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Red is the color at the end of the visible spectrum of light, next to orange and opposite violet. The red sky at sunset results from Rayleigh scattering, while the red color of the Grand Canyon and other geological features is caused by hematite Red pigment made from ochre was one of the first colors used in prehistoric art.
Table of contents
- Italian fashion world adopts manifesto promoting diversity
- The Joy of Mechanical Force
- Full text issues
- MoMA | Glossary of Art Terms
PART I. At Florence. Druidical Excommunication. Ye brood of conscienceSpectres that frequent. Address to the Scholars of the Village School of. Dedication prefixed to the Edition of Index to the Poems. Index to the First Lines. Mark the concentred hazels that enclose We are selfish men ; Oh! Thy soul was like a star, and dwelt apart ; Thou hadst a voice whose sound was like the sea : Pure as the naked heavens, majestic, free, So didst thou travel Are yet the fountain light of all our day, Are yet a master light of all our seeing; Uphold us, cherish, and have power to make Our noisy years seem moments in the being Of the etemal Silence: truths that wake, To perish never And now I see with eye serene The very pulse of the machine ; A Being breathing thoughtful breath, A traveller between life and death ; The reason firm, the temperate will, Endurance, foresight, strength, and skill ; A perfect Woman, nobly planned, To warn, to comfort, and command ; Like an army defeated The Snow hath retreated, And now doth fare ill On the top of the bare hill Therefore let the moon Shine on thee in thy solitary walk; And let the misty mountain-winds be free To blow against thee : and, in after years.
To paint a human figure you must not paint it; you must render the whole of its surrounding atmosphere. Space no longer exists: the street pavement, soaked by rain beneath the glare of electric lamps, becomes immensely deep and gapes to the very center of the earth. Thousands of miles divide us from the sun; yet the house in front of us fits into the solar disk.
Who can still believe in the opacity of bodies, since our sharpened and multiplied sensitiveness has already penetrated the obscure manifestations of the medium?
Italian fashion world adopts manifesto promoting diversity
Why should we forget in our creations the doubled power of our sight, capable of giving results analogous to those of the X-rays? It will be sufficient to cite a few examples, chosen amongst thousands, to prove the truth of our arguments. The sixteen people around you in a rolling motor bus are in turn and at the same time one, ten, four, three; they are motionless and they change places; they come and go, bound into the street, are suddenly swallowed up by the sunshine, then come back and sit before you, like persistent symbols of universal vibration.
How often have we not seen upon the cheek of the person with whom we are talking the horse which passes at the end of the street. Our bodies penetrate the sofas upon which we sit, and the sofas penetrate our bodies. The motor bus rushes into the houses which it passes, and in their turn the houses throw themselves upon the motor bus and are blended with it. The construction of pictures has hitherto been foolishly traditional. Painters have shown us the objects and the people placed before us.
We shall henceforward put the spectator in the center of the picture. As in every realm of the human mind, clear-sighted individual research has swept away the unchanging obscurities of dogma, so must the vivifying current of science soon deliver painting from academism. We would at any price re-enter into life. Victorious science has nowadays disowned its past in order the better to serve the material needs of our time; we would that art, disowning its past, were able to serve at last the intellectual needs which are within us.
Our renovated consciousness does not permit us to look upon man as the center of universal life.
The Joy of Mechanical Force
The suffering of a man is of the same interest to us as the suffering of an electric lamp, which, with spasmodic starts, shrieks out the most heartrending expressions of color. The harmony of the lines and folds of modern dress works upon our sensitiveness with the same emotional and symbolical power as did the nude upon the sensitiveness of the old masters.
In order to conceive and understand the novel beauties of a Futurist picture, the soul must be purified; the eye must be freed from its veil of atavism and culture, so that it may at last look upon Nature and not upon the museum as the one and only standard. As soon as ever this result has been obtained, it will be readily admitted that brown tints have never coursed beneath our skin; it will be discovered that yellow shines forth in our flesh, that red blazes, and that green, blue and violet dance upon it with untold charms, voluptuous and caressing.
How is it possible still to see the human face pink, now that our life, redoubled by noctambulism, has multiplied our perceptions as colorists? The human face is yellow, red, green, blue, violet. The time has passed for our sensations in painting to be whispered. We wish them in future to sing and re-echo upon our canvases in deafening and triumphant flourishes. Your eyes, accustomed to semi-darkness, will soon open to more radiant visions of light.
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The shadows which we shall paint shall be more luminous than the high-lights of our predecessors, and our pictures, next to those of the museums, will shine like blinding daylight compared with deepest night. We conclude that painting cannot exist today withc without Divisionism. This is no process that can be learned and applied at will.
Divisionism, for the modern painter, must be an innate complementariness which we declare to be essential and necessary.
Full text issues
Our art will probably be accused of tormented and decadent cerebralism. But we shall merely answer that we are, on the contrary, the primitives of a new sensitiveness, multiplied hundredfold, and that our art is intoxicated with spontaneity and power. We declare: That all forms of imitation must be despised, all forms of originality glorified.
That the art critics are useless or harmful. That all subjects previously used must be swept aside in order to express our whirling life of steel, of pride, of fever and of speed. That innate complementariness is an absolute necessity in painting, just as free meter in poetry or polyphony in music.
That universal dynamism must be rendered in painting as a dynamic sensation.
That in the manner of rendering Nature the first essential is sincerity and purity. That movement and light destroy the materiality of bodies. We wish to explain this last point.
Nothing is immoral in our eyes; it is the monotony of the nude against which we fight. We are told that the subject is nothing and that everything lies in the manner of treating it. That is agreed; we too, admit that. But this truism, unimpeachable and absolute fifty years ago, is no longer so today with regard to the nude, since artists obsessed with the desire to expose the bodies of their mistresses have transformed the Salons into arrays of unwholesome flesh! Manifesto of Futurist Woman Response to F.
Valentine de Saint-Point. March 25, Humanity is mediocre. The majority of women are neither superior nor inferior to the majority of men. They are all equal. They all merit the same scorn. The whole of humanity has never been anything but the terrain of culture, source of the geniuses and heroes of both sexes. But in humanity as in nature there are some moments more propitious for such a flowering. In the summers of humanity, when the terrain is burned by the sun, geniuses and heroes abound.
We are at the beginning of a springtime; we are lacking in solar profusion, that is, a great deal of spilled blood. Women are no more responsible than men for the way the really young, rich in sap and blood, are getting mired down. It is absurd to divide humanity into men and women. It is composed only of femininity and masculinity. Every superman, every hero, no matter how epic, how much of a genius, or how powerful, is the prodigious expression of a race and an epoch only because he is composed at once of feminine and masculine elements, of femininity and masculinity: that is, a complete being.
Any exclusively virile individual is just a brute animal; any exclusively feminine individual is only a female. It is the same way with any collectivity and any moment in humanity, just as it is with individuals. The fecund periods, when the most heroes and geniuses come forth from the terrain of culture in all its ebullience, are rich in masculinity and femininity. Those periods that had only wars, with few representative heroes because the epic breath flattened them out, were exclusively virile periods; those that denied the heroic instinct and, turning toward the past, annihilated themselves in dreams of peace, were periods in which femininity was dominant.
We are living at the end of one of these periods. What is most lacking in women as in men is virility. That is why Futurism, even with all its exaggerations, is right.
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To restore some virility to our races so benumbed in femininity, we have to train them in virility even to the point of brute animality. But we have to impose on everyone, men and women who are equally weak, a new dogma of energy in order to arrive at a period of superior humanity.
MoMA | Glossary of Art Terms
Every woman ought to possess not only feminine virtues but virile ones, without which she is just a female. Any man who has only male strength without intuition is only a brute animal. But in the period of femininity in which we are living, only the contrary exaggeration is healthy: we have to take the brute animal for a model. Because she is totally lacking in measure, she is bound to become too wise, too pacifist, too good during a sleepy period of humanity. Her intuition, her imagination are at once her strength and her weakness. She is the individuality of the crowd: she parades the heroes, or if there are none, the imbeciles.
According to the apostle, the spiritual inspirer, woman, the carnal inspirer, immolates or takes care, causes blood to run or staunches it, is a warrior or a nurse. So that is why no revolution should be without her. That is why, instead of scorning her, we should address her. But no feminism. Feminism is a political error. Feminism is a cerebral error of woman, an error that her instinct will recognize. We must not give woman any of the rights claimed by feminists.
To grant them to her would bring about not any of the disorders the Futurists desire but on the contrary an excess of order.