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Umberto Boccioni

The sculpture that we can see in the monuments and exhibitions of Europe affords us so lamentable a spectacle of barbarism and lumpishness that my Futurist eye withdraws from it in horror and disgust. We see almost everywhere the blind and clumsy imitation of all the formulae inherited from the past: an imitation which the cowardice of tradition and the listlessness of facility have systematically encouraged. Sculptural art in Latin countries is perishing under the ignominious yoke of Greece and of Michelangelo, a yoke carried with the ease of skill in France and Belgium, but with the most dreary stupefaction in Italy. We find in Germanic countries a ridiculous obsession with a hellenized Gothic style that is industrialized in Berlin and enervated in Munich by heavy-handed professors. Slavic countries, on the other hand, are distinguished by a chaotic mixture of Greek archaisms, demons conceived by Nordic literature, and monsters born of oriental imagination. It is a tangle of influence ranging from the sibylline and excessive detail of the Asiatic spirit to the puerile and grotesque ingenuity of Laplanders and Eskimos.

In all these manifestations of sculpture, from the most mechanical to those moved by innovating currents, there persists the same error: the artist copies live models and studies classical statues with the artless conviction that he can find a style corresponding to modern feeling, without giving up the traditional concept of sculptural form. One must add also that this concept, with its age-old ideal of beauty, never gets away from the period of Phidias and the artistic decadence which followed it.

It defies explanation how generations of sculptors can continue to construct dummies without asking themselves why all the exhibition halls of sculpture have become reservoirs of boredom and nausea, or why inaugurations of public monuments, rendezvous of uncontrollable hilarity. This is not borne out by painting which, by its slow but continuous renovations, harshly condemns the plagiaristic and sterile work of all the sculptors of our time. When on earth will sculptors understand that to strive to build and to create with Egyptian, Greek, or Michelangelesque elements is just as absurd as trying to draw water from an empty well with a bottomless bucket? There can be no renewal of an art if at the same time its essence is not renewed, that is the vision and the concept of the line and masses which form its arabesque. It is not simply by reproducing the exterior aspects of life that art becomes the expression of its time; this is why sculpture as it was understood by artists of the past century and of today is a monstrous anachronism. Sculpture absolutely could not make progress in the narrow path it was assigned by the academic concept of the nude. An art which has to undress completely a man or woman in order to begin its emotive function, is stillborn.

Painting fortified, intensified, and enlarged itself thanks to the landscape and the surroundings that the Impressionist painters made act simultaneously on the human figure and on objects. It is by prolonging their efforts that we have enriched painting with our interpenetration of planes (Technical Manifesto of Futurist Painting, 11 April 1910). Sculpture will find a new source of emotion and, therefore, of style, by extending its plasticity into the immense domain which the human spirit has stupidly considered until now the realm of the subdivided, the impalpable, and the inexpressible. One must start with the central nucleus of the object one wants to create, in order to discover the new forms which connect it invisibly and mathematically to the visible plastic infinite and to the interior plastic infinite. The new plasticity will thus be the translation in plaster, bronze, glass, wood, or any other material, of atmospheric planes that link and intersect things. What I have called physical transcendentalism (Lecture on Futurist Painting at the Circolo Artistico in Rome, May 1911) can render plastically the sympathies and mysterious affinities which produce the reciprocal and formal influences of the objects’ planes.

Sculpture should give life to objects by rendering their extension into space palpable, systematic, and plastic, because no one can deny any longer that one object continues at the point another begins, and that everything surrounding our body (bottle, automobile, house, tree, street) intersects it and divides it into sections by forming an arabesque of curves and straight lines.

There have been two modern attempts to renew sculpture: one is decorative, for the sake of the style, the other is decidedly plastic, for the sake of the materials. The first remained anonymous and disordered, due to the lack of a technical spirit capable of coordinating it. It remained linked to the economic necessities of officialdom and only produced traditional pieces of sculpture more or less decoratively synthesized, and surrounded by architectural or decorative forms. All the houses and big buildings constructed with modern taste and intentions manifest this attempt in marble, cement, or sheets of metal. The second attempt, more serious, disinterested, and poetic, but too isolated and fragmentary, lacked the synthesizing spirit capable of imposing a law. In any work of renovation, it is not enough to believe with fervor; one must also choose, hollow out, and then impose the route to be followed. I am referring to a great Italian sculptor: to Medardo Rosso, the only great modern sculptor who tried to enlarge the horizon of sculpture by rendering into plastic form the influences of a given environment and the invisible atmospheric links which attach it to the subject. Constantin Meunier contributed absolutely nothing new to sculptural feeling. His statues are nearly always powerful fusions of the heroic Greek style and the athletic humility of the stevedore, the sailor, or the miner. His concept of plasticity and structure of sculpture in the round and bas-relief remained that of the Parthenon and the classical hero. He has, nevertheless, the very great merit of having been the first to try to ennoble subjects that before his time were despised, or else abandoned to realistic reproduction.

Bourdelle displays his personality by giving to the sculptural block a passionate and violent severity of masses that are abstractly architectonic. Endowed with the passionate, somber, and sincere temperament of a seeker, he could not, unfortunately, deliver himself from a certain archaicizing influence, nor from the anonymous influence of all the stone-cutters of Gothic cathedrals.

Rodin unfolded a greater intellectual agility, which permitted him to pass with ease from the Impressionism of his Balzac to the irresolution of his Burghers of Calais, and to all his other works marked by the heavy influence of Michelangelo. He displays in his sculpture a restless inspiration, a grandiose lyrical power, which would be truly modern if Michelangelo and Donatello had not already preceded him with nearly identical forms some four hundred years ago, and if his gifts could have brought to life a completely re-created reality.

One finds then in the work of these three talents the three influences of three different periods: Greek in Meunier’s work, Gothic in Bourdelle’s, Italian Renaissance in Rodin’s. The work of Medardo Rosso, on the other hand, is revolutionary, very modern, more profound, and of necessity restricted. There are hardly any heroes or symbols in his sculptural work, instead the plane of the forehead of one of his women or children embodies and points to a release toward space which one day will have in the history of the human mind an importance far superior to that now acknowledged by contemporary critics. Unfortunately, the inevitably Impressionistic laws of his endeavor limited the researches of Medardo Rosso to a sort of high or low relief; it is proof that he still conceived of the figure as an isolated world, with a traditional essence and episodic intentions.

The artistic revolution of Medardo Rosso, although very important, starts from a pictorial point of view too much concerned with the exterior, and entirely neglects the problem of a new construction of planes. His sensual modelling, which tries to imitate the lightness of the Impressionists’ brushstroke, creates a fine effect of intense and immediate sensation, but it makes him work too quickly after nature, and deprives his art of any mark of universality. The artistic revolution of Medardo Rosso thus has both the virtues and the faults of Impressionism in painting. Our Futurist revolution also began there but, by continuing Impressionism, it has come to the opposite pole. In sculpture as well as in painting, one can renew art only by seeking the style of movement that is, by forming systematically and definitively into a synthesis that which Impressionism offered in a fragmentary, accidental, and consequently analytical way. This systematization of the vibration of light and of the interpenetrations of planes will produce Futurist sculpture: it will be architectonic in character, not only from the point of view of the construction of the masses, but also because the sculptural block will contain the architectonic elements of the sculptural milieu in which the subject lives.

Naturally we will create a sculpture of environment. A Futurist sculptural composition will contain in itself the marvelous mathematical and geometric elements of modern objects. These objects will not be placed alongside the statue, like so many explanatory attributes or separate decorative elements but, following the laws of a new conception of harmony, they will be embedded in the muscular lines of a body. We will see, for example, the wheel of a motor projecting from the armpit of a machinist, or the line of a table cutting through the head of a man who is reading, his book in turn subdividing his stomach with the spread fan of its sharp-edged pages.

In the current tradition of sculpture, the statue’s form is etched sharply against the atmospheric background of the milieu in which it stands. Futurist painting has surpassed this conception of the rhythmic continuity of lines in a figure and of its absolute isolation, without contact with the background and the enveloping invisible space. “Futurist poetry”, according to the poet Marinetti, “after having destroyed traditional prosody and created free verse, now abolishes syntax and the Latin sentence. Futurist poetry is a spontaneous, uninterrupted flow of analogies, each of which is intuitively summed up in its essential substantive. From this come untrammelled imagination and ‘words in freedom’ ”. The Futurist music of Balilla Pratella destroys the craniometric tyranny of rhythm. Why, then, should sculpture remain shackled by laws which have no justification? Let us break them courageously and proclaim the complete abolition of the finished line and the closed statue. Let us open up the figure like a window and enclose within it the environment in which it lives. Let us proclaim that the environment must form part of the plastic block as a special world regulated by its own laws. Let us proclaim that the sidewalk can climb up your table, that your head can cross the street, and that at the same time your household lamp can suspend between one house and another the immense spider-web of its dusty rays.

Let us proclaim that all the perceptible world must hurry toward us, amalgamating itself with us, creating a harmony that will be governed only by creative intuition. A leg, an arm, or any object whatsoever, being considered important only if an element of plastic rhythm, can easily be abolished in Futurist sculpture, not in order to imitate a Greek or Roman fragment, but to obey a harmony the sculptor wishes to create. A sculptural ensemble, like a painting, can only resemble itself, because in art the human figure and the objects should live outside of and despite all logic of appearances.

A figure can have an arm clothed and the rest of the body nude. The different lines of a vase of flowers can follow one another nimbly while blending with the lines of the hat and neck. Transparent planes of glass or celluloid, strips of metal, wire, interior or exterior electric lights can indicate the planes, the tendencies, the tones and half-tones of a new reality. By the same token, a new intuitive modulation of white, grey and black can augment the emotive force of the planes, while a colored plane can accentuate violently the abstract significance of a plastic valve.

What we have already said about line-forces in painting (Preface-Manifesto of the Catalogue of the First Futurist Exhibition in Paris, October 1911) applies equally to sculpture In effect, we will give life to the static muscular line by merging it with the dynamic line-force. It will nearly always be a straight line, which is the only one corresponding to the interior simplicity of the synthesis that we oppose to the baroque exterior of analysis However, the straight line will not lead us to imitate the Egyptians, the primitives, and the savages, by following the absurd example of certain modern sculptors who have hoped that way to deliver themselves from Greek influence.

Our straight line will be alive and palpitating; it will lend itself to the demands of the infinite expressions of materials, and its fundamental, naked severity will express the severity of steel, which characterizes the lines of modern machinery Finally, we can affirm that the sculptor must not shrink from any means in order to obtain a reality. Nothing is more stupid than to fear to deviate from the art we practice. There is neither painting, nor sculpture, nor music, nor poetry. The only truth is creation. Consequently, if a sculptural composition needs a special rhythm of movement to augment or contrast the fixed rhythm of the sculptural ensemble (necessity of the work of art), then one could use a little motor which would provide a rhythmic movement adapted to a given plane and a given line.

One must not forget that the tick-tock and the movement of the hands of a clock, the rise and fall of a piston in its cylinder, the meshing and unmeshing of two gears with the continual disappearance and reappearance of their little steel rectangles, the frenzy of a fly-wheel, the whirl of a propeller, all these are plastic and pictorial elements of which Futurist sculptural work must make use. For example: a valve opening and closing creates a rhythm as beautiful but infinitely newer than that of a living eyelid.


The aim of sculpture is the abstract reconstruction of the planes and volumes which determine form, not their figurative value.
One must abolish in sculpture, as in all the arts, the traditionally “sublime” subject matter.
Sculpture cannot make its goal the episodic reconstruction of reality. It should use absolutely all realities in order to reconquer the essential elements of plastic feeling. Consequently, the Futurist sculptor perceives the body and its parts as plastic zones, and will introduce into the sculptural composition planes of wood or metal, immobile or made to move, to embody an object; spherical and hairy forms for heads of hair; half-circles of glass, if it is a question of a vase; iron wires or trellises, to indicate an atmospheric plane, etc., etc.
It is necessary to destroy the pretended nobility, entirely literary and traditional, of marble and bronze, and to deny squarely that one must use a single material for a sculptural ensemble. The sculptor can use twenty different materials, or even more, in a single work, provided that the plastic emotion requires it. Here is a modest sample of these materials: glass, wood, cardboard, cement, iron, horsehair, leather, cloth, mirrors, electric lights, etc.
It is necessary to proclaim loudly that in the intersection of the planes of a book and the angles of a table, in the straight lines of a match, in the frame of a window, there is more truth than in all the tangle of muscles, the breasts and thighs of heroes and Venuses which enrapture the incurable stupidity of contemporary sculptors.
It is only by a very modern choice of subject that one can succeed in discovering new plastic ideas.
The straight line is the only means that can lead us to the primitive virginity of a new architectonic construction of sculptural masses and zones.
There can be a reawakening only if we make a sculpture of milieu or environment, because only in this way can plasticity be developed, by being extended into space in order to model it. By means of the sculptor’s clay, the Futurist today can at last model the atmosphere which surrounds things.
What the Futurist sculptor creates is to a certain extent an ideal bridge which joins the exterior plastic infinite to the interior plastic infinite. It is why objects never end; they intersect with innumerable combinations of attraction and innumerable shocks of aversion. The spectator’s emotions will occupy the center of the sculptural work.
One must destroy the systematic use of the nude and the traditional concept of the statue and the monument.
Finally, one must at all cost refuse commissions of subjects determined in advance, and which therefore cannot contain a pure construction of completely renewed plastic elements.

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