{"id":18,"date":"2021-11-26T12:05:29","date_gmt":"2021-11-26T12:05:29","guid":{"rendered":"https:\/\/www.mvac.pt\/?page_id=18"},"modified":"2021-12-02T21:55:11","modified_gmt":"2021-12-02T21:55:11","slug":"2-futuristas","status":"publish","type":"page","link":"http:\/\/www.mvac.pt\/en\/2-futuristas\/","title":{"rendered":"2. Futurists"},"content":{"rendered":"
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\u00ab4. The magnificence of the world has been enriched with a new beauty: the beauty of speed. A racing car, adorned with thick tubes that resemble snakes with an explosive breath... a roaring car, which seems to run under fire is more beautiful than The Winged Victory of Samothrace.\"<\/p>Funda\u00e7\u00e3o e Manifesto do Futurismo, Le Figaro, 20 de fevereiro de 1909.<\/cite><\/blockquote>\n\n\n\n

Futurism was one of the most fleeting movements of the 20th century. Born in Italy, by the hand of Filippo Tommaso Marinetti, and expanded internationally after a theatrical gesture, being published in the front page of Le Figaro, the Futurist Manifest, in 1909. Le Figaro<\/em> do Manifesto Futurista.<\/p>\n\n\n\n

Futurism, as many of the pioneer movements in the 1900\u2019s, was seen as an insult to tradition. The futurists sought to fight the \"prejudice of the Sublime Themes\" and the greatness of the subjects, which were so dear to the 18th century tradition, they also fought the \"art-mimesis\", replacing it with \"art-life\" that represented contemporaneousness.<\/p>\n\n\n\n

Futurism touched almost all art territories. Starting in literature, it quickly spread to the fine arts, architecture and the performing arts. In 1910, a succession of specialized manifests made their principles and intentions clear. From the art point of view, two principles allow us to recognize Futurism in its pictorial and sculptural manifestations: The \"chromatic divisionism\", previously introduced by the Impressionists, that helped style the first futuristic paintings, but the most evident distinctive feature \u2014 which would extend to all artistic domains \u2014 was shown in the Technical Manifest of Futuristic Paintings, in 1910: \"Everything moves, everything runs, everything turns quickly. A figure never presents itself static, but it appears and disappears quickly. The persistence of images in the eye, causes moving objects to multiply and distort, and they succeed, one after the other, in a way that resembles vibrations in the space they go throug.\"<\/em><\/p>\n\n\n\n

Futurism, which placed \u201cIdea\u201d above \u201cStyle\u201d, often resorted to explanatory titles for the pieces. The war \u2014 \"the hygiene of the world\" <\/em> \u2014<\/em> significantly reduced Futurism\u2019s impact and, after 1918, the movement lost its glow and eventually subsided amidst Fascism.<\/p>\n\n\n\n

The great mentor of Futurism in Portugal was Guilherme Santa-Rita, the painter who contacted the Italian futurists in Paris. He came back from Marinetti with the task of finding an editor for the manifests. Portuguese Futurism was even more fleeting and had some literary expression \u2014 the Orpheu magazine, promoted by Fernando Pessoa and Ant\u00f3nio Ferro, and the unique edition of Futurist Portugal, seized by the police just outside the typography \u2014 and little impact in the visual art, which was practically boiled down to Santa-Rita\u2019s reproduction of seven pieces, shown in the magazines, and a painting \u2014 Futurist Head<\/em> \u2014that managed to escape the fire that the painter's family used to erase his work, per his request. The most serious event of Portuguese Futurism was the 1st Futurism Conference<\/em> by Almada Negreiros held in Teatro Rep\u00fablica, at 5 pm on April 14th, 1917. With Santa-Rita\u2019s elaborate orchestration, the Futurist Manifest to the generations of the twentieth century<\/em>, written by Almada himself, was read from a large box. This manifest would become the great starter of the controversy that followed in the press.<\/p>\n\n\n\n\t\t\n\t\t

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An\u00fancio da 1\u00aa Confer\u00eancia Futurista em Portugal Futurista<\/em> n\u00ba 1, 1917<\/div>\n\n\n\t
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Retrato de Santa-Rita Pintor em Portugal Futurista<\/em> n\u00ba 1, 1917<\/div>\n\n\n\t
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Santa Rita<\/strong>
Perspectiva futurista de um quarto de acordar, 1912
em Portugal Futurista<\/em> n\u00ba 1, 1917<\/div>\n\n\n\t
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Santa Rita<\/strong>
Orfeu nos Infernos
em Portugal Futurista<\/em> n\u00ba 1, 1917<\/div>\n\n\n\t
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Santa-Rita<\/strong>
Compenetra\u00e7\u00e3o est\u00e1tica interior de uma cabe\u00e7a = complementarismo cong\u00e9nito absoluto (sensibilidade lithographica), Paris, 1913
em Orpheu, n.\u00ba 2, Abril-Maio-Junho 1915<\/div>\n\n\n\t
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Santa-Rita<\/strong>
Syntese geometral de uma cabe\u00e7a X infinito plastico de ambiente X transcendentalismo phisico (sensibilidade radiographica), Paris, 1913
em Orpheu, n.\u00ba 2, Abril-Maio-Junho 1915<\/div>\n\n\n\t
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Santa-Rita<\/strong>
Decomposi\u00e7\u00e3o dynamica de uma mesa + estylo do movimento (interseccionismo plastico), Paris, 1912\u00a0
em Orpheu, n.\u00ba 2, Abril-Maio-Junho 1915<\/div>\n\n\n\t
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Santa-Rita<\/strong>
Estojo scientifico de uma cabe\u00e7a + aparelho ocular + sobreposi\u00e7\u00e3o dynamica visual + reflexos de ambiente X luz. (sensibilidade mechanica)
em Orpheu, n.\u00ba 2, Abril-Maio-Junho 1915<\/div>\n\n\n\t
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