DOI Page / Citation link:
https://doi.org/10.11588/diglit.69711#0115
MODERN ART CONTINUED
97
appearance or externals, for the dress in which these men
clothe their new ideas is forever changing, as all outer forms
of necessity must. In consequence many people, seeing
only the outer change, think that the new movement in art
is passing.
The artists of Italy, imbued with this same desire to
express the new spirit in art, called themselves Futurists.
They wished to represent the coming moment. Their desire
was to break up the slavish mental attitude towards time.
When one studies deeply into these various movements, as
they have begun to express themselves in art, one is con-
scious of the close relation between them and the whole
modern spirit of today. Take the Futurist attitude towards
time and note its relation, no matter how slight to the
outward mind, with Einstein’s theory of Relativity. For
years scientists have been working on this theory of time
in connection with space, and it is not a mere coincidence
that there should have arisen a group of artists at the
same period who were trying to express the effect of
these thoughts in their new conception of art. It all be-
longs to the spirit of the new era. It is the same spirit
which impregnated itself upon the French and Spanish
artists, who called themselves Cubists, or Bruce and De-
launey, who called themselves Simultaneists; it is only the
angle of vision which differs.
To overcome time, these Italian Futurists tried to
express their ideas through rhythmic lines and color. The
men who comprised this group were Severini, Marinetti,
Boccioni, Carra, Russolo and Stella, who has since come to
live in New York, which he is interpreting to us in a most
powerful way. His ‘Coney Island,’ which was exhibited
for the first time in the Amory Exhibition, is an excellent
example of the best of that period of the Futurists
paintings. A good reproduction is to be found in the “Cen-
tury Magazine” of April 1914. His ‘Brooklyn Bridge’
(Fig. 47), which is reproduced here, has brought him added
97
appearance or externals, for the dress in which these men
clothe their new ideas is forever changing, as all outer forms
of necessity must. In consequence many people, seeing
only the outer change, think that the new movement in art
is passing.
The artists of Italy, imbued with this same desire to
express the new spirit in art, called themselves Futurists.
They wished to represent the coming moment. Their desire
was to break up the slavish mental attitude towards time.
When one studies deeply into these various movements, as
they have begun to express themselves in art, one is con-
scious of the close relation between them and the whole
modern spirit of today. Take the Futurist attitude towards
time and note its relation, no matter how slight to the
outward mind, with Einstein’s theory of Relativity. For
years scientists have been working on this theory of time
in connection with space, and it is not a mere coincidence
that there should have arisen a group of artists at the
same period who were trying to express the effect of
these thoughts in their new conception of art. It all be-
longs to the spirit of the new era. It is the same spirit
which impregnated itself upon the French and Spanish
artists, who called themselves Cubists, or Bruce and De-
launey, who called themselves Simultaneists; it is only the
angle of vision which differs.
To overcome time, these Italian Futurists tried to
express their ideas through rhythmic lines and color. The
men who comprised this group were Severini, Marinetti,
Boccioni, Carra, Russolo and Stella, who has since come to
live in New York, which he is interpreting to us in a most
powerful way. His ‘Coney Island,’ which was exhibited
for the first time in the Amory Exhibition, is an excellent
example of the best of that period of the Futurists
paintings. A good reproduction is to be found in the “Cen-
tury Magazine” of April 1914. His ‘Brooklyn Bridge’
(Fig. 47), which is reproduced here, has brought him added