1913 | “Dynamism of a Soccer Player” by Umberto Boccioni

1913 | “Dynamism of a Soccer Player” by Umberto Boccioni


(drum beat music) Ann: The Italian futurists
were one group of artists who were doing incredible things in 1913. Thinking about art as something
that had to be for the new century. Speed, noise, machinery, and
the city became a key part of all of their paintings. Dynamism of a Soccer Player
challenges any viewer to actually find a soccer player:
two arms, two legs, a face. No way. Colors and shapes
moving, running, kicking. Your eye is brought to the next
place or to a place further down. There’s only one way when you look
at a yellow form or a red form that you can see that
form which is in relation to the colors circulating around it. The brush strokes are extremely
visible, they are tangible its material. Photography which was little
more than half a century old had an enormous impact. Eadweard Muybridge did photography
in sequence: bop, bop, bop, bop. They wanted to do that in painting too. The futurists believed
that part of being modern was not only painting modern
things but creating a ruckus. When their pictures
appeared at exhibitions they issued manifestos, they have
lectures, they had performances that absolutely provoked the people
in attendance to realizing, “Wow.” Even if we didn’t understand the picture, what we’re doing is being
a witness to something that is upsetting centuries of tradition. (drum beat music)

Antonio Breitenberg

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9 thoughts on “1913 | “Dynamism of a Soccer Player” by Umberto Boccioni

  1. Archivio ASA says:

    The best work after Pollock!!!!
    I love it

  2. HempKid says:

    Smokin big ol doinks in amish

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  8. The Jazz Apples says:

    Here's an extract from Boccioni's Plastic Dynamism:

    “If with the artistic intuition it is ever possible to approach the concept of a fourth dimension, it is we Futurists who are getting there first. In fact, with the unique form which gives continuity in space we create a form which is the sum of the potential unfolding of the three known dimensions. Therefore, we cannot make a measured and finite fourth dimension, but rather a continuous projection of forces and forms intuited in their infinite unfolding. In fact, the unique dynamic form which we proclaim is nothing other than the suggestion of a form in motion which appears for a moment only to be lost in the infinite succession of its variety.

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