International Yearbook of Futurism Studies最新文献

Plurilinguism and the Avant-gardes

International Yearbook of Futurism Studies Pub Date : 1900-01-01 DOI: 10.1515/futur-2012.0005

G. Berghaus

{"title":"Plurilinguism and the Avant-gardes","authors":"G. Berghaus","doi":"10.1515/futur-2012.0005","DOIUrl":"https://doi.org/10.1515/futur-2012.0005","url":null,"abstract":"The emergence of modernism and of the avant-garde was closely related to the problem of language. The Symbolists’ loss of faith in the ability of rational language to signify meaning set in motion a progressive questioning of the whole process of communication and representation. The Modernists deconstructed language and undermined the fi xed signifi ers in a supposedly stable framework of representation. The Futurists, fi nally, incorporated the break-up of the conventional time-space nexus in their works and sought to convey the spirit of modernity and the novel experiences in the contemporary world by entirely new and experimental methods of expression. The volume Plurilinguisme et avant-gardes, edited by Franca Bruera and Barbara Meazzi, addresses a large number of these issues and analyses them from a variety of viewpoints. The collection of essays results from a conference held at the University of Savoy, Chambéry, on 22–23 October 2008, and at the University of Turin, on 24–25 October 2008. Unfortunately, the editors in their introduction did not make any attempt to draw some general conclusions from the 36 contributions contained in these proceedings. The thematic spread of the essays is rather wide, but covers mainly Romance languages (French, Italian, Spanish). Comparison between the individual contributions is not aided by a subject index either (in fact, not even a name index is provided!) and there is no bibliography that would help placing this project into a wider research context. I am not sure how many buyers of this book will actually read all 36 essays contained in it and then seek to extract from them some general insights into the use of plurilingualism in the avant-gardes. My guess is that most will only skim the Table of","PeriodicalId":300026,"journal":{"name":"International Yearbook of Futurism Studies","volume":"237 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124610673","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Henri-Martin Barzun’s ‘Simultaneism’ between the Abbaye de Créteil and Futurism: The Individual and the Crowd in Late-Symbolist Art Henri-Martin Barzun的“同时主义”在修道院和未来主义之间:后期象征主义艺术中的个人和群体

International Yearbook of Futurism Studies Pub Date : 1900-01-01 DOI: 10.1515/futur-2012.0017

Chris Townsend

{"title":"Henri-Martin Barzun’s ‘Simultaneism’ between the Abbaye de Créteil and Futurism: The Individual and the Crowd in Late-Symbolist Art","authors":"Chris Townsend","doi":"10.1515/futur-2012.0017","DOIUrl":"https://doi.org/10.1515/futur-2012.0017","url":null,"abstract":"This essay argues that Futurism’s concept of simultaneism derives in part from the infl uence of the French poet, critic and dramatist Henri-Martin Barzun (1881–1974). This infl uence began with F. T. Marinetti’s encounter with French late-Symbolist poetry and thought in the 1890s and was reinforced by his contacts with the intellectual community gathering at the Abbaye de Créteil in 1907–1908. Although the infl uence of Jules Romains’ poetry and his theory of Unanimism have been widely discussed, little has been written about Barzun and Futurism. I propose in this essay that the ideas promulgated by Romains were, in certain areas, antithetical to Futurist thought, whereas Barzun’s concept of subjectivity in an evolving mass society, and indeed his practice of those ideas within drama and poetry, was more closely aligned to Marinetti’s idea of selfhood. Having distinguished Barzun’s ideas from Romains, the essay also shows that the Futurist notion of simultaneism (simultaneità) differs both conceptually and practically from simultaneism as it was professed and practised by the French avant-garde, whether articulated as simultané (Robert Delaunay) or as simultanéité (Apollinaire). A close reading of Barzun’s Hymne des forces (1912) is paralleled with the visual treatment of time and space in characteristic Futurist paintings by Delmarle and Severini. Finally, Barzun’s theory of polyphony and simultaneity is related to the Futurist assault on the boundary between art and life, especially its performance works that explore and rely on the tensions created by different voices speaking at the same time.","PeriodicalId":300026,"journal":{"name":"International Yearbook of Futurism Studies","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132385221","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Růžena Zátková: An ‘Atypical’ Futurist

International Yearbook of Futurism Studies Pub Date : 1900-01-01 DOI: 10.1515/FUTUR-2012.0004

G. Berghaus

{"title":"Růžena Zátková: An ‘Atypical’ Futurist","authors":"G. Berghaus","doi":"10.1515/FUTUR-2012.0004","DOIUrl":"https://doi.org/10.1515/FUTUR-2012.0004","url":null,"abstract":"The curator and art historian Alena Pomajzlová has been researching the life and works of Růžena Zátková for over ten years now. She presented the fi rst results of her studies in the Czech art journal Umění (2004) and more recently in the cultural magazine Kontexty (in April 2009). Now, to coincide with an exhibition at the Imperial Stables of Prague Castle from 7 April to 31 July 2011, she is publishing a fi rst full-length study on this Czech artist who spent much of her creative life in Italy and became a relative of F. T. Marinetti through her marriage to his brother-in-law, Arturo Cappa. The book published by Arbor Vitae Societas in Prague is bilingual Czech and English and has three main sections: 1) a study of Zátková’s life and works; 2) correspondence; 3) reprints of catalogue entries, reviews and articles on Zátková. It reproduces all extant paintings, many drawings, as well as photographs that survived in the Marinetti family of her now lost paintings, sculptures and multi-media assemblages. With this beautifully produced volume Pomajzlová has restored to our memory a barely known woman artist closely related to the Futurist movement1 and has assigned her a rightfully deserved place in the chronicles of twentiethcentury art. Růžena Zátková came from a wealthy middle-class family actively involved with the arts and music scene of the time. Růžena’s talents were recognized early on and she was given music and painting lessons, fi rst","PeriodicalId":300026,"journal":{"name":"International Yearbook of Futurism Studies","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127829077","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Wireless Modernity: Mexican Estridentistas, Italian and Russian Futurism 无线现代性:墨西哥Estridentistas，意大利和俄罗斯的未来主义

International Yearbook of Futurism Studies Pub Date : 1900-01-01 DOI: 10.1515/futur-2012.0011

R. Gallo

{"title":"Wireless Modernity: Mexican Estridentistas, Italian and Russian Futurism","authors":"R. Gallo","doi":"10.1515/futur-2012.0011","DOIUrl":"https://doi.org/10.1515/futur-2012.0011","url":null,"abstract":"Among the groups who sought to propagate the Futurist revolution in Latin America, the Estridentista movement – a short-lived group of poets and painters who burst into the Mexican literary scene in 1921 with a bombastic manifesto that was posted overnight on the walls of Mexico City – was one of the most original. It was written by poets and painters in their early twenties who pledged their allegiance to both Futurist aesthetics and the politics of the Mexican Revolution. Although from the inception of their movement the Estridentistas presented themselves as followers of Futurism, there have been almost no critical studies seeking to elucidate the relationship between the two movements. In this essay, I will discuss specifi c aspects of Italian and Russian Futurism that were incorporated into the Estridentista programme. I will show that even though the Mexican poets adapted many of F. T. Marinetti’s ideas about poetry, their movement was actually quite different from Italian Futurism in terms of both politics and aesthetics. Comparing the central tenets of Estridentism to the theories developed a decade earlier by Italian and Russian Futurists, I shall attempt to resolve a question that has gone unanswered since the early years of the movement: can Estridentism – as many of the movement’s fi ercest critics have argued – be dismissed as simply a derivative movement that merely repeated the theories, technological obsession and poetic experiments introduced by earlier avantgarde movements? As my analysis will demonstrate, the group produced a highly original contribution to avant-garde aesthetics in the fi eld of radiophonic literature, or “wireless aesthetics”.","PeriodicalId":300026,"journal":{"name":"International Yearbook of Futurism Studies","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129062793","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Futurism in Venezuela: Arturo Uslar Pietri and the Reviews Indice and válvula 未来主义在委内瑞拉:Arturo Uslar Pietri和评论指数和válvula

International Yearbook of Futurism Studies Pub Date : 1900-01-01 DOI: 10.1515/futur-2012.0016

G. Montenegro

{"title":"Futurism in Venezuela: Arturo Uslar Pietri and the Reviews Indice and válvula","authors":"G. Montenegro","doi":"10.1515/futur-2012.0016","DOIUrl":"https://doi.org/10.1515/futur-2012.0016","url":null,"abstract":"The short-lived revue válvula, published in Caracas in 1928, was symbolic of the cursory invasion of Futurism into Venezuela, and of the fate of the avant-garde in that country between the 1920s and 1930s. At a time, when the nation was struggling to shake itself free from the patriarchal infl uence of the caudillo Juan Vincente Gómez (1857–1935), and was simultaneously on the eve of a shift from an agricultural to an oil-based economy, artistic avant-garde movements arrived in cultural centres such as Caracas and Maracaibo not with the boom and thunder appropriate to war-loving Futurism but, rather, trickled in slowly, gradually changing the face of Venezuelan literature. That being said, the nature of válvula, in its fi rst and only issue in January 1928, carried the urgency and abrupt nature of Italian Futurism within its visual and editorial content. The main propagandist of the new Venezuelan avant-garde was the young Arturo Uslar Pietri (1906–2001) who eschewed labelling the new literary movement a product of European vanguardism, yet, effectively, yielded to an Italian Futurist aesthetic in his fi rst defence of Futurism in the review, Indice: Quincenario de combate. Crítica y literatura, in 1927. However, his collaboration with the válvula group in 1928 would mark the transition from his love of Futurist rhetoric to his demand for aesthetic and social renewal.","PeriodicalId":300026,"journal":{"name":"International Yearbook of Futurism Studies","volume":"190 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123402914","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

The War Diaries of Filippo Tommaso Marinetti and Ernst Jünger 菲利普·托马索·马里内蒂和恩斯特·约恩格尔的战争日记

International Yearbook of Futurism Studies Pub Date : 1900-01-01 DOI: 10.1515/futur-2012.0014

A. Benedetti

{"title":"The War Diaries of Filippo Tommaso Marinetti and Ernst Jünger","authors":"A. Benedetti","doi":"10.1515/futur-2012.0014","DOIUrl":"https://doi.org/10.1515/futur-2012.0014","url":null,"abstract":"This paper offers a philological and thematic comparison of the war diaries written by Filippo Tommaso Marinetti (1876–1944) and Ernst Jünger (1895–1998). Marinetti’s notebooks were only published posthumously in an incomplete and censored version, whereas Jünger’s text has been faithfully edited. Both authors registered in their diaries more or less daily war experiences in a highly literary style. Whereas Marinetti employed an extensive range of experimental linguistic devices, Jünger adopted a more detached, documentary style in his description of events. Both writers made use of their diaries for literary works of art. As examples of these, I shall discuss Marinetti’s Come si seducono le donne (1917) and L’alcova d’acciaio (1921), and Jünger’s In Stahlgewittern: Aus dem Tagebuch eines Stoßtruppführers (1920), Das Wäldchen 125: Eine Chronik aus den Grabenkämpfen 1918 (1925) and Feuer und Blut: Ein kleiner Ausschnitt aus einer großen Schlacht (1925). The literary reworkings of the original diaries show an analogous interpretation of the ‘battle of materials’ and the ways in which the soldiers confronted and transcended the daily horrors of war. Marinetti’s hypertrophic ‘self ’ celebrated the élite assault units (Arditi) as an embodiment of the New Man of the future. Jünger, on the other hand, made an interior division between soldier/warrior (action) and writer (observation), which heralded an aesthetic appropriation of war as a ‘technical labour process’ and projected it onto a higher metaphysical plane. Both diaries show similar ideological implications and share an aggressive, revolutionary nationalism which has a purist and intellectual character and dismisses the compromises of everyday politics. Yet, there were also major differences, summed up in Marinetti’s often declared “Love of Battle” and Jünger’s exasperated question: “When will this shitty war end?”","PeriodicalId":300026,"journal":{"name":"International Yearbook of Futurism Studies","volume":"80 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134153140","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Finland and Futurism 芬兰与未来主义

International Yearbook of Futurism Studies Pub Date : 1900-01-01 DOI: 10.1515/futur-2012.0018

Nikolai Sadik-Ogli

{"title":"Finland and Futurism","authors":"Nikolai Sadik-Ogli","doi":"10.1515/futur-2012.0018","DOIUrl":"https://doi.org/10.1515/futur-2012.0018","url":null,"abstract":"Finland was exposed to various European avant-garde art movements around the time when it gained national independence from Russia (1917). This signifi cant political change and its aftermath, coupled with Finland’s geographic and linguistic distance from continental Europe, thoroughly affected the Finnish reaction to new radical art forms such as Futurism. The conservative cultural establishment of the time included many nationalist artists and critics who often misunderstood or improperly defi ned the new artistic trends. Although certain artists such as Wäinö Aaltonen and Edwin Lydén were open to experimentation and infl uences from Futurism, Expressionism and Cubism, they only temporarily adapted these styles and never formally joined any of the movements. Similarly, writers using both the Swedish and Finnish languages experimented with Futurist subject matters and typographical innovations. By 1932, Olavi Paavolainen, one of the most important writers to introduce recent avant-garde trends to Finland, abandoned his earlier enthusiasm for Modernist experimentation and regretted the results of Futurist infl uence on Finnish literature. Similarly, in the fi eld of music, composers such as Elmer Diktonius and Ernest Pingoud developed an interest in Futurism and experimented with urban and machinist themes, without ever adopting the radical tenets promoted by Russolo and other Futurists. Thus, Finland’s relationship to Futurism presents a cultural scenario that well illustrates the battle between old and new that was so central to Futurist thought.","PeriodicalId":300026,"journal":{"name":"International Yearbook of Futurism Studies","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122179176","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Marinetti in Berlin Marinetti在柏林报道

International Yearbook of Futurism Studies Pub Date : 1900-01-01 DOI: 10.1515/FUTUR-2012.0010

Irene Chytraeus-Auerbach

{"title":"Marinetti in Berlin","authors":"Irene Chytraeus-Auerbach","doi":"10.1515/FUTUR-2012.0010","DOIUrl":"https://doi.org/10.1515/FUTUR-2012.0010","url":null,"abstract":"The reception of Italian Futurism in Germany has been a widely discussed topic in the fi elds of art historical and literary criticism. However, little is known about the contacts between Filippo Tommaso Marinetti, the leader of the Italian Futurist movement, and his German/Berlin counterparts. Similarly, his visits to the German capital are still shrouded in mystery, as not even the exact dates of his stays in Berlin can be ascertained. Focussing on the relationship between Marinetti and his most important partner and promoter of Italian Futurism in Germany, the publicist, musician and art gallerist Herwarth Walden, this essay aims to trace Marinetti’s repeated visits to Berlin, starting with his fi rst in April 1912, which was in connection with the exhibition of Futurist painting at the Sturm gallery, and ending with his last offi cial appearance in 1934, on the occasion of the Aeropittura exhibition organized by Ruggero Vasari. In the course of these 23 years, Italian Futurism presented a recurrent, sometimes more, sometimes less discussed and contested topic, not only in German artistic and intellectual circles, but also on a larger social and even political scale. Yet, despite its long-lasting presence on the German cultural scene, Futurism did not make any substantive inroads into German arts; its infl uence remained limited, often superfi cial, and was mainly determined by the personality of its leader and most prominent representative, Filippo Tommaso Marinetti. The movement’s revolutionary iconoclasm fi nally came to clashes with the new National Socialist régime after 1933 and was effectively banned from the 1937 exhibition of Italian art in Berlin.","PeriodicalId":300026,"journal":{"name":"International Yearbook of Futurism Studies","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130929783","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The Futurist Invasion of Great Britain, 1910–1914 未来主义者入侵英国，1910-1914

International Yearbook of Futurism Studies Pub Date : 1900-01-01 DOI: 10.1515/futur-2012.0013

Dominika Buchowska, Steven L. Wright

{"title":"The Futurist Invasion of Great Britain, 1910–1914","authors":"Dominika Buchowska, Steven L. Wright","doi":"10.1515/futur-2012.0013","DOIUrl":"https://doi.org/10.1515/futur-2012.0013","url":null,"abstract":"F. T. Marinetti’s fi rst visit to London in 1910 unknowingly served as a harbinger of what British society would experience in the years preceding the Great War: a rapid succession of changes that challenged the fundamentals of art, literature, architecture and music. Suddenly, the accumulated principles garnered from the test of ages pitted themselves against the intangible phantom of the ‘new’ that embraced creativity and minimized or eliminated dependency on tradition. A decade earlier, many believed that large segments of society would be experiencing a cultural renaissance. Change did indeed occur, but it arrived from the Continent. This ‘foreign invasion’ of the fi ne arts that took aim at tradition shocked and disarmed Edwardian society. A key leader of the invasion was Marinetti and his fellow Futurists. Elements of English society offered a warm welcome, but many others considered it an Italian oddity replete with bravado and noise. Academics and aesthetes dismissed Futurism as another banal and whimsical art movement originating from Europe and felt that it lacked substance; however, Britain’s nascent avant-garde developed a particular affi nity for Futurism, especially for its nationalistic overtones. When this ‘foreign invasion’ was combined with the simmering political issues of women’s suffrage, Irish Home Rule, Welsh coal miners’ unrest and anarchists’ disruptions, it signifi ed to many a precipitous decline of not only the existing social order but an erosion of Britain’s political, military, economic and cultural dominance on an international scale. In mid–1914, when Marinetti tried to co-opt the British avant-garde and threaten its ‘Englishness’, they abandoned Italian Futurism and founded Vorticism, a distinctly nationalistic and anti-Futurist movement.","PeriodicalId":300026,"journal":{"name":"International Yearbook of Futurism Studies","volume":"146 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123441625","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 3

Broom and Futurist Aristocracy: When the Futurist Movement Met the Machine Age 扫帚和未来主义贵族:当未来主义运动遇到机器时代

International Yearbook of Futurism Studies Pub Date : 1900-01-01 DOI: 10.1515/futur-2012.0009

M. Fochessati

{"title":"Broom and Futurist Aristocracy: When the Futurist Movement Met the Machine Age","authors":"M. Fochessati","doi":"10.1515/futur-2012.0009","DOIUrl":"https://doi.org/10.1515/futur-2012.0009","url":null,"abstract":"At the beginning of the 1920s, two magazines, Broom and Futurist Aristocracy, made a signifi cant contribution to relations between the Futurist movement and the new artistic scene in the United States. The former was published in Rome (later in Berlin and New York) by several American editors, the latter in New York by an Italian Futurist, Nanni Leo Castelli. Harold A. Loeb was the founder and chief editor of Broom, which sought to keep the American audience up to date about the European avant-garde, including the researches of the Futurist movement. Loeb met Marinetti in Rome and his magazine published poems by Aldo Palazzeschi, Luciano Folgore and Corrado Govoni, and paintings by Ardengo Soffi ci and Carlo Carrà. Another very active collaborator was Enrico Prampolini, who took responsibility for designing several covers of the magazine. Even if Broom cannot be considered a Futurist publication, it offered an interesting comparison between the Italian and the international avant-garde. The one and only issue of Futurist Aristocracy came out in April 1923 and contained, besides some articles by Castelli, Marinetti’s Foundation and Manifesto of Futurism and The Discovery of New Senses, a sequel to the Manifesto of Tactilism. The illustrations contained in the issue showed paintings and sketches by Charles Sheeler, Horace Brodzky, Jan Rubczac and John Marin. Both publications revealed the international potential of the Futurist movement and demonstrated its affi nity with the American “Machine Age”, especially with regard to their shared passion for the machine, speed and modern technology. This association between Futurism and contemporary artistic developments in the USA became even more evident after the emergence of Aeropainting in the early 1930s.","PeriodicalId":300026,"journal":{"name":"International Yearbook of Futurism Studies","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117314167","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0