I purposely mention Marinetti and his manifesto15 for the reason that this movement in painting and sculpture is decidedly "literary," the very accusation16 of which makes the insurgents17 mightily18 rage. For example, I came across in De Kunst, a Dutch art publication in Amsterdam, a specimen19 of Marinetti's sublimated20 prose, the one page of which is supposed to contain more suggestive images and ideas than a library written in the old-fashioned manner. Here are a few lines (Battle is the title and the prose is in French):
"Bataille. Poids-odeur. Midi ? flutes21 glapissement embrasement toumb toumb alarme gargaresch éraquement érépitation marche," etc.
This parrot lingo22, a mere23 stringing together of verbs and nouns, reminds one of the way the little African child was taught to say, dog, man, horse, cow, pump. When at Turin in March, 1910, they threw rotten eggs at Marinetti, in the Chiarella Theatre, the audience was but venting24 its feelings of indignation because of such silly utterances25. Baudelaire, patterning after Poe and Bertrand, fashioned poems in [Pg 264] prose and created images of beauty; following him Huysmans added a novel nuance26 and made the form still more concentrated. But Signor Marinetti—there are no ideas in his prose and his images are nil—writes as if he were using a cable code, a crazy one at that. How far he is responsible for the "?sthetic" of the Futurist art I don't know. If he is responsible at all then he has worked much mischief27, for several of the five painters are men of unquestionable ability, skilled brush workers and of an artistic28 sincerity29 that is without suspicion. Mind you, I don't say all of the groups; there are charlatans30 who hang on to the coat-tails of every talented man or are camp-followers in every movement. These five painters: Umberto Boccioni (Milan); Carlo D. Carra (Milan); Luigi Russolo (Milan); Giacomo Balla (Rome), and Gino Severini (Paris) do not paint for money. The pictures in this exhibition are not for sale; indeed, I doubt if the affair pays expenses, for it has travelled far; from Turin and Milan and Rome, to Paris, London, Berlin, Amsterdam. It will be in New York soon, and then look out for a repetition of the Playboy of the Western World scandal. Some of the pictures are very provocative31.
Naturally the antithesis32 of old and new was unescapable the chilly34 September afternoon that I entered the "Roos" gallery. Fresh from The Milk Jug35, that miracle in paint by Vermeer (formerly of the Jan Six Collection); from the [Pg 265] Rembrandt Night Watch (which was not much damaged by the maniac36 who slashed37 the right knee of the principal figure); from the two or three splendid portraits by Frans Hals; from the Elizabeth Bas and the Stallmeesters by Rembrandt—from all these masterpieces of great paint, poetry, humour, humanity, I confess the transition to the wild and whirling kaleidoscopes called pictures by these ferocious38 Futurists was too sudden for my eyes and understanding. It was some time before I could orient myself optically. If you have ever peered through one of those pasteboard cylinders39 dear to childhood, you will catch a tithe33 of my early sensations. All that I had read of the canvases was mere colourless phrase-making. After the first shudder40 had passed, the magnetism41, a hideous magnetism, drew you to the walls, the lunatic patterns began to yield up vague meanings; arabesques42 that threatened one's sanity44 became almost intelligible45. The yelling walls seemed to sing more in tune46, the flaring47 tones softened48 a trifle, there was method in all this madness and presently you discovered that there was more method than madness, and that way critical madness lay. You are not in the least converted to this arbitrary and ignominious49 splashing of raw tints50, but you are interested—you linger, you study and then you fall to reading the philosophy of the movement. It is the hour of your apéritive, l'heure exquise, when you take your departure, and out on the noisy Rokindam, [Pg 266] not far from the Central railway station, you rub your eyes and then note that the very chaos51 you resented in the canvases of the Futurists is in the streets—which are being repaved. Snorting motor-cars and rumbling52 busses go by, people seem to be walking up inclined planes, the houses lean over and their windows leer and beckon53 to you; the sky is like a stage cloth and sweeps the roofs; you hurry to your hotel and in strong tea you drown your memories of the Italian Futurists.
It is only fair to give their side of the case. This I shall condense, as the exuberant54 lyricism and defiant55 dithyramb soon became monotonous56. They write like very young and enthusiastic chaps, and they are for the most part mature men and experienced painters. Luckily for their public, Signor Marinetti and his friends did not adopt his Siamese telegraphic style in their printed programme. They begin by stating that they will sing the love of danger, the habit of energy and boldness. The essential elements of their poetry will be courage, daring, and rebellion. Literature has hitherto glorified57 serene58 immobility, ecstasy59, and sleep; they will extol60 aggressive movement, feverish61 insomnia62, the double-quick step, the somersault, the box on the ear, the fisticuff. They declare that the world's splendour has been enriched by a new beauty: the beauty of speed. A racing63 car, its frame adorned64 by great pipes, like snakes with explosive breath, a roaring motor-car, which [Pg 267] looks as though running on shrapnel, is more beautiful than the Winged Victory of Samothrace in the Louvre. Note just here the speed-mania motive65. There is no more beauty except in strife66. No masterpiece without aggressiveness. Poetry must be a violent onslaught upon the unknown forces, commanding them to bow before man. Now there is nothing particularly new in this. Great poetry is dynamic as it is also reflective (the Futurists call the latter "static"). They say they stand on the extreme promontory67 of the centuries. Why, they ask, should we look behind us, when we have to break into the mysterious portals of the impossible? Time and space died yesterday. Already we live in the absolute, since we have already created speed, eternal and ever present. This rigmarole of metaphysics betrays the influence of the Henri Bergson philosophy, the philosophy of rhythm and rhythmic68 motion. It is just as original; i. e., not original at all. Mother Earth is still spinning through space at the gait originally imparted to her by the sun's superior force. Mankind on her outer rind spins with her. Because we have invented steam and electric cars, we must not arrogate69 to ourselves the discovery of speed. What has speed to do with painting on a flat surface, painting in two dimensions of space? Wait a bit! We are coming to the application of rhythm to paint.
The Futurists wish to glorify70 war—the only health-giver of the world—militarism, patriotism71, [Pg 268] the destructive arm of the anarchist72, the beautiful ideas that kill, the contempt for woman. They wish to destroy the museums, the libraries (unlucky Mr. Carnegie!), to fight moralism, feminism, and all opportunistic and utilitarian73 measures. Museums are for them cemeteries74 of art; to admire an old picture is to pour our sensitiveness into a funeral urn75, instead of casting it forward in violent gushes76 of creation and action. So set fire to the shelves of libraries! Deviate77 the course of canals to flood the cellars of museums! Seize pickaxes and hammers! Sap the foundations of the antique cities! "We stand upon the summit of the world and once more we cast our challenge to the stars." Thus F. T. Marinetti, editor of Poesia.
The manifesto of the new crowd is too lengthy78 to reproduce; but here are a few of its tenets:
1st: That imitation must be despised, and all originality79 glorified. (How novel!)
2d: That it is essential to rebel against the tyranny of the terms "harmony" and "good taste" as being too elastic80 expressions, by the help of which it is easy to demolish81 the works of Rembrandt, of Goya, and of Rodin.
3d: That the art-critics are useless or harmful.
4th: That all subjects previously82 used must be swept aside in order to express our whirling life of steel, of pride, of fever, and of speed.
5th: That the name of "madman" with which it is attempted to gag all innovators, should be looked upon as a title of honour.
[Pg 269] 6th: That innate83 complementariness is an absolute necessity in painting, just as free metre in poetry or polyphony in music. Oh, ass7 who wrote this! Polyphony is not a modern invention. A man named Bach, Johann Sebastian Bach, wrote fugues of an extraordinary beauty and clearness in their most complicated polyphony. But polyphony (or many voices) is new in painting, and to the Futurists must be conceded the originality of attempting to represent a half dozen different things at the same time on canvas—a dog's tail, a woman's laughter, the thoughts of a man who has had a "hard night," the inside of a motor-bus, and the ideas of its passengers concerning its bumping wheels, and what-not!
7th: That universal dynamism must be rendered in painting as a dynamic sensation.
8th: That in the manner of rendering84 nature, the essential is sincerity and purity (more copy-book maxims85 for us!).
9th: That movement and light destroy the materiality of bodies (a truism in art well known to Watteau, Rembrandt, Turner, and latterly, to Claude Monet and the earlier group of Impressionists). And now for the milk in the cocoanut.
We fight, concludes the manifesto: 1st: Against the bituminous tints by which it is attempted to obtain the patina86 of tone upon modern pictures. (The chief objection against this statement is its absolute superfluousness87. [Pg 270] The Impressionists forty years ago attacked bituminous painting and finally drove it out; now it is coming back as a novelty. The Futurists are gazing backward.) 2d: Against the superficial and elementary archaism founded upon flat tints, which, by imitating the linear technique of the Egyptians, reduces painting to a powerless synthesis both childish and grotesque88. 3d: Against the false claims of belonging to the future put forward by the Secessionists and the Independents, who have installed new academies no less trite89 and attached to routine than the preceding ones. 4th: We demand for ten years the total suppression of the nude90 in painting.
There are thirty-four pictures in the show, the catalogue of which is a curiosity. Boccioni's The Street Enters the Home has a note in the catalogue which points out that the painter does not limit himself to what he sees in the square frame of the window as would a simple photographer, but he also reproduces what he would see by looking out on every side from the balcony. Isn't this lucid91? But you ought to see the jumble92 in the canvas caused by the painter casting aside the chief prerogative93 of an artist, the faculty94 of selection, or, rather, as Walter Pater puts it, the "tact95 of omission96."
There is the motion of moonlight in one canvas and in No. 24, by Russolo, entitled Rebellion, there is an effort to delineate—better say express, as the art of delineation97 is here in abeyance—the collision of two forces, that of the [Pg 271] revolutionary element made up of enthusiasm and red lyricism against the force of inertia98 and reactionary resistance of tradition. The angles are the vibratory waves of the former force in motion. The perspective of the houses is destroyed just as a boxer99 is bent100 double by receiving a blow in the wind (refined image!). As this picture is purely101 symbolical102, it is not open to objections; but isn't it rather amusing?
Memory of a Night, by Russolo (No. 23), is "a fantastic impression produced not by line but by colour." An elongated103 insect or snail—is it a man or a grasshopper104?—is in the first plane; back of him is a girl's face with pleading eyes; an explosion of light in the background is evidently intended for an electric lamp; the rest is chaos.
The Milliner (No. 32) by Severini, the painter calls: "An arabesque43 of the movement produced by the twinkling colours and iridescence105 of the frills and furbelows on show; the electric light divides the scene into defined zones. A study of simultaneous penetration106." The deathly grin of the modiste is about the only "simultaneous penetration" that I could see in the canvas.
As confused as is No. 27, The Pan-Pan Dance at the Monico, by Severini, there are some vital bits, excellent modelling, striking detail, though as a whole, it is hard to unravel107; the point d'appui is missing; the interest is nowhere focussed, though the dancer woman soon catches the eye. No doubt a crowded supper room in a Continental108 [Pg 272] café, the white napery, variegated109 colours of the women's attire110, the movement and blinding glare of the lights are a chaotic111 blur112 when you first open your eyes upon them; but the human eye with its almost infinite capacity for adaptation soon resolves disorder113 into order, formlessness into form. The trouble with the Futurist is that he catches the full force of the primal114 impression, then later loads it with his own subjective115 fancies. The outcome is bound to be a riddle116.
I confess without hesitation117 there are several pictures in the exhibition which impressed me. Power is power, no matter the strange airs it may at times assume. Browning's Sordello, despite its numerous obscure passages, is withal a work of high purpose, it always stirs the imagination. I found myself staring at Carrà's Funeral of the Anarchist Galli and wondering after all whether a conflict shouldn't be represented in a conflicting manner. Zola reproached both De Goncourt and Flaubert for their verbal artistry. "Vulgar happenings," he said, "should be presented in the bluntest fashion." And then he contradicted himself in practice by attempting to write like Hugo and Flaubert. Signor Carrà, who probably witnessed the street row at the funeral of Galli between the students and the police, sets before us in all its vivacity118 or rhythm—or rhythms—the fight. It is a real fight. And while I quite agree with Edgar Degas, who said he could make a crowd out of [Pg 273] four or five figures in a picture, it is no reflection on Carrà's power to do the same with a dozen or more. A picture as full of movement and the clash of combatants as is the battle section of the Richard Strauss Symphony, A Hero's Life. Realism is the dominating factor in both works. The cane119 and club swinging sympathisers of the anarchist are certainly vital.
In what then consists the originality of the Futurists? Possibly their blatant120 claim to originality. The Primitives121, Italian and Flemish, saw the universe with amazing clearness; their pictorial metaphysics was clarity itself; their mysticism was never muddy; all nature was settled, serene, and brilliantly silhouetted122. But mark you! they, too, enjoyed depicting123 a half-dozen happenings on the same canvas. Fresh from a tour through the galleries of Holland, Belgium, and France, after a special study of the Primitives, I quite understand what the Futurists are after. They emulate124 the innocence125 of the eye characteristic of the early painters, but despite their strong will they cannot recover the blitheness126 and sweetness, the native wood-note wild, nor recapture their many careless moods. They weave the pattern closer, seeking to express in paint a psychology127 that is only possible in literature. And they endeavour to imitate music with its haunting suggestiveness, its thematic vagueness, its rhythmic swiftness and splendour of tonalities. In vain. No picture can spell many moods simultaneously128, [Pg 274] nor paint soul-states successively within one frame. These painters have mistaken their vocation129. They should have been musicians or writers, or handle the more satisfactory, if less subtle, cinematograph.
Will there ever be a new way of seeing as well as representing life, animate130 and inanimate? Who shall say? The Impressionists, working on hints from Watteau, Rembrandt, Turner, gave us a fresh view of the universe. Rhythm in art is no new thing. In the figures of El Greco as in the prancing131 horses of Géricault, rhythm informs every inch of the canvas. The Futurists are seeking a new synthesis, and their work is far from synthetic132; it is decomposition—in the painter's sense of the word—carried to the point of distraction133. Doubtless each man has a definite idea when he takes up his brush, but all the king's horses and all the king's men can't make out that idea when blazoned134 on the canvas. The Futurists may be for the future, but not for to-day's limited range of vision.
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1
piquant
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| adj.辛辣的，开胃的，令人兴奋的 | |
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heresies
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| n.异端邪说，异教( heresy的名词复数 ) | |
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perfectly
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| adv.完美地，无可非议地，彻底地 | |
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pictorial
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| adj.绘画的；图片的；n．画报 | |
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harmonious
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| adj.和睦的，调和的，和谐的，协调的 | |
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plank
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| n.板条，木板，政策要点，政纲条目 | |
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ass
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| n.驴；傻瓜，蠢笨的人 | |
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doomed
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| 命定的 | |
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hideous
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| adj.丑陋的，可憎的，可怕的，恐怖的 | |
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yoke
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| n.轭；支配；v.给...上轭，连接，使成配偶 | |
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substantive
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| adj.表示实在的；本质的、实质性的；独立的；n.实词，实名词；独立存在的实体 | |
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punctuation
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| n.标点符号，标点法 | |
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moribund
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| adj.即将结束的，垂死的 | |
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reactionary
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| n.反动者，反动主义者；adj.反动的，反动主义的，反对改革的 | |
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manifesto
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| n.宣言，声明 | |
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accusation
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| n.控告，指责，谴责 | |
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insurgents
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| n.起义，暴动，造反( insurgent的名词复数 ) | |
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mightily
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| ad.强烈地；非常地 | |
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specimen
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| n.样本，标本 | |
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sublimated
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| v.（使某物质）升华( sublimate的过去式和过去分词 )；使净化；纯化 | |
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flutes
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| 长笛( flute的名词复数 )； 细长香槟杯（形似长笛） | |
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lingo
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| n.语言不知所云，外国话，隐语 | |
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mere
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| adj.纯粹的；仅仅，只不过 | |
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venting
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| 消除； 泄去； 排去； 通风 | |
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utterances
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| n.发声( utterance的名词复数 )；说话方式；语调；言论 | |
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nuance
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| n.(意义、意见、颜色)细微差别 | |
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mischief
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| n.损害，伤害，危害；恶作剧，捣蛋，胡闹 | |
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artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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sincerity
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| n.真诚，诚意；真实 | |
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charlatans
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| n.冒充内行者，骗子( charlatan的名词复数 ) | |
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provocative
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| adj.挑衅的，煽动的，刺激的，挑逗的 | |
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antithesis
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| n.对立；相对 | |
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tithe
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| n.十分之一税；v.课什一税，缴什一税 | |
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chilly
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| adj.凉快的，寒冷的 | |
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jug
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| n.(有柄，小口，可盛水等的)大壶，罐，盂 | |
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maniac
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| n.精神癫狂的人；疯子 | |
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slashed
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| v.挥砍( slash的过去式和过去分词 )；鞭打；割破；削减 | |
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ferocious
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| adj.凶猛的，残暴的，极度的，十分强烈的 | |
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cylinders
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| n.圆筒( cylinder的名词复数 )；圆柱；汽缸；（尤指用作容器的）圆筒状物 | |
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shudder
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| v.战粟，震动，剧烈地摇晃；n.战粟，抖动 | |
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magnetism
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| n.磁性，吸引力，磁学 | |
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arabesques
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| n.阿拉伯式花饰( arabesque的名词复数 )；错综图饰；阿拉伯图案；阿拉贝斯克芭蕾舞姿（独脚站立，手前伸，另一脚一手向后伸） | |
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arabesque
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| n.阿拉伯式花饰；adj.阿拉伯式图案的 | |
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sanity
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| n.心智健全，神智正常，判断正确 | |
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intelligible
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| adj.可理解的，明白易懂的，清楚的 | |
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tune
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| n.调子；和谐，协调；v.调音，调节，调整 | |
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flaring
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| a.火焰摇曳的，过份艳丽的 | |
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softened
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| （使）变软( soften的过去式和过去分词 )； 缓解打击； 缓和； 安慰 | |
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ignominious
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| adj.可鄙的，不光彩的，耻辱的 | |
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tints
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| 色彩( tint的名词复数 )； 带白的颜色； （淡色）染发剂； 痕迹 | |
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chaos
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| n.混乱，无秩序 | |
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rumbling
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| n. 隆隆声, 辘辘声 adj. 隆隆响的 动词rumble的现在分词 | |
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beckon
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| v.(以点头或打手势)向...示意，召唤 | |
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exuberant
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| adj.充满活力的；（植物）繁茂的 | |
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defiant
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| adj.无礼的，挑战的 | |
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monotonous
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| adj.单调的，一成不变的，使人厌倦的 | |
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glorified
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| 美其名的，变荣耀的 | |
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serene
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| adj. 安详的，宁静的，平静的 | |
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ecstasy
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| n.狂喜，心醉神怡，入迷 | |
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extol
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| v.赞美，颂扬 | |
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feverish
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| adj.发烧的，狂热的，兴奋的 | |
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insomnia
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| n.失眠，失眠症 | |
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racing
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| n.竞赛，赛马；adj.竞赛用的，赛马用的 | |
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adorned
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| [计]被修饰的 | |
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motive
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| n.动机，目的；adv.发动的，运动的 | |
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66
strife
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| n.争吵，冲突，倾轧，竞争 | |
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67
promontory
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| n.海角；岬 | |
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68
rhythmic
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| adj.有节奏的，有韵律的 | |
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69
arrogate
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| v.冒称具有...权利，霸占 | |
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70
glorify
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| vt.颂扬，赞美，使增光，美化 | |
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71
patriotism
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| n.爱国精神，爱国心，爱国主义 | |
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anarchist
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| n.无政府主义者 | |
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utilitarian
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| adj.实用的，功利的 | |
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74
cemeteries
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| n.（非教堂的）墓地，公墓( cemetery的名词复数 ) | |
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urn
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| n.（有座脚的）瓮；坟墓；骨灰瓮 | |
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76
gushes
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| n.涌出，迸发( gush的名词复数 )v.喷，涌( gush的第三人称单数 )；滔滔不绝地说话 | |
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deviate
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| v.(from)背离，偏离 | |
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lengthy
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| adj.漫长的，冗长的 | |
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originality
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| n.创造力，独创性；新颖 | |
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elastic
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| n.橡皮圈，松紧带；adj.有弹性的；灵活的 | |
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81
demolish
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| v.拆毁(建筑物等)，推翻(计划、制度等) | |
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previously
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| adv.以前，先前（地） | |
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83
innate
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| adj.天生的，固有的，天赋的 | |
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84
rendering
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| n.表现，描写 | |
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maxims
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| n.格言，座右铭( maxim的名词复数 ) | |
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86
patina
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| n.铜器上的绿锈，年久而产生的光泽 | |
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superfluousness
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| 过剩，多余 | |
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grotesque
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| adj.怪诞的，丑陋的；n.怪诞的图案，怪人（物） | |
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trite
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| adj.陈腐的 | |
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90
nude
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| adj.裸体的；n.裸体者，裸体艺术品 | |
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lucid
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| adj.明白易懂的，清晰的，头脑清楚的 | |
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jumble
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| vt.使混乱，混杂；n.混乱；杂乱的一堆 | |
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prerogative
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| n.特权 | |
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faculty
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| n.才能；学院，系；(学院或系的)全体教学人员 | |
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tact
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| n.机敏，圆滑，得体 | |
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omission
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| n.省略，删节；遗漏或省略的事物，冗长 | |
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delineation
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| n.记述；描写 | |
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inertia
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| adj.惰性，惯性，懒惰，迟钝 | |
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boxer
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| n.制箱者，拳击手 | |
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bent
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| n.爱好，癖好；adj.弯的；决心的，一心的 | |
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purely
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| adv.纯粹地，完全地 | |
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symbolical
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| a.象征性的 | |
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103
elongated
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| v.延长，加长( elongate的过去式和过去分词 ) | |
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104
grasshopper
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| n.蚱蜢，蝗虫，蚂蚱 | |
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105
iridescence
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| n.彩虹色；放光彩；晕色；晕彩 | |
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penetration
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| n.穿透，穿人，渗透 | |
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107
unravel
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| v.弄清楚（秘密）；拆开，解开，松开 | |
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continental
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| adj.大陆的，大陆性的，欧洲大陆的 | |
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variegated
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| adj.斑驳的，杂色的 | |
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attire
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| v.穿衣，装扮[同]array；n.衣着；盛装 | |
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chaotic
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| adj.混沌的，一片混乱的，一团糟的 | |
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112
blur
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| n.模糊不清的事物；vt.使模糊，使看不清楚 | |
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113
disorder
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| n.紊乱，混乱；骚动，骚乱；疾病，失调 | |
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primal
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| adj.原始的；最重要的 | |
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115
subjective
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| a.主观(上)的，个人的 | |
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116
riddle
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| n.谜，谜语，粗筛；vt.解谜，给…出谜，筛，检查，鉴定，非难，充满于；vi.出谜 | |
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hesitation
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| n.犹豫，踌躇 | |
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118
vivacity
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| n.快活，活泼，精神充沛 | |
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119
cane
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| n.手杖，细长的茎，藤条；v.以杖击，以藤编制的 | |
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120
blatant
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| adj.厚颜无耻的；显眼的；炫耀的 | |
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primitives
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| 原始人（primitive的复数形式） | |
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122
silhouetted
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| 显出轮廓的，显示影像的 | |
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depicting
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| 描绘，描画( depict的现在分词 )； 描述 | |
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124
emulate
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| v.努力赶上或超越，与…竞争；效仿 | |
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125
innocence
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| n.无罪；天真；无害 | |
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126
blitheness
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| n.blithe（快乐的）的变形 | |
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127
psychology
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| n.心理，心理学，心理状态 | |
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128
simultaneously
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| adv.同时发生地，同时进行地 | |
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129
vocation
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| n.职业，行业 | |
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130
animate
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| v.赋于生命，鼓励；adj.有生命的，有生气的 | |
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131
prancing
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| v.（马）腾跃( prance的现在分词 ) | |
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132
synthetic
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| adj.合成的，人工的；综合的；n.人工制品 | |
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133
distraction
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| n.精神涣散，精神不集中，消遣，娱乐 | |
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134
blazoned
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| v.广布( blazon的过去式和过去分词 )；宣布；夸示；装饰 | |
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