1. An Italian Futurismo movement

2. INTRODUCTION
The Futurists practised in every medium of art, including painting,sculpture, ceramics, graphic design, industrial design, interior design, urban design, theatre, film, fashion, textiles, literature,music, architecture and even gastronomy. Key figures of the movement include the Italians Filippo Tommaso Marinetti,Umberto Boccioni, Carlo Carrà, Gino Severini, Giacomo Balla, Antonio Sant'Elia, Bruno Munari, Benedetta Cappa and Luigi Russolo, and the Russians Natalia Goncharova, Velimir Khlebnikov, Igor Severyanin, David Burliuk, Aleksei Kruchenykh andVladimir Mayakovsky, as well as the Portuguese Almada Negreiros. Its members aimed to liberate Italy from the weight of its past, to glorify modernity. Important works include its seminal piece of the literature, Marinetti's Manifesto of Futurism, as well as Boccioni's sculpture, Unique Forms of Continuity in Space, and Balla's painting, Abstract Speed + Sound (pictured). Futurism influenced art movements such as Art Deco, Constructivism, Surrealism, Dada, and to a greater degree,Precisionism, Rayonism, and Vorticism.

3. Early 20th-century artistic movement centred in Italy that emphasized the dynamism, speed, energy, and power of the machine and the vitality, change, and restlessness of modern life. During the second decade of the 20th century, the movement's influence radiated outward across most of Europe, most significantly to the Russian avant-garde. The most significant results of the movement were in the visual arts and poetry.
Futurism was first announced on Feb. 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. (See the Manifesto of Futurism.) Marinetti coined the word Futurism to reflect his goal of discarding the art of the past and celebrating change, originality, and innovation in culture and society. Marinetti's manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. Exalting violence and conflict, he called for the sweeping repudiation of traditional values and the destruction of cultural institutions such as museums and libraries. The manifesto's rhetoric was passionately bombastic; its aggressive tone was purposely intended to inspire public anger and arouse controversy.

4. Filippo Tommaso Marinetti (centre), the founder of the Futurist movement, with the artists (left to right) Luigi Russolo, Carlo Carrà, Umberto Boccioni, and Gino Severini.

5. MANIFESTO OF FUTURISM
1. We intend to sing the love of danger, the habit of energy and fearlessness.
2. Courage, audacity, and revolt will be essential elements of our poetry.
3. Up to now literature has exalted a pensive immobility, ecstasy, and sleep. We intend to exalt aggressive action, a feverish insomnia, the racer's stride, a mortal leap, the punch and the slap.
4. We say that 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 more beautiful than the Victory of Samothrace.
5. We want to hymn the man at the wheel, who hurls the lance of his spirit across the Earth, along the circle of its orbit.
6. The poet must spend himself with ardour, splendour, and generosity, to swell the enthusiastic fervour of the primordial elements.
7. Except in struggle, there is no more beauty. No work without an aggressive character can be a masterpiece. Poetry must be conceived as a violent attack on unknown forces, to reduce and prostrate them before man.
8. We stand on the last promontory of the centuries! … Why should we look back, when what we want is to break down the mysterious doors of the Impossible? Time and Space died yesterday. We already live in the absolute, because we have created eternal, omnipresent speed.
9. We will glorify war—the world's only hygiene—militarism, patriotism, the destructive gesture of freedom-bringers, beautiful ideas worth dying for, and scorn for woman.
10. We will destroy the museums, libraries, academies of every kind, will fight moralism, feminism, every opportunistic or utilitarian cowardice.
11. We will sing of great crowds excited by work, by pleasure, and by riot; we will sing of the multi-coloured, polyphonic tides of revolution in the modern capitals; we will sing of the vibrant nightly fervour of arsenals and shipyards blazing with violent electric moons; greedy railway stations that devour smoke-plumed serpents; factories hung on clouds by the crooked lines of their smoke; bridges that stride the rivers like giant gymnasts, flashing in the sun with a glitter of knives; adventurous steamers that sniff the horizon; deep-chested locomotives whose wheels paw the tracks like the hooves of enormous steel horses bridled by tubing; and the sleek flight of planes whose propellers chatter in the wind like banners and seem to cheer like an enthusiastic crowd.

6. The Italian writer Filippo Tommaso Marinetti (shown in about 1915) was the ideological founder of futurism, a literary and artistic movement of the early 20th century.

7. (They established new genres, the most significant being parole in libertà (“words-in-freedom”), also referred to as free-word poetry; this was poetry liberated from the constraints of linear typography and conventional syntax and spelling.) A brief extract from Marinetti's war poem Battaglia peso + odore (1912; “Battle Weight + Smell”) was appended to one of the Futurists' manifestos as an example of words-in-freedom:
Arterial-roads bulging heat fermenting hair armpits drum blinding blondness breathing + rucksack 18 kilograms common sense = seesaw metal moneybox weakness: 3 shudders commands stones anger enemy magnet lightness glory heroism Vanguards: 100 meters machine guns rifle-fire explosion violins brass pim pum pac pac tim tum machine guns tataratatarata.

8. Cover of the journal Poesia, founded and edited by Filippo Tommaso Marinetti, 1909.
Hulton Archive/Getty Images

9. FUTURISM N PAINTINGS

10. Umberto Boccioni Deutsch: Die Stadt erhebt sich English: Sketch of The City Rises, by Umberto Boccioni (1910) Français : Esquisse de La ville se lève de Umberto Boccioni (1910) Italiano: Bozzetto de La città che sale, del pittore Umberto Boccioni (1910) Date1910MediumcanvasDimensionsHeight: 200 cm (78.7 in). Width: 301 cm (118.5 in).Current location[show]Museum of Modern Art  New YorkSource/PhotographerThe Yorck Project:  Meisterwerke der Malerei. DVD-ROM, 2002. ISBN Distributed by DIRECTMEDIA Publishing GmbH

11. Carlo Carrà, 1912 Funeral of the anarchist galli
Concurrency, Woman on the Balcony, (Simultaneità, La donna al balcone), Collection R. Jucker, Milan, Italy
Funeral of the anarchist galli

12. Giacomo Balla Abstract Speed + Sound 1913-1914

13. Gino Severini 1910-11, La Modiste (The Milliner), oil on canvas, 64
Gino Severini , La Modiste (The Milliner), oil on canvas, 64.8 x 48.3 cm, Philadelphia Museum of Art

14. Gino_Severini,_1912,_Dynamic_Hieroglyphic_of_the_Bal_Tabarin,_oil_on_canvas_with_sequins,_161.6_x_156.2_cm_(63.6_x_61.5_in.),_Museum_of_Modern_Art, New_York
1912. This painting was published in Modern Painting, Its Tendency and Meaning by Willard Huntington Wright (aka, S. S. Van Dine), Copyright 1915, The Plimpton Press, Norwood Massachusetts, 1922, Dodd, Mead and Company, New York

15. Gino Severini, 1911,
La Danseuse Obsedante (The Haunting Dancer, Ruhelose Tanzerin), oil on canvas, 73.5 x 54 cm, private collection

16. Gino Severini, 1919
Nature Morte (still life)

17. Gino Severini, 1911
The Pan Pan Dance, Armory Show press clipping, March This 1911 version was destroyed. Gino Severini made a new version in , now at Musée National d'Art Moderne, Paris

18. Mosaic by Severini
Decorating the Church of St. Mark in Cortona, Italy