JOSHUA C. TAYLOR

Distributed by Doubleday & Company, Inc., Garden City, New York

The Museum of Modern Art, New York

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Biographies and Catalogue of the ExhibitionSh~ tv, "SllJM~" , lip, W(J0M(O~<'It;l~t I-II 'r:uTVZIi':>AlLI1!A~ ;1/"" coUaJiNd". ;;a.,'\Jl.-. L

Works marked with an asterisk ere ittustrnred. Datesclosed in parentheses do 1'I0t appenr 01'/ tile works of orr. IIIdimensions, height precedes width,

*6 Rhythm of the Violinist (Ritmo del vio/iflista). (191.2).Signed bottom center, "Balla." Oil on canvas, 20.10X29112". Collection Eric Estortck. London. Painted inDusseldorf, 19"12. Balla made three trips to Dusseldorf,

'/ 8' 11 the first in 1912, where he decorated the music roomIV .. '~rin. the home of a former pupil, a Hungarian girl who

had married a lawyer named Loewenstein. Mr. Loewen-

AI d fstein was an. amateur musician and served as insptra-

ter a perto a study in evening classes in Turin, Balli!d

[ion for this painting. Exhibited in Rome in Februarymove in 1893 to Rome, which remained the center ofI

1913 at the Teatro Costenzi, and in Rotterdam in Maylis activity for the rest of his life. In 19°0 he spent of the same year. Ill. p. 59.seven months in Paris. On his return he became the *7 Iridescent Interpenetration (Compenetrazione iridese-teacher of both Severini and Bocciani, introducing them enre). Signed lower left, "Balla 191.2," (on vertical).to the divisionist techniques of which he had become 1II. ~lOil on canvas, 393/sx23r;ls". Collection Mr. and Mrs.the master. With them he signed the Futurist manifesto U Harry lewis Winston, Birmingham, Michigan. This isof February 1910, although his first clearly Futurist one of several paintings based on studies begun inworks date from 1912. In that year he spent some time Dusseldorf in 1912. Ill. P: 62.in Dusseldorf, painting and designing the decorations 8 iridescent tnterp enetronon (Compenetrazione iruiesc-of a music room. His skill as a designer is evident in .u.SjtLel1te), ~o. 8. (1912.). Watercolor, 125/S.X~3".. Col.lectionmany of his later works which had great influence on T Han. Pietro Camptllt, Rome. (:;tfjkf'. r:J,""I;j''5-13 )the second phase of Futurism. In the mid-1930S Balla 9 Speeding Automobile (Automobile ill corsa). Signedturned to figurative painting in a somewhat Impres- I I f~""'.J.b0wer e t. "Fut Balla 1912." Oil on wood, 2l'/SX271/s".sionist manner. ~ I'· I /' The Museum of Modern Art, New York. Purchase.

*1 Work (Lauoro}. Signed lower left, "Balla 1902." Oil on *"10Abstract Speed-Wake of Speeding Autolllobile (Velo-~ 1.123 canvas, 68~f.lx 491/~". Collection Mr. and Mrs. Harry cita aetratta c-Yauto e passl1ta). (1913). Signed lower

Lewis Winston, Birmingham, Michigan. Ill. p. 18. ~l,~~3bleft, "Futur/Balla." Oil on canvas, 2gllex ~51V' ...Collec-;

*2 Hal/hupt (Fallimento). Signed lower right, "Balla 1902." tton Hon. Pietro Camptllt, Rome. Ill. p. 64. 11f1! f...')t;"J/ilv'.~;3Of Oil on canvas, 46~X 631/{. Collection Dr. Giuseppe Cos- *11 Speed of 1111 AHtolllobile+ Lights (Velocit!E d'muomobite

melli, Rome. Ill. P.19. + luci}, "1 13). Signed lower left, "Balla." Oil on card-*3 The Stairway of Foreioet!s (Gii addii scala). (1908).Sign~ 'I.g1t;board,~ 1/'. llection Mr. and Mrs. Morton G.ed lower right, "Balla." Oil on canvas, 411/~X41Ih". Neumann, ucago. Ill. P: 64. .16 j. 'J.'7 y",11

i LJ... Collection Mr. and Mrs. Harry Lewis Winston, Birming- 12 Automobile + Speed + Lig!lts (Alltoll/obile + ve/ocitaVr, f ~2...- ham, Michigan. This painting was exhibited in Rome in ~(. ~S'Q + I/./ci). Signed low~r left, "Futur Balla 19"13·"Charcoal,the seth International Exhibition of the Amntori e Cui- , 261hYx3f!1. Collection Dr. Riccardo [ucker, Milan.tori r./i Belle Arl'i, ·19'10,1Il. P.15. *13 Flight of Swifts (Volo di rondo/Til· Signed lower right,

*4 The Sf"reet Light-Sf'lIdy of Light (Lall1pada-SfLlr./io di I f ~'3&"Balla 1913." Oil on canvas, 16>; xlo'ftL:-Coll:;dion/rIce). Dated upper left, "AN 1909"; signed lower right, l,p • Hon. Pietro Campilli, Rome. Ill. p. 63. /7'1::;r ~

'l5'f "Balla." Oil on canvas, 683/~X45J/.I". The Museum'of *·14 5wifts: Paths of Movement+DY/'ll7l11ic Sel]l/ellces(VoloModern Art, New York. Hillman Periodicals Fund. List-. di rOl1dol1i). Signed lower left, "Fut Balla 1913" (on ver-ed in the cat,dogue of the Bernheim-leune exhibition, ,;27.,7,t/9tical). Oil on canvas, 381/sX4711/'. The Museum of Mo-191.2, but probably was not shown. Ill. p. 26. clem Art, New York. Purchase. 111. p. 63· I

*5 Girl RWlI1il1g all (1 Balcony (BI1I'lIbil1a ehe carre 511/ b(1l~ 15 Vortex (Vortice). (1913). Signed lower left, "Futur Ballalcone). Signel=L!Ster right, "1912 Balla." Oil on canvas, (I (),~Vortice." Oil all paper, mounted on white linen, 25.1049~ Xlf94/'/'SCivica Galleria d' Arte •.Moderna, Milan. 10' 1(1 X321//', ColI. Mr. and Mrs. Joseph Slifka, New York.Grassi Collection, Exhibited in Rome in FebruilfY 1.913 *16 Mercllry PI1SSillg Before tile 5/1/1 (1S Seen Throllg,'" 11

at the Teatro Costanzi, and in Rotterdam in May of the ~I'Olf{) Telescope. (Merc~.lrio cITepnssn d~~nrlli I1lso/~ visto colsame year. 111. p. 60. I' cmmocchwle). Signed lower left, Balla .19.14. Tempera

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GIACOMO BALLA

Born Turin, August 18, 1871j died Rome, March 5,1958

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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 ore

Milan. 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<.£RY ~1 we. c..~l ?''-''fl<-~l U' .;:a 1 II'" .

UMBERTO BOCCIONI l1"Jv~t\ U{'I tv. ...,J(~-',\ ('1,911. 22 hX33 ~ . Collectlon Estate of VICO Baer.Y-eLcl.tjk fh\4.s...., \':\It1'::.~fdam. *28 Study for Tile City Rises (Studio per La ciUa sale).

Born Reggio Calabria, October ~9, 1882, of parents from Ro- ~15~''ll(1910-U). Oil 011 cardboard, "13V~". Collection Dr.magna; died Verona, August 17, 1916. Gianni Mattioli, Milan. III. p. 36. ''I

As a child Boccioni moved with his family to Forli, then *29 Study for The City Rises (Studio per La citta sale).Genoa, and finally Padua. In 1897 he accompanied his (]910-1.1). Signed lower right, "Boccioni." Tempera onfather to Sicily where he completed his studies at the ~I.~S'4'paper, 1.41/ax23(;/8". Collection Dr. Emilio Jesi, Milan.Technical Institute in Catania. In order to study paint- Ill. p. 36.ing, with which his father was not in sympathy, Bocci~ *30 The City Rises (La cittn sale). (1910-11). Signed lowerani moved to Rome in "1898.He lived in the home of his right, "V. Boccioni." all on canvas, 6' 6112" X9' 1.0

112".father's sister while studying in the life classes at the $07,sfrhe Museum of Modern Art, New York. Mrs. Simonacademy. In Rome he knew Severini and Sironi, and Guggenheim Fund. (The left-hand third of this paintingwith the former studied in the studio of Balla about was partially damaged in the fire at the Museum of~901. In 1.9°2, with the prize money from a work shown Modern Art on April15' "1958. It has since been cleanedin Rome, he went to Paris where he spent several and restored.) Exhibited under the title Lavoro (Work)months. In 1.904 he made a trip to Russia with a family at La Mostra d' Arfe Libera in the Padiglione Ricordi,he had met in Paris. From '1905 through "1907he worked Milan, April 30, ~911. It was shown also at the firstin Padua and Venice, then moved to Milan where, in Futurist exhibition in Paris February 1912, and subse-~909, he met Marinetti and became an active member of quently in various countries. " ... I have created a greatthe Futurist circle. Certainly the two painting mani~ synthesis of work, light and movement. It is possibly afestoes of 1910 owe most to Boccioni's pen. To his ac- transitional work and I believe one of the last." (Lettertivity as painter he added that of sculptor in 19"12. In to Barbantini, SepL "1910). Ill. p. :;7·"19"15he enlisted with other Futurists in the volunteer *31. Street Pnvers (l selciniori). (19"11). This painting hascorps of the army and served on the Italian front. Re- been dated variously but was probably executed duringleas.ed after a few mo~ths he returned ,to painting, fol- ~(. Vl1 the summer of 191.1..Oil on ca~vas,.393/8X39~/alJ ..Collec-lOWing a style much Closer to that of Cezanne. He was lion Mr. and Mrs. Harry LeWIS WlOston, Blrnlmgham,recalled to military service in "19]6 and, during a ca- Michigan. Ill. p. 44.valry exercise onAugust1.6, was mortally injured when 32 Modern Tdol (fdolo modeJlo). (191.1.).Signed lower left,knocked from a horse. "Boccioni." Oil on ~ 231hx23". Collection Eric

21. Self Portrait (AlltoritrnUo). (c. "1907). S~ned lower right, ~CSdJstorick, l.ondon. Shown at La rv:ostra d'Arte. Libera,"Boccioni." Oil on canvas, 2+1/4 X27!,%:Collection Mr. f Milan, Aprd-May, 1.911, at Bernhelm-]eune, Pans, "191.2,

~I.~~Oand Mrs. HiHry lewis Winston, Birmingham, Michigan. and subsequent exhibitions.

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*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< 39

3//'.

~(, 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~../J, 1)ID

1ings of the triptych were shown <It the FutUTlst exhlbl- 1 Exhibited at the Panama-PaCifIc International Exposl-

\JI't £{ (p Hon at Bernheim-Jeune in February 1912, a.nd subse- tion, San Francisco, "191.5· 111.p. 92.quently in many European cities. This painting was nor- *50 Dynamism of a Soccer Player (Dinamismo di 1m foat-mally exhibited between Those Who Stay and Those bailer). (-1913). Oil on canvas, 6' 5" x6' 7'· CollectionWho Go. Ill. p. 50. ~/,g'~)j-Mr. and Mrs. Sidney Janis, New York. Exhibited at the

*39 Study fo.r States of Mind: Those Who Stay (Studio per Panama-Pacific International Expo~tion, San Francisco,

/'-d.,!, Ll! Star; d'a",mo, Q"elli che re,'mlO). ('9B). Signed lower '9'5· III.p. 89, l7/,'fS '7~'lo/")right, "Boccioni." Pencil, 23X24". The Museum of Mo- *51- Muscular Dynamism (Dinamismo 11111scolare). (1913).dern Art, New York. Gift of Vieo Baer. III. p. 48. 3'.3d.tf9Signed lower right, "Boccioni." Charcoal, 34 X23

1//'. The

*40

Sfates of Mind: Those WlJOStay (StMi d'animo: Quel/i Museum of Modern Art, New York. Purchase. III. p. 94·che restano). (J9U). Tempera and oil on canvas, 27% *52 Uniqrle Forms of Continuity in Space (Forme lll'liche

f.p( I qo'";L X37~~" Collection Nelson A. Rockefeller, New York. della conti111/itil l1ello spazio). ("191.3)· Bronze, 43112

"I 111.p. 5"1. . _ 31.¥9'high. The Mu~e~ml of ~odern Art, New York ..Acquired

*4'1. Study for Sfates of Mind: Those W!lO Co (StudIO per,;2 through the Llllle P. Bltss Bequest. Four casts In bronzeStati d'animo: Quelli cITe vanno). (1.91.1). Signed lower were made from the original plaster: two at an early

0;;1""3.'-/1 right, "Boccioni." Pencil, z3X34". The Museum of Mod- date with polished surface (of which this is one), andern Art, New York. Gift of Vico Baer. Ill. p. 49. two at a later date with the surface left closer to that of

*42

Sfales of Mi/1d: Those WIJO Go (Stati d'al1ira.,?c3-Quel/i the plaster. Ill.P·95·che vanllo). (l9

U). Oil on canvas, 27fr/ex~. Collec- *53 Study for Dynamism of a Cyclist (Studio per Dinamismo

l tion Nelson A. Rockefeller, New York. The titlO' of the {(, f//7 d, "" "eI,s'a), (1913), Ink and Ink wash, 8'I<xu'/i'.~\( \~O() two paintings, TlJOse Who Go and Those WllO Stay, \9 0/ Yale University Art Gallery, New Haven. Collection

have sometimes been confused. Ill. p. 51. Societe Anonyme. Ill. p. 97·*4~ Drawing after States of Mind: Those Who Stay (Di- *54 Study for Dynamism of a Cyclist (Studio per Dillall7ismo) segno secondo Stati d'animo: Qllelli che restmJO). (1912). di 1./11 cielisla). (1.913). Ink and tempera, ~.,.". Ci-

W/ ~ 903 Ink, n:Jf.lxI631/'. Collection Herbert and Nannette Roth- ~!.'&Sj vica Raccolta delle Stampe A. Ber~arelli, Mi~~. Ill. P:-97. 143M~' -

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

~J..<!ff1 on canvas, 1.41/4X371/i,'. Richard Feigen Gallery, Chi-cago. On the back is ZI note by Carra stating that thepainting was awarded a prize at the Famiglia Arti-stiea in 19°8. Ill. p. 20.

*68 The Swimmers (NIIOl"atrici). Signed lower right, lie. D.Carra '1910," Oil on canvas, 411!~X61Pi)". Carnegie In-

I f qc" stttute, Pittsburgh. Gift of G. David Thompson. TheII • , v painting was exhibited <It La Mosfm d'Arte Libera, Mi-

lan, April-May 19u, at the Bemheim-Ieune exhibitionin Paris in February '191.2, and in later Futurist exhibi-tions. Ill. p. 29.

*69 Leavillg the Theater (Uscifa dn teatro). (1910-11.). Sign-ed lower left. "e. D. Carra." Oil on canvas, ~ :

, ~". Coll.ection Eric £storick, London. Carra notes&/.f1!J in La mia vita: "This painting was suggested to me one

winter night while leaving the Teatro alIa Scala ... Ibelieve that this canvas, completely ignored in Italy,is one of the paintings in which I best expressed theconception I then had of pictorial art. .. " p.1.61.. Ex-hibited at the Bernheim-jeune exhibition, February1.912. Ill. p. 30.

*70 Funeral of the Anarchist Galli (I fl/IJerali dell'a1TarchicoGalli). (191.0-1.1). Oil on canvas, 6'61//'X8' 6". The Mu--?$lllll of Modern Art, New York. Acquired through

,;?3S:'flthe Lillie P. Bliss Bequest. This painting was shown<ItLa Mostra d'Arte Libera, Milan, April-May 1.91.1, atBernheim-jeune, P<lris, in Febru<try :19'12, and otherEuropean galleries. It was one of the paintings soldto Dr. Borchardt in Berlin in 1.91.2.A note on the fu-neral (1.904) th<lt inspired the painting is in Carra,La I"l'liavita, pp. 73-74. Ill. p. 31.

*71 Jolt's of a Cab (Sobbalzi di carrozelln). (:19:1.1).SignedfIJ. (a)3lower right, "e. D. Carra." Oil ori C<lnvas, 20';/8X26Y! ".

1fT THE fi\6NT (Pece9Z1fJJo aJfr.,1e) (1fJ'f.) ",I~,,, l?<>J'!1l, 10/"1" 13/&, C411. q-ia.h'llJ/o(aitI61,)

~. IJlfb,...

*55 DYl1mnis11l of a eyclitt (Dil1a:,1'1isI110d~ /.Ill Cic~ista~.(1.91.3).Oil on can vas, 27 r~x37'/+'. Collection Dr. CtanniMattioli, Milan. The painting was shown in the Laeerbaexhibition in Florence, November 30, 191.3- january 1.5,~914, and at the Panama-Pacific International Exposi-tion, San Francisco, 1.9:15.Ill. p. 96.

*56 DYl1flmislII of a Human Body (Dlnmniemo eJ..i /Ill corpoHl1"Ia1l0),(1-913-1-4). Oil on canvas, 39!iX3ci'((. ClvlcaGalleria d'Arte Modema, Milan. This pauulng is Closelyrelated to a drawing reproduced in Lacerba H, 6 (March1.5,191.4), P: 89, entitled 1 Want to Synthesize the UniqueForms of Continuity in Space, one of a series shownwith Bocclont's sculpture in Rome, December 1.9:13.TIL

144

P·99·'7 Plastic Dynamism, Horse and Houses (Dinamiemo pla-

r srrco, cavallo e case), (1.9:14).Signed lower right, "Boc-!:It g¥ ~ cion!" and inscribed "Dinamismo Plastico, Cavallo &Case." Tnk, 1.'25/8 x :165/s" Collection Eric Estorick, London.

*58 Plastic Dynamism: Horeew Rider-v Houses (Dinamiemoplashco: cavallo + cavaliere + caseggiato). (19:14). Pencil,

i I. QC11 ink, and watercolor, :15't1{~22~/f· Civica Raccolta delle{jl D 0'" Stampe A. Bertarelli, Milan. The drawing, which bears

the note "Studio per una seultura di materie diverse"relates both to the sculpture in the Peggy GuggenheimCollection, Venice, and several paintings of the samesubject. Ill. p. 100.

>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 inthe 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.

lA. <65b- This painting was first exhibited at the Teatro Costanzlin Rome, February 1913. The signature and datelower left, "e. Carra 911.," were probably added later.Ill. p. 76. >

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 In

Lacerba, 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,1.5/1'1X26

3//'. 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<,UGO GIANNATTASIO (<;II-A!Kic.lllirJ 11/;lIu-. DeTRu.cI_'

1.£6 flAJ6 . t.-N'- YBorn Rome, August 2, 1888i died Turin, June 5, 1958

After studying with the sculptor Ximines and at the -life classes of the academy in Rome, Giannattasio set-tled in Paris in "1909where he knew Severini and otherItalian and French artists associated with the newmovements in art. Although he felt himself very mucha Futurist painter, he did not exhibit under the Futuristbanner until the "free" exhibition in Rome in 1914.A few years after the first World War, in which mostof his works were destroyed, he largely gave up paint-ing to travel and write. After the second World Warin which he was for two years a prisoner of war inGermany, he returned to painting. His recent workswere shown at the Cavalllno Gallery in Venice inApril 1958.

*84 The Revolving Door of the Taverne de Paris (Le Tour-niquet de /a Tauerne de Paris). (191.3). Oil 011 canvas.

(;(K~76~:L/" Private collection, London. Exhibited at• .J the(Salon des Independents, Paris, 1.913. II!. p.102. . _

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Rosai studied in Florence \-vhere he had his first exhibi-tion in 1913. Drawn to the Futurists, especially encour-aged by SoHici, he exhibited in the Futurist show inRome in 191.4. His association with Futurism \'vas brief;after the war he established his characteristic \>\'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. &(, <6J.(., (1914). lnk, 141/4 X133//'. Collection Avv. Paride Accettt,Exhibited at La Mostrn Intima of the Famiglin Artisiica, Milan.Milan, December 21., 1910, and at La Mostra d'Arte *94 The New City (La Cit/a /1/./ova). Signed lower right, "Mi-Libera, Milan, April-May 1.91.1·Ill. p. 27· 'I <=>"17Iano 1/311914 A. S," Ink with watercolor, 1,ZI/4X6'/s".

*87 Music (La Mllsica). Signed lower right, "L. Russolo 1;. i)..... Collection Avv. Parlde Accetti, Milan. [II. p. 107.1911." Oil on canvas, '1/ II ollectton Eric E5tO- 95 The New City (La CiUn I1IlOva). (191.4). Ink and water-rick, London. Exhibited at La Mostra d'Arte Libera, &Lg'J.~ color, 1.05/8 X 431/'. Collection Avv. Paride Accetti, Milan.Milan, April-May 1.911 an in Rome and Rotterdam 96 The Power Planr (La Centrale elertrica). Dated lowerin 1.91.3. It was later called Musical Dyllamism. III. & . '! right, "Z5Izh91.4". Ink, pencil and watercolor, 113/4X\ '-jl' /0.'p.28. ".)-"]'1:1).:.51< ' ~ It 7718". Collection Avv. Par-ide Accettl, Milan.

*88 Memories of a Night (Ricardi di una 'lOtte). (19'11)· 97 The Power Plallt (La Centrale elettrica). Signed andSigned lower right, "L. Russolo." Oil on canvas, 391M' dated lower right, "Milano 1.5/311.91.4 SE." Ink and wa-39"1>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<'lted with Cubism: Although he signed the "Mani-festo of Futurist Painting," he had little direct associa-

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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 ~~(; <[10 SIgned lower fight, G. Severtnt MCMIX." Oil on can- York. AcqUired through the Lillie P. Bliss Bequest. Paint-"" vas, 28ot~X23?>tef-. Private collection, Paris. [II. p. 21. (QC'ritdi~ ed during the summer of 1.91.2in Pienza, Italy. TIl. p. 68.99 The Boulevard (Le Boulevard). (1.91.0). Oil on canvas, 1.1.1Dal1cer (D(Jl1zatrice). Sigped lower left, "C. Severini~rgtf0 25!fsX3

61j'r Collection ~ric Estorick, London. Exhibited r 5ql 191.3·" Oil on canvas, 39'1i3c1!jv. Collection Mr. andat Bernhelm-Jeune, Pans, February 1.912. III. p. 23. 1;1. /'tJ Mrs. Morton G. Neumann, Chicago.

""1O~,!TJ~e Modiste (Ln·Modistl1). (1910). Oil on can vas, 25~1f; "r i a Dal1cer= Sea + Vase of Flowers (Ballerina = Mare + VasaIf ~ Collection Mr. and Mrs. Joseph Slifka, New York. di iiori}. (1913). Signed lower right, "C. Severini." Oil

~{,1(O According '0, seve,;n;'s recollection the ~o,k was paint- on canvas, with alumb'llm: ,6'I,x~"I", Collecuon Her-ed at Clvray In 1.9:10.{Severini, Turtn fn Vita dl 11/1 pittore, (O bert and Nannette Rothschild, OSSll1lng, New York. Thep. 74·) Ill. p. 47· IV 'Ii. concept underlying this painting is described by Seve-

""101. The Obsessive Doncer (Danza/rice Ossessiolla/lte). jO'K"-r rini in his essay "Le Analogie plastiehe del dinemiemo"(191.1.)·Signed lower right, "G. Severini." Oil on canvas, written in :1913 but not published. See Archivi del FII-

~LbiPt; '.!r41.x21.~/f· Collection Mr. and Mrs. Samuel I? Kurz- turiemo, pp. 76-80. Ill. p. 73.man, New York. Exhibited at Bernheim-Jeune, Paris, 11.3 Study for Dencer-s Sen (Studio per Dallzatrice=Mare).1.91Z and reproduced in the catalogue. Ill. p. 47. ~1./7K. (; (, ~ b(191?). Signed lower right, "c. Severini." Charcoal, 27;/a

102 Study for "Nord-Sud" (1.912). Charcoal, 1j}f~X~". (:01- ,.-(:I. XI9'/s". Collection Mr. and Mrs. Harry Lewis Winston,~ 1 , C)5 t lection Herbert and Nannette Rothschild, Ossining, New * Birmingham, Michigan '.

York. 114 Dancer = Sen (Dallzatnce = Mare). (191.3-1.4). Signed*1.03 The "~~rth-Sol/th" ~e!~,o (~ord-Sl.ld). Signed lower I 4 lo~er ri~h~: "G. SeV~rini." Oil on canvas, with s.eguins,

center,. 1.91.2 G. SeverinI. Od on canvas, 1:glrX25~'. V I. ~036l!X~8j~ .. ColJech~n ~r. and Mrs. Harry LeWISWin~~{'<K5-g Collechon Dr. Emilio Jesi, Milan. Exhibited at the Marl- stan, Blrnllngham, MichIgan. Ill. p. 73.

borough Gallery, London, April :1.91.3.It is discussed by 115 Autobu5. Signed lower right, "G. Severini 1913." Char~the artist in his Tutln la vita di HIl.pitfore, P.1.76. Ill. {;/, 1/3 coal, 21XJ.8". Collection Miss May Walter, New York.P·72

. / I ""1.l.6Spherical Expansioll of Light (Centrifugal) (Espallsiol1e>10104 Self Portrait (Autori!rntlo). (191.2). S+gR..edIgwer rigLt, sferica della l/.lce (cel1trifugal). (1.g-14).Oil on canvas,

"~-:-S@¥e.f-i.A..i..,." Oil on canvas,~ 2"1"js'~ C?gection Dr. M.~lP~;:Z43/S X19"1s". Coll.ection. Dr. ~ic~a rd.o Jucke~, Milan. TheG /" ~l~- CJlIseppe Sprovieri, Rome. This is proba~~y the self exact theory behrnd thiS palntmg IS explarned in Seve-

portrait painted in :l.g12 and brought to Italy in the sum- rini's "Le Analogie plastiche del dillnmislIlo," J.913. Seemer of that year by Severini. See Severini, Tutta la vita Archivi del Fu!urismo, pp. 76-80. Exhibited at the Pana-... P·1·57. TIL p. 70. m<l-P<lcific lnternational Exposition, San Francisco,1.9-t5.

:1.05Study for Portrait of Mme M. S. (Studio per Ritrntto Ill. p. 74.della Sigllora M. S.). Signed lower right, "C. Severini 117 War (Guerra). (1.91.5).Oil on canvas, 361/1X28·1j/'. CoI-

f, 1;).7 J_912." P<lstel, J.91/'1X13;/s". Collection Mr. and Mrs. lection Mr. and Mrs. Joseph Slifka, New York. ThisH<lrry Lewis Winston, Birmingham, Michigan. t;..(/1/ painting and those follOWing concerned with the war

""106 Portrait of Mme M. S. (Rilratto della Signora M.S.). were probably among those exhibited by the artist in(1912). Signed lower right, "G. Severini." Oil on canvas, Jan.-Feb. :191.6 in his Ire Exposition Futllriste d'Art361/tX25l/1~' Collection Mr. and Mrs. S. J. Zacks, To- Pla~tiql/e de In Cllene, La Galerie Boutet de Monvel,ron to. "Among these is an important portrait of Mme Pans.M. S..wl~ich.sho~s my essent.ially plastic preo~cupations. *1.18 The A~mor~~ Traill ~l!.~~en~ blil1dato). k:g.?!). S,~gnedWas It In lllle With the Cubists or the Futunsts? I con- t ,.'1 J710w~r ng~t, G. SeVe~]I11. 011 on canvas, ~l;.t)4YtS . Col-fe5s that I was not concerned with the matter." Se- I lectlOn Richard S. ZeIsler, New York. ][1. p. 115.verini, Tufla la vita ... P.1.53. III. p. 71. *ng Flying, over Reims. (1.91.5?).Charcoal, 22~/sX18;;IB". The

*107 The Bille Dancer (Balleril1a bleu). (191.2). Oil on Canvas, &r.gtil M.etr~politan M.useum of Art, Ne_w York. The Alfredwith sequins, 24i\,<<1.81~'. Collection Dr. Gianni Mat- r Sheglitz CollectIOn, 1949. Ill. p.1.1)., ,

Cl gg, tio/i, Milan. Exhibited in Rome and in Rotterdam in the Gr 3Lf/)1./ Ftsnvttl.. IA) J11fJN1JUtvc77r?> .J Oo.J',?,spdng of '9'" III. p, 2, MARIO SIRONI 'liA,tltkL. If/3 ~_ ~I~"Js' 7.;</"",

""108 Secolld Dancer (White) fSecondn dlH1zatrice (biallca/). '. ~ffuif-. 1 J...o~1hz.'"';},.""" fU'&,J..""1 'I" C II " 0 R' Born TemplO Pausallia (Sassan), May 12, 1.88~ ot-~i1anese(1912). Oil on canvas, ~ aX1.7 ·1. 0 ec Ion r. IC- I" M'I

f h parents; Ives m I ancarda Jucker, Milan. This is probably one 0 t e twopaintings of dancers brought by Severini to Italy in thesummer of 191.2. hhibited in Rome and in Rotterdamin the spring of 1913. Ill. p. 67.

In Rome while studying mathematics at the University,Sironi met Boccioni, Severini, and Balla and became in-terested in painting. Although he maintained contact 147

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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<ir. [II. P' 57.no near Florence. :125 tnterpenerronon of Plastic Plnnee (Com 'I netroztone di

Having first studied painting in Florence, Sofftct settled I ~~ "3pial7i plnslici). (:1913). Oil on canvas, 1.3,1/8 9"/j'Collec-in Paris in 1900 and remained there until 19°7, becoming (;, 3 tion Dr. Giuseppe Bergamini, Milan.familiar with all major trends in French painting and 1.26 Fulurist Londscnpe (Pnesaggio futlirista). (1913). Ink,criticism. This knowledge gave his illuminating articles ~(.lj~~~rqX71//"Collection Dr. Ctannl Mattioli, Milan.

ARDENGO SOFFICI

ADDENDA TO THE CATAl.OGUE

UMBERTO BOCCIONI

Woman Seated (Donna sedllta). (1.909). Oil and gouache onpaper, 161/~xnlh". Collection Mr. and Mrs. Joseph Slifka,New York

At the Front (Pacsaggio al ~rolJte). (191.4). Ink, 8X81/4". Col-lection Dr. Gianni Mattioli, Milan

(0\.3403 SjlQ UFE tu'fl.l "'ox Of .~tHnH5S. e:(,,""i-Ocd", i"if(f)',wilt. iq,~ ISr. O-~".

C.oil rwl!<'4,l,t.?&tW',CaL'i

CARLO CARRA

COl1lplel/1el1tnrism~Forl11-Nl/de. 1912. Oil and gouache onpaper, -'_".Inscribed and signed "Complemcnfarismo-forl11n~nl/do/ Cnrra 91.2." Collection Mr. and Mrs. JosephSlifka, New York

~h'S'nvlU- IN MOil ~iIH<'-f1l'

oil <hi U!J.1U 'kl. {9 13 ,

3" X 44 '0 Coil Jdet...,,{S~2el~l.r" Iv,tC'.

i)Ij(Uf j)OI.{~>:f71! !w"VM\/LJ'5o

~ ~ 6",{ {ffi"UiJ». l~I~,

'Iv )( 'is I. <14· IU Idd<tJ./lltller.

PHOTOGRAPH CREDITS: Alexander Georges, p. 91.; Soichi Sunami, pp. 92, 95 i Lew Gilcrest, p. 1:17

MoM

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