and beautifully written, but it marks a significant addition to the futurist corpus and widens the breadth and theoretical subtlety of the project.
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Referenced in the episode:
The Manifesto: https://www.unknown.nu/futurism/lust.html
Silvia Contarini: Valentine de Saint-Point a Futurist Woman? https://www.degruyter.com/document/doi/10.1515/9783110422818-006/html
Tate Modern: https://www.tate.org.uk/tate-etc/issue-16-summer-2009/action-feminine
The futurist’s scorn for women is famously controversial. This week, to dig further into this facet of the movement, we look at Valentine de St Point’s response to F.T. Marinetti in her “The Manifesto Of The Futurist Woman.” St Point expands the Futurist provocation and leaves plenty of questions about the movement’s liberating potential as well as its fundamental shortcomings.
Venice has always been a dramatic setting for artistic expression, for the Futurists however it represented the decadent stagnation they so despised. This week we look at the Futurist manifesto “Against Passeist Venice”–sometimes translated as “Against Traditionalist Venice”– a screed against all those who love Venice for its past, its old palaces, and slow, easy going canals. But for all their declared hatred of Venice, the Futurists would keep going back year after year to host heated evenings (seratas) in the La Fenice theatre. In the end the city served as stunning a backdrop for their politicking and artistic expression as it has for centuries of artists and lovers.
The text can be found in Futurism an Anthology.
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While we get the Patreon up and running enjoy some free bonus content. This week we look at Umberto Boccioni’s splendid triptych States of Mind (The Farewells, Those Who Go, Those Who Stay), Thomas reads some Rimbaud, and Ariel makes some puerile jokes.
(Boccioni) States Of Mind I: The Farewells https://www.moma.org/collection/works/78648
(Boccioni) States Of Mind II: Those Who Go https://www.moma.org/collection/works/78653
(Boccioni) States Of Mind III: Those Who Stay https://www.moma.org/collection/works/78660
So far we’ve seen the theory behind a futurist aesthetic, but this week we look at Boccioni et al. try and make specific sense of what that would entail in Futurist Painting: A Technical Manifesto. We will cover Divisionism, Pointillism and other aspects of Impressionism to understand what makes a painting specifically Futurist while talking through examples by Giacomo Balla, Umberto Boccioni, among others as well as some paintings by non-Futurists, like Giovanni Segantini, who greatly influenced them.
Also in this episode: the rejection of the critic, a whirling life of steel, and the call for a 10 year moratorium on the nude in painting.
PS: We do not yet have a Patreon, enjoy some bonus content on us.
The Manifesto: https://www.unknown.nu/futurism/techpaint.html
The Paintings:
Previati Gaetano, “La Danza delle Ore” https://commons.m.wikimedia.org/wiki/File:Artgate_Fondazione_Cariplo_-_Previati_Gaetano,_La_Danza_delle_Ore.jpg
Giovanni Segantini, “The Punishment of Lust” https://en.m.wikipedia.org/wiki/The_Punishment_of_Lust
Giovanni Segantini, “The Evil Mothers” https://commons.m.wikimedia.org/wiki/File:The_Evil_Mothers_by_Giovanni_Segantini.jpg
Medardo Rosso, “Bookmaker” https://commons.m.wikimedia.org/wiki/File:Medardo_rosso,_bookmaker,_1902-03,_bronzo.jpg
Medardo Rosso, “Invalid in Hospital” https://www.gettyimages.co.uk/detail/news-photo/invalid-in-hospital-by-medardo-rosso-sculpture-in-patinated-news-photo/173458208
Carlo Carrà, “The Funeral of the Anarchist Galli” https://en.m.wikipedia.org/wiki/The_Funeral_of_the_Anarchist_Galli
Giacomo Balla, “Speeding Automobile” https://www.moma.org/collection/works/79343
Giacomo Balla, “Street Light” https://www.moma.org/collection/works/78382
Giacomo Balla, “Dynamism of a Dog on a leash” https://en.m.wikipedia.org/wiki/Dynamism_of_a_Dog_on_a_Leash
Gino Severini, “Souvenirs de Voyage” https://en.m.wikipedia.org/wiki/File:Gino_Severini,_1911,_Souvenirs_de_Voyage,_oil_on_canvas,_47_x_75_cm,_private_collection.jpg
Gino Severini, “Dynamic Hieroglyphic of the Bal Tabrin” https://www.moma.org/collection/works/79419
Luigi Russolo, “Profumo” https://commons.m.wikimedia.org/wiki/File:Luigi_Russolo_-_Profumo_(1910).jpg
Luigi Russolo, “Solidity of Fog” https://commons.m.wikimedia.org/wiki/File:Luigi_Russolo_solidity-of-fog-1912.jpg
Luigi Russolo, “Plastic Synthesis of Movements of a Woman” https://arthistoryproject.com/artists/luigi-russolo/plastic-synthesis-of-movements-of-a-woman/
Umberto Boccioni, “The Laugh” https://commons.m.wikimedia.org/wiki/File:Umberto_Boccioni_-_Laughter.jpg
Umberto Boccioni, “The Riot” https://www.moma.org/collection/works/79278
Umberto Boccioni, “Three Women” https://commons.m.wikimedia.org/wiki/File:Three_Women_by_Umberto_Boccioni,_1910.jpg
Umberto Boccioni, “The City Rises” https://en.m.wikipedia.org/wiki/The_City_Rises
This week, we look at the Manifesto of The Futurist Painters, the group’s first attempt at translating Marinetti’s passionate prose into a visual medium. Legend has it that it was written by Umberto Boccioni, Carlo Carra, and Luigi Russolo in a café in Milan over the course of a single day, with F.T. Marinetti swooping in at nightfall to spruce it up.
This being a podcast we thought it essential to look at some paintings. If our florid descriptions are not enough for you the paintings are available in the links below, as is the text of the manifesto.
The Manifesto https://www.unknown.nu/futurism/painters.html
Previati Gaetano, “La Danza delle Ore” https://commons.m.wikimedia.org/wiki/File:Artgate_Fondazione_Cariplo_-_Previati_Gaetano,_La_Danza_delle_Ore.jpg
Giovanni Segantini, “The Punishment of Lust” https://en.m.wikipedia.org/wiki/The_Punishment_of_Lust
Giovanni Segantini, “The Evil Mothers” https://commons.m.wikimedia.org/wiki/File:The_Evil_Mothers_by_Giovanni_Segantini.jpg
Medardo Rosso, “Bookmaker” https://commons.m.wikimedia.org/wiki/File:Medardo_rosso,_bookmaker,_1902-03,_bronzo.jpg
Medardo Rosso, “Invalid in Hospital” https://www.gettyimages.co.uk/detail/news-photo/invalid-in-hospital-by-medardo-rosso-sculpture-in-patinated-news-photo/173458208
Carlo Carrà, “The Funeral of the Anarchist Galli” https://en.m.wikipedia.org/wiki/The_Funeral_of_the_Anarchist_Galli
Giacomo Balla, “Speeding Automobile” https://www.moma.org/collection/works/79343
Giacomo Balla, “Street Light” https://www.moma.org/collection/works/78382
Giacomo Balla, “Dynamism of a Dog on a leash” https://en.m.wikipedia.org/wiki/Dynamism_of_a_Dog_on_a_Leash
Gino Severini, “Souvenirs de Voyage” https://en.m.wikipedia.org/wiki/File:Gino_Severini,_1911,_Souvenirs_de_Voyage,_oil_on_canvas,_47_x_75_cm,_private_collection.jpg
Gino Severini, “Dynamic Hieroglyphic of the Bal Tabrin” https://www.moma.org/collection/works/79419
Luigi Russolo, “Profumo” https://commons.m.wikimedia.org/wiki/File:Luigi_Russolo_-_Profumo_(1910).jpg
Luigi Russolo, “Solidity of Fog” https://commons.m.wikimedia.org/wiki/File:Luigi_Russolo_solidity-of-fog-1912.jpg
Luigi Russolo, “Plastic Synthesis of Movements of a Woman” https://arthistoryproject.com/artists/luigi-russolo/plastic-synthesis-of-movements-of-a-woman/
Umberto Boccioni, “The Laugh” https://commons.m.wikimedia.org/wiki/File:Umberto_Boccioni_-_Laughter.jpg
Umberto Boccioni, “The Riot” https://www.moma.org/collection/works/79278
Umberto Boccioni, “Three Women” https://commons.m.wikimedia.org/wiki/File:Three_Women_by_Umberto_Boccioni,_1910.jpg
Umberto Boccioni, “The City Rises” https://en.m.wikipedia.org/wiki/The_City_Rises
How do you murder sentimentality, comfortable sensuality, and exhaustion?...How do you kill the moonlight?
This week, we turn to F.T. Marinetti’s second manifesto, “Let’s Kill the Moonlight!”, (1909). Split into four sections, Marinetti begins with a defence of Futurism and a call to arms, before launching into a narrative, where the Mad, armed with cars and planes, wage war on Paralysis, Gout, and The Moon.
We’ll also take a look at another manifesto, Marinetti’s, “We Abjure Our Symbolist Masters, The Past Lovers Of The Moon”, (from “Le Futurisme”, 1911) to better understand the Futurists’ break with the past, their ideal, Hybrid Human, and their disgust for the moon.
The Futurist Manifesto, composed by FT Marinetti and published in 1909, on the front page of Le Figaro, sparks not only the ignition of The Futurist Movement, but the entire avant-garde of the 20th Century.
Subsequent movements – such as Vorticism, Dadaism, Surrealism etc. – would be heavily indebted to this manifesto. Either, supporting the Futurists, or using them as a foil, to put forward their own agendas. Importantly, though, each movement would adopt Marinetti’s manifesto-ing and see this Manifesto as the standard to meet or beat.
Welcome to the first episode of The Manifest Image.
https://archive.org/details/FuturistManifesto