JOSHUA C. TAYLOR

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The Museum of Modern Art, New York

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Biographies and Catalogue of the ExhibitionSh~ tv, "SllJM~" , lip, W(J0M(O~

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1~:(~; "/" C II I· D G' 'M 'I' • P 'f II 5 I I B I ' (R'I II 'II IIon paper,~'X39 8. a ecnon r. Ianni attic I, 22 ortralt 0 ie ell pOI", raCCH 1 rn 0 Ill? 0 sell oreMilan. This is one of several versions of this subject. ~/,~&r'"Brccchi], (1.907). Oil on canvas, 4l.:II'Y19"'g" CollectionIll. p, 65, DL Paolo Martnotti. 111. p, '4, //() '/of ,1&'1(; "

17 Crowd nvui Lnndscnpe (Folia e paesaggio). Signed lower *2} Self Portroit (AlltorifraUo). Signed upper right, "U 80c-center, "Balla Fulurista "191.5." Collage, 60X261//', Col- / ciani 1.90B." Oil on canvas, ~2X39~~' Pinacoteca di

lectton Mr. and Mrs. Harry Lewis Wi~5t~n, BirlIl.i)lgham,?\(PI}!>~3 Brera, Milan. Ill. p. 24· ~Michigan. (S1g.:t (y&,> 2(, ~ *24 Study for Mourning (Studio per LlItto). (1.91.0). Signed

*18 Boccionl'e Fist~ Lines of Force (ll pllgno di Boccioni-: lower right, "Boccioni." Pencil, charcoal, blue andtinee di forza). (191.5). Cardboard and wood, painted &L 41') Iorange crayon, with gray wash on buff paper, 91/4x 181(/'.red,...j.3"~igh. ~ollection Mr. and Mrs. Harry Lewis Win- /.1- Collection Mr. and Mrs. Ha,rry LeJ;is Winston, Birmi~g-ston, Birmi~~lam, Mich.igan. Recently cast: in bronze ham, Michigan. Ill. p. 38. C;d.1~/Ul h,"Yi/.. '515 ·pbCrc,C.,./have been made from thts work. All of Balla s sculpture *25 Moumil1g (LHUO), (1.91.0).Oil on canvas, 41~X53'. Col-was originally made from insubstantial material, and lection Mrs. Margarete Schultz, New York. Exhibited atfew pieces now remain. Ill. P: :1".17· L I ,qO+ the Fal1liglia Arnsuca, Milan, December 20-31., "19"10.

19 Spring (Primavera). (c. "19"16).Signed lower right, "Balla 'Ill. P: 39.35"7~Oq../lltur .... " Oil on canvas, 32X261h". The Museum of *26 Riot in the Galleria (Rissa in Galleria). (19'.10). Oil on

. Modern Art, New York. Gift of Mr. and Mrs. Arnold ,..... 1/" C II" D E 'I' J ' M'Icanvas, 30X25 .l;-/' 0 ec Ion r. nuuo est, 1 an.H. Mar~m~nt. . .. .. This painting is sometimes confused with the later work,

*20 The 111Jeeholl of Futurism (lniezione dl [wturiemo), (c. tr. S5'3The Riot (Cat. No. 34), and with The Raid in a private1918). Signed lower right, "I~iezione di Futurismo/Balla collection, Paris, for which two related drawings exist,Futu rts ta." Oll on canvas, ~X451j.1". Collection Mr. dated April 19u, in the Marinetti Collection, Rome.and Mrs. Harry lewis Winston, Birmingham, Michigan. III"' ". p. o . T'iiI. P: 16, ';< '_ ~ " ~ J l.., 27 Study for The CHy Rises (Studio per La citta sale). Sign-

'I, II~'1 I "tE eftR, 1'()~I~Tfl:,'Cl~P'ir,~1(11:', '''."' h 'I u31,d I.owe. right, "1910 U Boccioni." Crayon and chalk,U I "'fv\vt ~).l!\() 113. !..:w..:'l

*33 The Laugh (La RisMI1). (1.91.T). Signed lower right, "U. schild, Ossining, New York. Done after the painting,Boccioni." Oil on canvas, 433/SX5711/'. The Museum of for reproduction in Der Sturm. Ill. P: 48.Modern Art, New York. Gift of Mr. and Mrs. Herbert * D f 5~~ _q 44 rnwtng a ter fates of Mind: Those Who Co (Dtsegno (t:tkti;~1".

J .5/ M. Rothschild. According to Martnettl. the version of secondo Stnti d'enimo : Quelli che vanna). (1912). Ink/w1l4~t6'l--this painting exhibited at La Moslra d'Arte Libera, Ml- li1'M''3 'I 6'1" C II.. M d M i~ -,.,.,,,/V • d.. 12 ~X1. 4. 0 ec Ion r. an rs. Harry Lewis Win-Ia ..ltw.. .......Ian, April-May 191.1, was slashed with a razor. The pre5~ ston. Birmingham, Michigan. Done after the painting,o"'? •."t.4)ent painting, which was shown in the first Futurist ex- for reproduction in Der SllIrm. Ill. P: 49· $& 17 )(.hibition in Paris, February .1912, shows no evidence of *45 Materia. (1912). Oil on canvas~'1' X591//'. Collec-this damage and was probably painted by Boccioni tion Dr. Gianni Mattioli, Milan. This painting wason his return from Paris in the late autumn of 1911. II shown at the Teatro Costanzi in Rome, February 1913,Ill. P: 40. lCo/. ~i13and later the same year in Rotterdam. In 1915 it was

*34 The RiM (Barllffa). (1911). Signed lower right, "U. included in the Panama-Pacific International Exposition,.-)-,2,57 Boccioni." Oil on canvas, 19'/SXI9i/S". The Muse- San Francisco. It was reproduced in Boccioni's book,

urn of Modern Art, New York. Given anonymously. Pii tura, Scultura FlItliriste, 1914. The theme particularlyIll. P' 34. interested Boccloru and he not only translated it into

*35 Study of a Woman SI/rrounded by I-Iollses (lnes) (Studio sculpture but later painted a more rhythmical version,di donna Ira case (Illes). (1911). Oil on canvas, 531/S Horizontal Volumes (Gall. Annunciata, Milan). Ill. p. 85·

(,I, '6(1 x 37", Clvica Galleria d'Arte Medema. Milan, A prelim- 46 Study for Elasticity (Studio per Elas';o,,"), (1912). Sign-inarydrawing for this painting is on the back of a study . ed upper right, "Boccloni" (on vertical). Pencil withfor The Farewells (Cat. No. 36). Ill. p. 42. :113/-/9 gouache, "171/tXI71/4". The Museum of Modern Art,

36 Study for States of Mind: Tile Farewells (Studio per New York. Purchase., Stori d'animo : Gli addii). (1911). Signed lower right, *47 Elasticity (E/asticita). ("19"12).Oil on canvas, 393/f< 393//'.

~(, i~:t"UB.1I Pencil, 19X24'" Collection Mr. and Mrs. Harry i fll Collection Dr. Riccardo Iucker. Milan. Exhibited Rotter-Lewis Winston, Birmingham, Michigan. On the reverse U(-O&'J.. dam, "1913 and at the Panama-Pacific International Ex-is a preliminary drawing for La, Donna tra cas~" position, San Francisco, 1915. 111.p. 88.

*37 Study for States of Mind: The Farcnoells (Studio per *48 Anti-Graceful (The Artist's Mother) (Antigraziosa [La'~;:2;;J. ~_/ Stati d'onuno : eli addii). ("191."1).Signed lower right,. q C Madre]). (1912). Bronze, 23" high. Collection Mr. and. '''Boccioni.'' Pencil, 23 x 34". The Museum of Modern Art, ~ I· {ID Mes. Harry Lewis Winston, Birmingham, Michigan. This

New York. Gift of Vico Baer. Ill. p. 49. : ,3"1 )I~ jl is the unique cast in bronze of the work. Ill. p. 91-*3

8States of Mimi: The Farewells. (Stnti §anin;&~GIi addii). *49 Development of a Bottle ill Space (Svi/uppo di IlIIa bot-(191."1). Oil on canvas, ~'fl.h;2:~37~f Collection Nelson tiglin nella spnzio). (-1912). Bronze, "15" high. The Mu-A. Rockefeller, New York. This and the other ~wo pai.n~-,;J30, ~eUI~ .of Modern Art, New Yo~~. Aristide ~aillol F"un~.

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ings of the triptych were shown

~'67The Horsemen of the Apocalypse (I cooalieri dell' Ape-calisee), 1908. Signed lower right, "C. Carra 908." Oil

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I f qc" stttute, Pittsburgh. Gift of G. David Thompson. TheII • , v painting was exhibited 1-59 Plnstic Dynamism: Horse + Houses (Dinamiemo plaeric o :cavallo + case). (1.914). Ink, watercolor, and gouache, 5~~x8Yg". Civica Raccolta delle Stampe A. Bertarelli. Milan.Ill. p. 100.

*60 Horse+Rider+Hollses(Cava/lo + cavaliere + cnseggiato).(1.91.4); Signed lower right, "Bocclonl." Oil on canvas,41.'~52~/~rGalleria Nazionale d"Arte Moderna, Rome.III. p. 101..

>1-61.Head of a Woman (Mother of the Artist?) (Testa dino/tl1n [Mndre dell'artista?]). (1.9~4). Signed lower right,"Bocdon!." Pendl, ink, and wash, 1.2X9\h". CollectionMr. and Mrs. Harry >-ewi5Winston, Birmingham, Michi-gan. Ill. p. 100. ~Xtf. !N W~~':~ ~C('t(iAlI00/6.

>1-62 "Scomposizione" of the Head of a ~ll1al1 (Scomposi-zione di testa di dOlll/a). (:19:14).Tempera and collageon canvas, 13~/4X:131,/~!I, Civica Galleria d'Arte Moderna,Milan. TIl. p. 1.00.

63 "Scomposiziolle" of tile Head of a Mall (Seol11posiziol'1e~ r b'b~ di testa1J/~lOlrlO). (1.9:14)·Tempera and collageoncanvas,

j Lj"hx l.,37l. Civica Galleria d'Arte Modema, Milan.64 Study for The Drinker (Studio per 11 Bevitore). (:19~4).

Signed lower right, "Boccioni." Oil, gouache and collage,uJ/::!X:qlj/'. Collection Mr. and Mrs. Harry Lewis Win-ston, Birmingham, Michigan.

*65 The Drinker (11 Bevitore). (1.91.4). Signed lower left,&1, S~f "U. Boccioni." Oil on canvas, 34>/5X33J/s". Collection

Dr. Riccardo Jucker, Milan. III. p, 118, c~'/J., I- '.ll/Ilj-q*66 The Cavalry Charge (Carica di lancieri) ..--(1~1.4). Tem-

pera and collage on cardboard, "£_ ~/8X 19~". CollectionG I. ~GlJ Dr. Riccardo Jucker, Milan. (Reproduced in Crnude Ill/.(-

sfraziOl7e, ~3 (Jan. :19:15),p. 4·) 111. p, 11.4.

CARLO CARRA

Born Quargnento near Alessendria, Italy, February a, 1881;lives in Milan

Trained as a decorator in Milan, Carra worked on deco-rations for the International Exposition in Paris in 1900and later spent some time in London. In 1.904 he at-tended the school of the Brera, studying with CesareTallone, and in :1908 became active in the Famiglia Ar-tietica in Milan. At this time he met Boccioni, Romani,and Bonzagni with whom he signed the "Manifesto ofFuturist Painting." Very active in the movement until~91.5, he then withdrew from the group around Mari-nefti. Meeting Giorgio de Chirico in a military hospitalin Ferrara in :191.6,he joined with him in the movementknown as the Scnotn Metafisica, for which he becamethe most able theorist. He collaborated from 1.91.9 to1.922 on the influential review Valori Plastid, and in1.924 became associated with the new group of figura-tive painters, the Nooecenro. He has written exten-sively on art.

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Collection Herbert and Nannette Rothschild, Ossining,New York. Exhibited in the Bernheim-jeune exhibition,Paris, February 191.2, and in subsequent Europeangcoup shows. Ill. p. 53· ;H~/S

*72 What the Streetcar Said to Me (Quello,{he mi dlsseif tr am}, (acaa). Oil on canvas, 201/:!x~ Collectionu(, g-J?... Dr. Giuseppe Bergamini, Milan. Exhibited in the Bern-hetm-Ieune exhibition, Paris, February 19:1.2 and in sub-sequent group shows in Europe. IlL p. 53.

*73 Horse an d Rider (Cavallo e cavaliere). (J.912). Signedupper right, "C. D. Carra." Ink and watercolor, 101/4 X

1/_ Y.,l.~ 141//', Collection Dr. Riccardo Iucker. Milan. This(0 < uf.PJ rather literal effort to demonstrate the statement in

the Technical Manifesto, ", a horse in motion doesnot have four legs; it has twenty and their movementsare triangular" has some stylistic elements in commonwith Severini's Second Dancer. Ill. p. 75.

*74 Rhytl1ms of Objects (Ritmi di oggetti). (c. 19l.2). Oil oncanvas, 201/f...,X26lCollection Dr. Emilio [est, Milan.

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75 Study for The Ga/lerin ill Milan (Studio per La Galle-tt( _~7'6- ria di Milano). Signed lower left, lie. Carra 1912." Pen-

cil. Collection Dr. Gianni Mattioli, Milan.*76 The Galleria in Milnn (La Galleria di Milano). (1.912).vi ~7bOil on canvasf"'36Y.,o" Collection Dr. Gianni Mattioli,

. Milan. III. p. 77· '3S~ 1./)'/8 II"""77Study of a Female Nude. Signed lower right, "Carra

1·91.2." Brush and ink, 321/4X1.41/4". Collection Dr.Emilio Iesi, Milan. This belongs to a series of studies~rg5~of nudes in which Carra developed the theory ex-pressed in his article "Plastic Planes as Spherical Ex-pansion in Space," Lacerba, I, 6 (March 1.5, 1.91.3),pp. 53-55· Ill. p. 78.

78 Dancer: Form in Circular Motion (Danzatrice: Formain malo circa/are). (1912). Lower right, "Forma in mota

&f~~77clrcolare." Signed and dated "1910lower left (althoughthe drawing now bears the date 1.91.0, it was morelikely made in 1912). Charcoal. Collection Dr. GianniMattioli, Milan.

*79 Boxer (Composizione fll/llrista). 1.91.3. Signed lowerright, "e. Carra 91.3." Ink and ink wash, 95/SX91/S".Collection Mr. and Mrs. Joseph Slifka, New York. Ill.P·79·

. *80 Boxer. Signed lower right, lie. Carra "191.3."Ink, 235(sX&L (:{+ ·19ft/S".Collection Eric Estorick. London. Ill. p. 79.

*81 "Free-Word" Painting (Patriotic Celebration) (Dipintoparolibero [Festa patrioticaJ). (191.4). Collage on card-board, 151/'f'f'I.-W'J1{:ollection Dr. Gianni Matti~li,Milan. This "free-word" collage was reproduced InLacerba, If, 1.5 (August I, 19"14), p. 233. Although itrecently has been called Manifesto for Intervention, itstitle as given here was made specific in a. I~tter fromMarinetti to SoHici, July 21, 1.9"14.Arcl'llvl del Flltu-rismo, pp. 341.-2. Ill. p. "1"11.

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*82 Pursuit (Insegllimellto). (1.9:1:4).Collage and gouache,1.5/1'1X263//'. Collection Dr. Gianni Mattioli, Milan. Thisb(. g'77 work, with its obvious reference to the war, was repro-duced in Carra's Cuerrapitt um, "1915,p. 31. Ill. p. IH. !:

LEONARDO DUDREVILLE

Born Venice, April 4, 1885i lives in Ghiffa (Novara) \I

Although not a member of the Futurist group beforethe war, Dudreville. who helped to organize the NuoveTendenze group in Milan in 1912, was strongly influenc-ed by Futurist ideas, particularly those of Boccion iconcerning the abstract expression of states of mind.He restated these convictions in the catalogue of theNuooe Tendenze exhibition of 1.91.4.at which time heshowed several of his non-objective paintings. Return-ing to figurative painting a few years aftel the war, hehelped found the Novecenlo movement in 1924.

83 Tragic Conflict (Urto del Tragico). Signed lower right,"L. Dudreville 1913." Oil on canvas,slxsf. Collection

&r~1iN. Richard Miller, New York. Shown in t~e first ex-hibition of the Nuooe Tenderize group, Milan, May-June 1.914.

1d.133Q DHIL-¥ DI4I1tStl(' fJRbUIJleN"6. 1'113 ,oil ell Cdll'V\'ayofpainting which he followed for the rest of his career. 145

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*86 Perf/line (Profull1o). (19°9-10). Signed lower right, "L.Russolo." Oil on canvas, 25'"X~a(!;.Collection Mr. 93 Study for The New City (Studio per La Cilln Iwova).~ (-1~5"and Mrs. Harry Lewis Winston, BjTmin~ham, Michigan. &(, tV: Collection Miss Barbara Jane Slifka, New York. ~/~ g3c tercolor. 11.3/4 X7i/8". Collection Avv. Pande Accettt. Mi-Exhibited at Bernheim-Ieune, Paris, February 1.91.2,and Ian.at other group showings throughout Europe. Accordingto Severini it was painted after the trip to Paris inthe autumn of ]911, but it shows no influence of Pari-sian painting. It is most closely related to some of Boc-ctonl's paintings of 19n. III. P: 45· 1111

*89 f...he Revolt (La Rivolta). (19'l1.). Oil on canvas, 59 x. ..- \~\7' 61/~". Gemeente Museum, The Hague. This painl-

41- g~( ing was exhibited at Bernheim-Jeune in February 1.912and in other European exhibitions. It was the paintingby Russolo most commented on in the press. Ill. p. 52.

90 Dynamism of an Automobile (Dinamisl11o di 1./11 auto-mobile). Si.!7.nedlower right, "L Russolo 1.91.1." Oil on

If. a (J I.{ canvas, 41"~~.('. Musee National d'Art Moderne, Paris.li \)( , -J. !is" 1/

The Carpenter's Belich (ll banco del falegl1ame). Signedlower right, "0. Rosel 1.91(47)". Oil and collage oncardboard, 18llj.,X2711{. Collection Dr. Emilio [esi, Mi-lan. Ill. p. 1.05.

LUIGI RUSSOLO

Born Portogruaro near Venice, May 1., 1.885; died Cerro diLaveno on Lago Maggiore, February 4, 1947

Well schooled in music and self-trained in art, Russolobecame associated with the Futurist group in Milan in1.909. He signed the "Manifesto of Futurist Painting"and participated actively in the movement, althoughmuch of his time from 1.91.3on was given to experi-ment with his Intonarumori (Noise Organ) on whichhe gave the first public concert at the Teatro DalVenne, Milan, April 21.,1.9·.14.Volunteering for militaryservice with other Futurists, he saw action on theItalian front and received a serious head wound thatlimited his later activity. Participating in the secondphase of Futurism he painted little but gave much timeto his concerts. When in 1.941 he again devoted himselfto painting, it was in a representational manner farfrom his Futurist work. His mystical ideas about lifeand art, much influenced by his later Interest in Yoga,are expressed in his book, Al di rn della materia, pub-lished in 1938.

Exhibited at the Lacerba exhibition, Florence, December191.3·

*91 Plastic Synthesis of the Actions of (J Woman (Sintee!plastiea dei mouunenti di HI/a dO/ll/a). Signed lo,,:,-,>.r

f.J(.~60 right, "L. Russolo 1.91.2." Oil on canvas, 33iiJtfX25-Plg".Musee des Beaux Arts, Grenoble. The painting was exhi-bited in Rome at the Teatro Costanzi in February 1.913,in Rotterdam the same year lind at the Panama-PacificInternational Exposition, San Francisco in :1.915.Ill. p. 81.-

*92 The Solidity of Fog (Solidita della nebbia), Signed lowerright, "L Russolo 191.2." Oil on canvas, 39JI$X 253//'.

~(. C{go Collection Dr. Gianni Mattioli, Milan. Exhibited at theTeatro Cos tauzt, Rome, February .1.913and later the sameyear in Rotterdam. Ill. P: 82.

ANTON 10 SANrELI A . I

Born Como, April 30, 1.888; killed in combat, October 1.0,1.91.6

After studying in Como, Sant'Elia established himself at•• Milan where he enrolled at the school of the Brera. He

passed his arclutecture l examinations at Bologna, thenreturned to Milan where he opened an office. In 1.912he joined in founding the group, Nuove Tendenze, andtook part in the first exhibition of the group in May1.9.14.Later the same year he joined the Futurists, severalof whom he had known for some time, and rewrote thepreface to the May exhibition catalogue as the "Mant-festo'of Futurist Architecture."

•GINO SEVERINI

Born Cortone, April 7,.1.883; lives in Paris and Rome

Settling in Rome in 1.899, Severini studied drawing atnight and when possible attended the life classes of theacademy. Later he studied, together with Boedoni, inBalla's studio. In the autumn of 1906 he settled in Paris,where he has worked chiefly ever since. He came tfilknow Picasso, Brague, and mllny of the painters later3ssoci

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tton with the group in Milan until late in 1911, He did :to9 Dancers (Danzalrid). (1912), Oil on canvas. 131/~x:Lo",not take part in the Futurist theater presentations, 1,_ '( (-,,0 C II ' M d' u -()aD 0 ectton f. an Mrs. Sidney E. Cohn, New York.

t:1e 1.9~OShe turned away from Futurism to a calmer "aao Dynamic Hieroglyphic of the Bal Tcborin (Ceroglificofigurative art based often on clesslcal motifs. dinamico del Bal Tabarin). (1.912). Oil on canvas, with

~98 S~ring in MOllt.I'I'/(J,.t~~ (Prim(J~e~(J a Montmartre), 1909. &fif~L/'l:.egLlins, 63~:SX61.1/~".The Museum of Modern Art, New ~~(; .J Oo.J',?,spdng of '9'" III. p, 2, MARIO SIRONI 'liA,tltkL. If/3 ~_ ~I~"Js' 7.;

with Boccion i and expressed sympathy for the ideas ofthe Futurists, he first showed under the Futurist title atthe "free" exhibition in Rome in 1914. In March 1915 hewas officially made a part of the group. After the firstWorld War his painting underwent a marked change,and in the early 1920S he helped to found the movementof the Nouecenro.

on modern art, written for Ln Voce on his return to Flo-rence, particular importance. Although originally criti-cal of the Futurist painters, he came to accept their ideasand became one of the group. Lncerbn, which he found-ed with Giovanni Papini in 1913, was for some timethe major outlet for Futurist writing. Towards the endof 1914 he cooled to the activity of the Futurists and inFebruary 1915 publically separated himself from Mart-nettt's group. After the war he returned to a simplefigurative style of painting.

*1.20 Self Portrait (Al.ltoritrnJ.to). Signed lower left, "Siron!&f I qO?- 19~t3·" Oil on .canvas, 20'/jX 191//'. Civica Galleria d'Arte~I Moderna, Milan. Ill. p. 103.*121. Composition with Propeller (Cornposizione COl! etten), *123 Dis plncement of the Planes of a Lal1~ ~com oeizione

II 08') (:1.91.5)·Tempera and collage on cardboard, 29'/'t'X241/i'· dei pinl1i di 1//1 II/me). ('191.2).Oil on~~A. . ". tiY'!'/..lP . ':::. r;- Collect.ion Or. ~ianni Mattioli, Mila~. Ill. p. :to:. ~(.g'f7Collecti~n Eric Estorick, London. EXhi.bited at the Teatro 1$1"4'

1,22 ~nlIcCI (Bnllenl1~). (~9~:',6).Colla~e, oil, C11~d various me- Costanzt. Rome, February 1913, and In Rotterdam later~ I.~ &~ dl~on canvas, 30 1)~; Collection Dr. RICcardo Iucker. the same year. Ill. p. 56.

Milan. Ill. P·1.04· 1.1./5 *124 Lilies and Volrunes of a Street (Lince e vo/umi di ul1astmdn). (1912). Oil on canvas, 201hx18~.". Collection

lvl .~~ 7 Or. Riccardo Jucker, Milan. Exhibited at the Teatro Co-sta nz i. Rome, February 1.9:13,and in Rotterdam later the

Born Rtgnano sull'Arno, April 7, 'J879; lives at Poggio a Caia- same ye:f71! !w"VM\/LJ'5o~ ~ 6",{ {ffi"UiJ». l~I~,

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