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1883–1966 Italy
Gino Severini (Cortona, 7 April 1883 – 26 February 1966), was an Italian painter and a leading member of the Futurist movement; he signed in 1910 the Manifesto of the Futurists together with his fellow Italians: Boccioni, Carrà, Russolo and Balla. Later, Cubism attracted him more.
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..displacement of bodies in [the] atmosphere [where] two persons form but one plastic unity, rhythmically balanced.
..the gesture that we want.. ..will be the dynamic sensation itself.
Art is nothing but humanized science.
Deric Regin (1968)
I would like my colors to be diamonds and to be able to make abundant use of them in my pictures so as to make them gleam with light and richness.
The metaphysical forms which compose our futurist pictures are the result of realities conceived and realities created entirely by the artist. These last are inspired by the emotion or intuition and dependent on atmosphere-ambience.
[Severini referred to himself as a] ..primitive who is thrilled by the movement of a dancer and boulevard filled with people.
I found in your book the confirmation of my ultimate conclusions and the tools for deepening this aspect of the artistic problem.
Philosophers and aestheticians may offer elegant and profound definitions of art and beauty, but for the painter they are all summed up in this phrase: To create a harmony
Clint Brown (1998)
this complex form of realism.. ..totally destroys the integrity of the subject-matter.. .The abstract colors and forms that we portray belong to Universe outside time and space.
..[a] generous display of scantily clad beauties and a carnavalesque inventiveness.. ..[the] beautifully masked and under-dressed women, with showers of confetti, multicolored streamers. The atmosphere was one of frenzy..
The Life of a Painter - autobiography (1946)
The Cubists and the other avantgarde [in France] can see the danger of being called Futurists. They are attracted by research involving the movement and the complexity of subjects. To avoid this kind of treat, they invented Orphism.
In our young days, when Modigliani and I first came to Paris, in 1906, nobody was very clear about ideas. But unconsciously, we knew quite a lot of things, of which we became aware later on.
The truth lies somewhere between these two aesthetics [static Cubism and dynamic Futurism]. The 'pure form' of w:Ingres led inevitably to a life-less Platonism; the lyricism and Romanticism of Eugène Delacroix no longer tailed with our cerebral and geometric age.. ..as in all great ages, today's artwork must be the synthesis of these two things [quote, 1917].
The need for abstraction and symbols is a characteristic sign of the intensity and rapidity with which life is lived today. It often happens that a word, [or] a phrase, will serve to synthesize a complete action, an entire psychology. In the same way, one gesture, one essential feature, may, by suddenly throwing light upon our intuition, succeed in presenting to our vision the total reality.
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