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ARTISTS UMBERTO BOCCIONI
Umberto Boccioni
Italian Painter, Sculptor, and Theoretician

Movements: Futurism, Cubism, Neo-impressionism
Born: October 19, 1882 - Reggio Calabria, Italy
Died: August 17, 1916 - Sorte, Italy
"What we want to do is to show the living object in its dynamic growth"

Synopsis
Umberto Boccioni was one of the most prominent and influential artists among the Italian Futurists, an art movement that emerged in the years before the First World War. Boccioni was important not only in developing the movement's theories, but also in introducing the visual innovations that led to the dynamic, Cubist-like style now so closely associated with the group. Emerging first as a painter, Boccioni later produced some significant Futurist sculpture. He died while volunteering in the Italian army, aged only thirty-three, making him emblematic of the Futurists' celebration of the machine and the violent destructive force of modernity.
Key Ideas

Although Boccioni deserves a great amount of credit for evolving the style now associated with Italian Futurism, he first matured as a Neo-Impressionist painter, and was drawn to landscape and portrait subjects. It was not until he encountered Cubism that he developed a style that matched the ideology of dynamism and violent societal upheaval that lay at the heart of Futurism. Boccioni borrowed the geometric forms typical of the French style, and employed them to evoke crashing, startling sounds to accompany the depicted movement.
Boccioni believed that scientific advances and the experience of modernity demanded that the artist abandon the tradition of depicting static, legible objects. The challenge, he believed, was to represent movement, the experience of flux, and the inter-penetration of objects. Boccioni summed up this project with the phrase, "physical transcendentalism."
Despite his fascination with physical movement, Boccioni had a strong belief in the importance of intuition, an attitude he inherited from the writings of Henri Bergson and the Symbolist painters of the late 19th century. This shaped Boccioni's approach to depicting the modern world, encouraging him to give it symbolic, almost mythical dimensions that evoked the artist's emotions as much as the objective reality of modern life. In this respect, Boccioni's approach is very different from that of the Cubists, whose work was grounded in an attempt to closely describe the physical character of objects, albeit in a new way.
Most Important Art

Self-Portrait (1905)
Artwork description & Analysis: This Self-Portrait demonstrates Boccioni's style as a student at the Academy in Rome.Although it differs greatly from his mature Futurism, being far softer in its tone and brushwork, he cherished the picture and never sold it during his lifetime. It is typical of the period when he was moving from a style inspired by early Impressionism to a more volumetric approach suggested by study of works by Paul Cézanne.
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The City Rises (1910)
Artwork description & Analysis: The City Rises is considered by many to be the very first truly Futurist painting. Boccioni took a year to complete it and it was exhibited throughout Europe shortly after it was finished. It testifies to the hold that Neo-Impressionism and Symbolism maintained on the movement's artists even after Futurism was inaugurated in 1909. It was not until around 1911 that Boccioni adapted elements of Cubism to create a distinct Futurist style. Nevertheless, The City Rises does capture the group's love of dynamism and their fondness for the modern city. A large horse races into the foreground while several workers struggle to gain control of it, suggesting a primeval conflict between humanity and beasts. The horse and figures are blurred, communicating rapid movement while other elements, such as the buildings in the background, are rendered more realistically. At the same time, the perspective teeters dramatically in different sections of the painting.
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The Street Enters the House (1911)
Artwork description & Analysis: The geometric elements and the perspectival distortion in The The Street Enters the House demonstrate the influence of Expressionism and Cubism on Boccioni. According to the original catalog entry for the work, "The dominating sensation is that which one would experience on opening a window: all life, and the noises of the street rush in at the same time as the movement and the reality of the objects outside."
Read More
States of Mind I: The Farewells (1911)
Artwork description & Analysis: The Farewells was the first of Boccioni's three-part series, States of Mind, which has long been seen as one of the high points of the Futurist style in painting. The focal point of the picture is provided by movement itself - the locomotive,the airplane, the automobile: modern machines that gave new meaning to the word "speed." In this work, set in a train station, Boccioni captures the dynamism of movement and chaos, depicting people being consumed by, or fused with, the steam from the locomotive as it whizzes past.
Read More
Unique Forms of Continuity in Space (1913)
Artwork description & Analysis: Although Boccioni was a painter first and foremost, his brief forays into sculpture are significant. The speed and fluidity of movement - what Boccioni called "a synthetic continuity" - is brilliantly captured in this bronze piece,with the human figure gliding through space, almost as if man himself is becoming machine, moving head-on into forceful winds. Possibly in homage to Auguste Rodin's Walking Man (1877-8), and the classical Greek statue Nike of Samothrace (220-190 B.C.),Boccioni left the sculpture without arms.
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The Charge of the Lancers (1915)
Artwork description & Analysis: The Charge of the Lancers is the only known work by Boccioni that is devoted exclusively to the theme of war. Being a collage, Charge was also a rare departure for the artist in terms of medium.In previous works, Boccioni had used the figure of the horse as a symbol for work, but in this collage the horse becomes a symbol of war and natural strength, since it appears to be overcoming a horde of German bayonets. If, in fact, Boccioni was establishing the brute strength of the horse over man-made weapons, it would suggest a slight departure from the Futurist principles of Marinetti. This work also eerily prefigures Boccioni's own death from having been trampled by a horse.
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Biography
Childhood
Umberto Boccioni was born in 1882 in Reggio Calabria, a rural region on the southern tip of Italy. His parents had originated from the Romagna region, further north. As a young boy, Boccioni and his family moved frequently, eventually settling in the Sicilian city of Catania in 1897, where he received the bulk of his secondary education. There is little evidence to suggest he had any serious interest in the fine arts until 1901, at which time he moved from Catania to Rome and enrolled at the Accademia di Belle Arti di Roma (Academy of Fine Arts, Rome).
QUOTES
1 of 4
"Nothing is absolute in painting. What was truth for the painters of yesterday is but a falsehood today."
Umberto Boccioni
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Kết quả (Việt) 1:

QUYÊN GÓP NGHỆ SĨ UMBERTO BOCCIONIUmberto BoccioniHọa sĩ, nhà điêu khắc và TheoreticianPhong trào: Chủ nghỉa ngày mai, phái lập thể, Neo-impressionismSinh: 19 ngày 1882 - Reggio Calabria, ýMất: 17 ngày 1916 - Sorte, ý"Những gì chúng tôi muốn làm là để hiển thị các đối tượng sống trong sự phát triển năng động của nó"Tóm tắtUmberto Boccioni là một trong những nghệ sĩ nổi tiếng và có ảnh hưởng nhất trong số các Futurists ý, một phong trào nghệ thuật nổi lên trong những năm trước khi chiến tranh thế giới thứ nhất. Boccioni là quan trọng không chỉ trong việc phát triển lý thuyết của phong trào, mà còn trong việc đưa các sáng kiến thị giác dẫn đến phong cách năng động, giống như Cubist bây giờ liên kết rất chặt chẽ với nhóm. Xuất hiện lần đầu trong vai một họa sĩ, Boccioni sau đó đưa ra một số tác phẩm điêu khắc tương lai học đáng kể. Ông chết trong khi hoạt động tình nguyện trong quân đội ý, tuổi chỉ ba mươi-ba, đưa ông thành biểu tượng của lễ kỷ niệm Futurists' của máy và các lực lượng phá hoại bạo lực của hiện đại.Ý tưởng chínhMặc dù Boccioni xứng đáng một số lượng lớn các tín dụng cho phát triển phong cách hiện được kết hợp với ý chủ nghỉa ngày mai, ông đầu tiên trưởng thành như một họa sĩ tân, và đã được rút ra cho các đối tượng phong cảnh và chân dung. Đó là không phải cho đến khi ông gặp họa mà ông đã phát triển một phong cách kết hợp tư tưởng của tính năng động và biến động bạo lực xã hội mà nằm ở trung tâm của chủ nghỉa ngày mai. Boccioni mượn các hình thức hình học điển hình của kiểu Pháp, và sử dụng chúng để gợi đâm, startling các âm thanh đi kèm phong trào depicted.Boccioni tin rằng tiến bộ khoa học và kinh nghiệm hiện đại đòi hỏi rằng các nghệ sĩ từ bỏ truyền thống của mô tả tĩnh, rõ ràng các đối tượng. Thách thức, ông tin rằng, là đại diện cho phong trào, những kinh nghiệm của thông, và sự xâm nhập liên của các đối tượng. Boccioni tóm tắt dự án này với cụm từ, "vật lý transcendentalism."Mặc dù niềm đam mê của mình với phong trào thể chất, Boccioni có một niềm tin mạnh mẽ trong tầm quan trọng của trực giác, một thái độ mà ông thừa hưởng từ các tác phẩm của Henri Bergson và họa sĩ tiếng của cuối thế kỷ 19. Điều này hình Boccioni của phương pháp tiếp cận để miêu tả thế giới hiện đại, khuyến khích anh ta để cho nó tượng trưng, gần như huyền thoại Kích thước gợi lên cảm xúc của nghệ sĩ nhiều như thực tế khách quan của cuộc sống hiện đại. Trong sự tôn trọng này, phương pháp tiếp cận của Boccioni là rất khác với Cubists, công việc mà bị mắc cạn trong một nỗ lực để chặt chẽ mô tả đặc tính vật lý của các đối tượng, mặc dù theo một cách mới.Nghệ thuật quan trọng nhấtChân dung tự họa (1905)Mô tả tác phẩm nghệ thuật & phân tích: chân dung tự họa này chứng tỏ phong cách của Boccioni như là một sinh viên tại học viện tại Rome.Although nó khác với rất nhiều từ chủ nghỉa ngày mai trưởng thành của mình, là xa nhẹ nhàng hơn trong giai điệu và cách vẽ bút, ông yêu mến hình ảnh và không bao giờ được bán trong suốt cuộc đời của ông. Nó là điển hình của thời kỳ khi ông đã di chuyển từ một phong cách lấy cảm hứng từ đầu trường phái ấn tượng một cách tiếp cận hơn thể tích được đề xuất bởi các nghiên cứu của công trình của Paul Cézanne.Read MoreThe City Rises (1910)Artwork description & Analysis: The City Rises is considered by many to be the very first truly Futurist painting. Boccioni took a year to complete it and it was exhibited throughout Europe shortly after it was finished. It testifies to the hold that Neo-Impressionism and Symbolism maintained on the movement's artists even after Futurism was inaugurated in 1909. It was not until around 1911 that Boccioni adapted elements of Cubism to create a distinct Futurist style. Nevertheless, The City Rises does capture the group's love of dynamism and their fondness for the modern city. A large horse races into the foreground while several workers struggle to gain control of it, suggesting a primeval conflict between humanity and beasts. The horse and figures are blurred, communicating rapid movement while other elements, such as the buildings in the background, are rendered more realistically. At the same time, the perspective teeters dramatically in different sections of the painting.Read MoreThe Street Enters the House (1911)Artwork description & Analysis: The geometric elements and the perspectival distortion in The The Street Enters the House demonstrate the influence of Expressionism and Cubism on Boccioni. According to the original catalog entry for the work, "The dominating sensation is that which one would experience on opening a window: all life, and the noises of the street rush in at the same time as the movement and the reality of the objects outside."Read MoreStates of Mind I: The Farewells (1911)Artwork description & Analysis: The Farewells was the first of Boccioni's three-part series, States of Mind, which has long been seen as one of the high points of the Futurist style in painting. The focal point of the picture is provided by movement itself - the locomotive,the airplane, the automobile: modern machines that gave new meaning to the word "speed." In this work, set in a train station, Boccioni captures the dynamism of movement and chaos, depicting people being consumed by, or fused with, the steam from the locomotive as it whizzes past.Read MoreUnique Forms of Continuity in Space (1913)Artwork description & Analysis: Although Boccioni was a painter first and foremost, his brief forays into sculpture are significant. The speed and fluidity of movement - what Boccioni called "a synthetic continuity" - is brilliantly captured in this bronze piece,with the human figure gliding through space, almost as if man himself is becoming machine, moving head-on into forceful winds. Possibly in homage to Auguste Rodin's Walking Man (1877-8), and the classical Greek statue Nike of Samothrace (220-190 B.C.),Boccioni left the sculpture without arms.Read MoreThe Charge of the Lancers (1915)Artwork description & Analysis: The Charge of the Lancers is the only known work by Boccioni that is devoted exclusively to the theme of war. Being a collage, Charge was also a rare departure for the artist in terms of medium.In previous works, Boccioni had used the figure of the horse as a symbol for work, but in this collage the horse becomes a symbol of war and natural strength, since it appears to be overcoming a horde of German bayonets. If, in fact, Boccioni was establishing the brute strength of the horse over man-made weapons, it would suggest a slight departure from the Futurist principles of Marinetti. This work also eerily prefigures Boccioni's own death from having been trampled by a horse.Read MoreBiographyChildhoodUmberto Boccioni was born in 1882 in Reggio Calabria, a rural region on the southern tip of Italy. His parents had originated from the Romagna region, further north. As a young boy, Boccioni and his family moved frequently, eventually settling in the Sicilian city of Catania in 1897, where he received the bulk of his secondary education. There is little evidence to suggest he had any serious interest in the fine arts until 1901, at which time he moved from Catania to Rome and enrolled at the Accademia di Belle Arti di Roma (Academy of Fine Arts, Rome).QUOTES1 of 4"Nothing is absolute in painting. What was truth for the painters of yesterday is but a falsehood today."Umberto BoccioniLIKE THE ART STORY ON FACEBOOK