During the first decade of the twentieth century, a group of young Italian painters united together, under the influence of poet Filippo Tommaso Marinetti. Before creating their new style, these painters embraced the ideas of Marinetti’s The Foundation and Manisfesto of Futurism which appeared in the newspaper Le Figaro on February 20, 1909 (Tisdall 7). His manifesto of futurism was primarily concerned with peotry, but artists such as Boccioni, Balla, and Severini used his ideas and applied them to painting and sculpture.
The Museum of Modern Art holds Umberto Boccioni’s Dynamism of a Soccer Player, 1913, a fine example of the Futurist vision. In his Futurist Painting: A Technical Manifesto, Boccioni tells us that the “growing need of truth is no longer satisfied with Form and Colour as they have been understood hitherto. The gesture which we would reproduce on canvas shall no longer be a fixed moment in universal dynamism. It shall be the “dynamic sensation itself” (Apollonio 27). This goal of creating the dynamic sensation itself, rather than simply a fixed moment within a dynamic action is exemplified, among other ideas of the Futurist movement in Boccioni’s Dynamism of a Soccer Player. Before going further however, it is necessary to discuss some of the principles of Futurism as created by Marinetti.
Marinetti’s The Founding and Manifesto of Futurism is a work which begins like a work of poetry, and deals with the celebration with the technology, the future, and the machine, while rejecting the natural world and the past. Marinetti despises the sounds created by canals “muttering feeble prayers”, and “the creaking bones of sickly palaces,” while he embraces the “famished roar of automobiles” (Apollonio 19-20). He orders us to “shake the gates of life”, and instead, “test the bolts and hinges” (Apollonio 20). To Marinetti, technology and the machine, such as the automobiles, are to be embraced and celebrated for its speed and beauty. No longer is a natural landscape beautiful, rather “the world’s magnificence has been enriched by a new beauty: the beauty of speed. A racing car whose hood is adorned with great pipes, like serpents of explosive breath – a roaring car that seems to ride on grapeshot” is seen as more beautiful than any romantic painting (Apollonio 21).
In addition to celebrating the machine, the Futurist movement represents a striding towards the future. This is accomplished by rejecting all of the past, even going as far as saying that it is harmful.
Flink’s Three stages of American automobile consciousness fully express the progress of the whole automobile industry. From the first model T to the automatic production, it gives me an intuitive feeling of the automobile history from a big picture. On the other hand, Kline and Pinch focus more on a certain group of people--farmers or people who live in the rural area, they use it as an entry point to talk about automobile, alone with the role and duty transition between male and
In the Florence and the early renaissance, we have the greatest master of art like Leonardo da Vinci, Michelangelo, Sandro Botticelli and others. In this period of time the painters almost never show their emotions or feelings, they were more focused on indulging the churches and the wealthy people. In The renaissance period the art provides the work of art with ideal, intangible qualities, giving it a beauty and significance greater and more permanent than that actually found in the modern art. Florence and the early renaissance, the art become very valued where every artist was trying to create art forms consistent with the appearance of the beauty or elegance in a natural perspective. However, Renaissance art seems to focus more on the human as an individual, while Wayne White art takes a broader picture with no humans whatsoever; Wayne, modern three dimensional arts often utilizes a style of painting more abstract than Renaissance art. At this point in the semester these two aspects of abstract painting and the early renaissance artwork have significant roles in the paintings. Wayne White brings unrealistic concepts that provoke a new theme of art, but nevertheless the artistic creations of the piece of art during early renaissance still represent the highest of attainment in the history of
Sandro Botticelli, real name Alessandro di Mariano Filipepi, was one of the greatest painters of the Florentine Renaissance. His work, Portrait of a Young Man in a Red Cap, captures his highly personalized style. He is known for his execution and precise use of lines to portray objects realistically. The Portrait of a Young Man in a Red Cap will be the source of our discussion, but first a background of Sandro Botticelli’s artistic relations is necessary.
(68). The use of the symbolic automobile can be seen as a demonstration of how a...
This is seen as a subculture. Subcultures form by a transition from childhood to adult hood (coming of age), self-discovery, social rejection, and social change; all of these are present during the movie. A subculture is pretty much any group of people that do not precisely conform with the larger culture in which they live but instead conform to their own group. The outcome of these subcultures are stereotyping, social pressure, altered definitions of social norms, and transition. Subcultures in people are seen mainly as stereotypes. The use of stereotypes is used frequently because it enables people who watch them to form an opinion of the characters and their beliefs just from seeing them before they may have even spoken and sometimes just from the way they walk and are spoken to by other people. In this movie there was a jock, the brain, the rebel, the princess, and the basket case. This was how the director conveyed sub cultures across the
These people would pull of what they called a ‘Ned Lud’ and soon became part of a movement they called Luddism. Luddism was a movement that focused around bettering the conditions for the working class and making sure they had proper wages and most importantly, that workers were not simply being replaced by machines. However some Luddites wanted no part in this technology era and wanted to go back to simpler times with no machines to steal people’s jobs. However Kenneth Carpenter argues that these people need to reconsider what they believe a machine actually is. If we were to take them seriously for example we would be transported to a time in which corn was ground by hand, and flour mills did not exist (The Luddites: 3 pamphlets 2). He states that these people need to change their idea of what a machine actually is and that if we went back to a time with no machines, we would still be doing these simple tasks by hand. Something that we deem now as something of such little significance, and such high convenience that we do not even both to call it a
social order. The Progressive movement, 1901 to 1917, was ultimately the triumph of conservatism rather than a
In the July 1997 issue of Commentary, James Q. Wilson challenges the consensus among academia’s finest regarding the automobile in his bold article, Cars and Their Enemies. Directed towards the general public, his article discredits many of the supposed negatives of the automobile raised by experts, proves that the personal car is thriving and will continue to thrive because it meets individual preference over other means of transportation, as well as presents solutions to the social costs of cars. Wilson emphasizes that no matter what is said and done in eliminating the social costs of the automobile, experts are not going to stop campaigning against it.
"Who are you?" This is the question five high school students are asked at the beginning of a Saturday detention session in The Breakfast Club. This question is not just unique to these students in this high school, but this is a question all high school students attempt to figure out by the time they go off to college or join the work force. Unfortunately, a person is often perceived based on stereotypes which does not reveal the true person. In The Breakfast Club, perception of students based on stereotypes leads to biased expectations, isolation, and peer pressure in American high schools.
Interestingly, he also refers to Donatello as a ‘craftsman’. The correlation between the artist or sculptor and craftsman is an important aspect in Italian Renaissance art. The craftsman was something more than just an artist. This person was talented and considered by others in Italian Renaissance society as exceptional or as Vasari’s title suggests, ‘the most excellent’. They were also tradespeople rather than just artists. This is because they created works for other people, which often meant they expressed other people’s ideas. Through an analysis of Vasari’s biography on Donatello, this essay will explore the importance of culture in Renaissance Italian society, an examination of Vasari’s biography of Donatello as a historical document and the ways in which Vasari portrays Donatello, which ultimately was significant for future Renaissance craftsmen. This paper will analyze the life of Donatello through Vasari’s The Lives of the Most Excellent Painters, Sculptors and Architects to show the importance of Donatello not only as an artist but also as a
Additionally, the styles changed; from Rococo, which was meant to represent the aristocratic power and the “style that (…) and ignored the lower classes” (Cullen), to Neoclassicism, which had a special emphasis on the Roman civilization’s virtues, and also to Romanticism, which performs a celebration of the individual and of freedom. Obviously, also the subject matter that inspired the paintings has changed as wel...
Italy entered the age of mobility. Railway networks expanded many kilometers. Italy became a mobile society. Italian engineers also began assembling automobiles. The automobile represented the human desire to overcome the limits of time and space. However, the speedy motor vehicle praised by Marinetti in the Manifesto of Futurism was not a consumer. It was a racing car. Marinetti believed that the world had been enriched by the beauty of speed. It was this insistence on speed and dynamism that became a characteristic of Futurism.
Imagery is one of the most notable elements in the poem due to the fact that Frost is describing the setting and scenery for the majority of the poem. His word choice is quite specific, clearly painting a picture for readers to visualize the scene he is describing. Frost describes the paths the narrator is considering as “two roads diverged in a yellow wood…” (1). Frost later goes on to describe the path the narrator is considering by stating, “…it was grassy and wanted wear” (8). The imagery is perhaps used as a means to demonstrate the fact that the way a path may look is not entirely representative of what lies ahead. Choices in life should be made with a great deal of thought, going beyond the superficial appearances. The narrator considers both paths before making an informed decision. The outward appearance of a path is not nearly as important as knowing what is best for an individual overall. The imagery in Frost’s poem sheds light the importance of making a choice by the narrator considering both paths in great detail because he or she recognizes the lasting influence a decision can have throughout his or her
There is never a straight path for one to follow on life's journey. By using two paths in which to choose from, Frost leaves one to realize that everyone must travel and will reach a point of decision. With stating 'And sorry I could not travel both,'; Frost
Robert Frost is an iconic poet. One of his most well-known poem is titled “The Road Not Taken”. This poem is about the narrator monologue about his travels and choices he faced. It opens up with the view with a fork in the road where two roads take different routes. The narrator must choose which road he will take. The narrator describes his setting vividly of the woods that he is traveling in and the choices he must make, such as “Yet knowing how way leads on to way, / I doubted if I should ever come back.” (14-15). The roads are not only literal choices, but also figurative choices. As they represent all life choices one must make in their lifetime. Frost uses multiple elements within his poem to bring the meaning of it to the reader’s attention. This poem is a metaphor for the choices people must make in their lives and how those choices impact their lives forever.