Filippo Tommaso Marinetti

Filippo Tommaso Emilio Marinetti (Italian: [fiˈlippo tomˈmaːzo mariˈnetti]; 22 December 1876 – 2 December 1944) was an Italian poet, editor, art theorist, and founder of the Futurist movement. He was associated with the utopian and Symbolist artistic and literary community Abbaye de Créteil between 1907 and 1908. Marinetti is best known as the author of the first Futurist Manifesto, which was written and published in 1909; and also of the Fascist Manifesto.

Filippo Tommaso Marinetti
Filippo Tommaso Marinetti
Born22 December 1876
Alexandria, Egypt
Died2 December 1944 (aged 67)
Bellagio, Italy
Literary movementFuturism
SpouseBenedetta Cappa

Childhood and adolescence

Emilio Angelo Carlo Marinetti (some documents give his name as "Filippo Achille Emilio Marinetti") spent the first years of his life in Alexandria, Egypt, where his father (Enrico Marinetti) and his mother (Amalia Grolli) lived together more uxorio (as if married). Enrico was a lawyer from Piedmont, and his mother was the daughter of a literary professor from Milan. They had come to Egypt in 1865, at the invitation of Khedive Isma'il Pasha, to act as legal advisers for foreign companies that were taking part in his modernization program.[1]

His love for literature developed during the school years. His mother was an avid reader of poetry, and introduced the young Marinetti to the Italian and European classics. At age seventeen he started his first school magazine, Papyrus;[2] the Jesuits threatened to expel him for publicizing Émile Zola's scandalous novels in the school.

He first studied in Egypt then in Paris, obtaining a baccalauréat degree in 1894 at the Sorbonne,[3] and in Italy, graduating in law at the University of Pavia in 1899.

He decided not to be a lawyer but to develop a literary career. He experimented with every type of literature (poetry, narrative, theatre, words in liberty), signing everything "Filippo Tommaso Marinetti".


Filippo Tommaso Marinetti - Zang tumb tumb - Hoge Rijndijk 8, Leiden
Poem of Marinetti on a wall in Leiden

Marinetti and Constantin Brâncuși were visitors of the Abbaye de Créteil c. 1908 along with young writers like Roger Allard (one of the first to defend Cubism), Pierre Jean Jouve, and Paul Castiaux, who wanted to publish their works through the Abbaye. The Abbaye de Créteil was a phalanstère community founded in the autumn of 1906 by the painter Albert Gleizes, and the poets René Arcos, Henri-Martin Barzun, Alexandre Mercereau and Charles Vildrac.[4] The movement drew its inspiration from the Abbaye de Thélème, a fictional creation by Rabelais in his novel Gargantua. It was closed down by its members early in 1908.[5]

Marinetti is known best as the author of the Futurist Manifesto, which he wrote in 1909. It was published in French on the front page of the most prestigious French daily newspaper, Le Figaro, on 20 February 1909. In The Founding and Manifesto of Futurism, Marinetti declared that "Art, in fact, can be nothing but violence, cruelty, and injustice." Georges Sorel, who influenced the entire political spectrum from anarchism to Fascism, also argued for the importance of violence. Futurism had both anarchist and Fascist elements; Marinetti later became an active supporter of Benito Mussolini.

Marinetti, who admired speed, had a minor car accident outside Milan in 1908 when he veered into a ditch to avoid two cyclists. He referred to the accident in the Futurist Manifesto: the Marinetti who was helped out of the ditch was a new man, determined to end the pretense and decadence of the prevailing Liberty style. He discussed a new and strongly revolutionary programme with his friends, in which they should end every artistic relationship with the past, "destroy the museums, the libraries, every type of academy". Together, he wrote, "We will glorify war—the world's only hygiene—militarism, patriotism, the destructive gesture of freedom-bringers, beautiful ideas worth dying for, and scorn for woman".[6]

The Futurist Manifesto was read and debated all across Europe, but Marinetti's first 'Futurist' works were not as successful. In April, the opening night of his drama Le Roi bombance (The Feasting King), written in 1905, was interrupted by loud, derisive whistling by the audience... and by Marinetti himself, who thus introduced another element of Futurism, "the desire to be heckled." Marinetti did, however, fight a duel with a critic he considered too harsh.

His drama La donna è mobile (Poupées électriques), first presented in Turin, was not successful either. Nowadays, the play is remembered through a later version, named Elettricità sessuale (Sexual Electricity), and mainly for the appearance onstage of humanoid automatons, ten years before the Czech writer Karel Čapek would invent the term "robot".

Filippo Tommaso Marinetti

In 1910 his first novel, Mafarka il futurista, was cleared of all charges by an obscenity trial. That year, Marinetti discovered some allies in three young painters (Umberto Boccioni, Carlo Carrà, Luigi Russolo), who adopted the Futurist philosophy. Together with them (and with poets such as Aldo Palazzeschi), Marinetti began a series of Futurist Evenings, theatrical spectacles in which Futurists declaimed their manifestos in front of a crowd that in part attended the performances in order to throw vegetables at them.

The most successful "happening" of that period was the publicization of the "Manifesto Against Past-Loving Venice" in Venice. In the flier, Marinetti demands "fill(ing) the small, stinking canals with the rubble from the old, collapsing and leprous palaces" to "prepare for the birth of an industrial and militarized Venice, capable of dominating the great Adriatic, a great Italian lake."

In 1911, the Italo-Turkish War began and Marinetti departed for Libya as war correspondent for a French newspaper. His articles were eventually collected and published in The Battle of Tripoli. He then covered the First Balkan War of 1912–13, witnessing the surprise success of Bulgarian troops against the Ottoman Empire in the Siege of Adrianople. In this period he also made a number of visits to London, which he considered 'the Futurist city par excellence', and where a number of exhibitions, lectures and demonstrations of Futurist music were staged. However, although a number of artists, including Wyndham Lewis, were interested in the new movement, only one British convert was made, the young artist C.R.W. Nevinson. Nevertheless, Futurism was an important influence upon Lewis's Vorticist philosophy.[7]

About the same time Marinetti worked on a very anti-Roman Catholic and anti-Austrian verse-novel, Le monoplan du Pape (The Pope's Aeroplane, 1912) and edited an anthology of futurist poets. But his attempts to renew the style of poetry did not satisfy him. So much so that, in his foreword to the anthology, he declared a new revolution: it was time to be done with traditional syntax and to use "words in freedom" (parole in libertà). His sound-poem Zang Tumb Tumb, an account of the Battle of Adrianople,[8] exemplifies words in freedom. Recordings can be heard of Marinetti reading some of his sound poems: Battaglia, Peso + Odore (1912);[9] Dune, parole in libertà (1914);[10] La Battaglia di Adrianopoli (1926) (recorded 1935).[11]


Marinetti agitated for Italian involvement in the World War I, and once Italy was engaged, promptly volunteered for service. In the Fall of 1915 he and several other Futurists who were members of the Lombard Volunteer Cyclists were stationed at Lake Garda, in Trentino province, high in the mountains along the Italo-Austrian border. They endured several weeks of fighting in harsh conditions before the cyclists units, deemed inappropriate for mountain warfare, were disbanded.

Marinetti spent most of 1916 supporting Italy's war effort with speeches, journalism, and theatrical work, then returned to military service as a regular army officer in 1917.[12] In May of that year he was seriously wounded while serving with an artillery battalion on the Isonzo front; he returned to service after a long recovery, and participated in the decisive Italian victory at Vittorio Veneto in October 1918.[13]


After an extended courtship, in 1923 Marinetti married Benedetta Cappa (1897–1977), a writer and painter and a pupil of Giacomo Balla. Born in Rome, she had joined the Futurists in 1917. They'd met in 1918, moved in together in Rome, and chose to marry only to avoid legal complications on a lecture tour of Brazil.[14] They would have three daughters: Vittoria, Ala, and Luce.

Cappa and Marinetti collaborated on a genre of mixed-media assemblages in the mid-1920s they called tattilismo ("Tactilism"), and she was a strong proponent and practitioner of the aeropittura movement after its inception in 1929.[15] She also produced three experimental novels. Cappa's major public work is likely a series of five murals at the Palermo Post Office (1926–1935) for the Fascist public-works architect Angiolo Mazzoni.

Marinetti and Fascism

In early 1918 he founded the Partito Politico Futurista or Futurist Political Party, which only a year later merged with Benito Mussolini's Fasci Italiani di Combattimento. Marinetti was one of the first affiliates of the Italian Fascist Party. In 1919 he co-wrote with Alceste De Ambris the Fascist Manifesto, the original manifesto of Italian Fascism.[16] He opposed Fascism's later exaltation of existing institutions, terming them "reactionary," and, after walking out of the 1920 Fascist party congress in disgust, withdrew from politics for three years. However, he remained a notable force in developing the party philosophy throughout the regime's existence. For example, at the end of the Congress of Fascist Culture that was held in Bologna on 30 March 1925, Giovanni Gentile addressed Sergio Panunzio on the need to define Fascism more purposefully by way of Marinetti's opinion, stating, "Great spiritual movements make recourse to precision when their primitive inspirations—what F. T. Marinetti identified this morning as artistic, that is to say, the creative and truly innovative ideas, from which the movement derived its first and most potent impulse—have lost their force. We today find ourselves at the very beginning of a new life and we experience with joy this obscure need that fills our hearts—this need that is our inspiration, the genius that governs us and carries us with it."

As part of his campaign to overturn tradition, Marinetti also attacked traditional Italian food. His Manifesto of Futurist Cooking was published in the Turin Gazzetta del Popolo on 28 December 1930.[17][18] Arguing that "People think, dress and act in accordance with what they drink and eat",[19] Marinetti proposed wide-ranging changes to diet. He condemned pasta, blaming it for lassitude, pessimism and lack of virility,[20] and promoted the eating of Italian-grown rice.[21] In this, as in other ways, his proposed Futurist cooking was nationalistic, rejecting foreign foods and food names. It was also militaristic, seeking to stimulate men to be fighters.[19]

Marinetti also sought to increase creativity. His attraction to whatever was new made scientific discoveries appealing to him, but his views on diet were not scientifically based. He was fascinated with the idea of processed food, predicting that someday pills would replace food as a source of energy, and calling for the creation of "plastic complexes" to replace natural foods.[19] Food, in turn, would become a matter of artistic expression. Many of the meals Marinetti described and ate resemble performance art, such as the "Tactile Dinner",[20] recreated in 2014 for an exhibit at the Guggenheim Museum. Participants wore pajamas decorated with sponge, sandpaper, and aluminum, and ate salads without using cutlery.[19][21]

During the Fascist regime Marinetti sought to make Futurism the official state art of Italy but failed to do so. Mussolini was personally uninterested in art and chose to give patronage to numerous styles in order to keep artists loyal to the regime. Opening the exhibition of art by the Novecento Italiano group in 1923, he said: "I declare that it is far from my idea to encourage anything like a state art. Art belongs to the domain of the individual. The state has only one duty: not to undermine art, to provide humane conditions for artists, to encourage them from the artistic and national point of view."[22] Mussolini's mistress, Margherita Sarfatti, successfully promoted the rival Novecento Group, and even persuaded Marinetti to be part of its board.

In Fascist Italy, modern art was tolerated and even approved by the Fascist hierarchy. Towards the end of the 1930s, some Fascist ideologues (for example, the ex-Futurist Ardengo Soffici[23]) wished to import the concept of "degenerate art" from Germany to Italy and condemned modernism, although their demands were ignored by the regime.[24] In 1938, hearing that Adolf Hitler wanted to include Futurism in a traveling exhibition of degenerate art, Marinetti persuaded Mussolini to refuse to let it enter Italy.

On 17 November 1938, Italy passed The Racial Laws, discriminating against Italian Jews, much as the discrimination pronounced in the Nuremberg Laws. The anti-Semitic trend in Italy resulted in attacks against modern art, judged too foreign, too radical and anti-nationalist.[25] In 11 January 1939 issue of the Futurist journal Artecrazia Marinetti expressed his condemnation of such attacks on modern art, noting Futurism is both Italian and nationalist, not foreign, and that there are no Jews in Futurism. Furthermore, he claimed Jews were not active in the development of modern art. Regardless, the Italian state shut down Artecrazia.[25]

Marinetti made numerous attempts to ingratiate himself with the regime, becoming less radical and avant garde with each attempt. He relocated from Milan to Rome. He became an academician despite his condemnation of academies, saying, "It is important that Futurism be represented in the Academy."

He was an atheist,[26] but by the mid 1930's he had come to accept the influence of the Catholic Church on Italian society.[27] In Gazzetta del Popolo, 21 June 1931, Marinetti proclaimed that "Only Futurist artists...are able to express clearly...the simultaneous dogmas of the Catholic faith, such as the Holy Trinity, the Immaculate Conception and Christ’s Calvary."[28] In his last works, written just before his death in 1944 L'aeropoema di Gesù ("The Aeropoem of Jesus") and Quarto d'ora di poesia per the X Mas ("A Fifteen Minutes' Poem of the X Mas"), Marinetti sought to reconcile his newfound love for God and his passion for the action that accompanied him throughout his life.[29]

There were other contradictions in his character: despite his nationalism, he was international, educated in Egypt and France, writing his first poems in French, publishing the Futurist Manifesto in a French newspaper and traveling to promote his ideas.

Marinetti volunteered for active service in the Second Italo-Abyssinian War and the Second World War, serving on the Eastern Front for a few weeks in the Summer and Autumn of 1942 at the age of 65.[30]

He died of cardiac arrest in Bellagio on 2 December 1944 while working on a collection of poems praising the wartime achievements of the Decima Flottiglia MAS.

Tomba Filippo Tommaso Marinetti
Grave of Filippo Tommaso Marinetti and his wife Benedetta Cappa at Monumental Cemetery of Milan (Italy)


  • Marinetti, Filippo Tommaso: Mafarka the Futurist. An African novel, Middlesex University Press, 1998, ISBN 1-898253-10-2
  • Marinetti, Filippo Tommaso: Selected Poems and Related Prose, Yale University Press, 2002, ISBN 0-300-04103-9
  • Marinetti, Filippo Tommaso: Critical Writings, ed. by Günter Berghaus, New York : Farrar, Straus, and Giroux, 2006, 549p., ISBN 0-374-26083-4, pocket edition 2008: ISBN 0-374-53107-2
  • Carlo Schirru, Per un’analisi interlinguistica d’epoca: Grazia Deledda e contemporanei, Rivista Italiana di Linguistica e di Dialettologia, Fabrizio Serra editore, Pisa-Roma, Anno XI, 2009, pp. 9–32
  • Filippo Tommaso Marinetti, Le Futurisme, textes annotés et préfacés par Giovanni Lista, L’Age d’Homme, Lausanne, 1980
  • Filippo Tommaso Marinetti, Les Mots en liberté futuristes, préfacés par Giovanni Lista, L’Age d’Homme, Lausanne, 1987
  • Giovanni Lista, F. T. Marinetti, Éditions Seghers, Paris, 1976
  • Marinetti et le futurisme, poèmes, études, documents, iconographie, réunis et préfacés par Giovanni Lista, bibliographie établie par Giovanni Lista, L’Age d’Homme, Lausanne, 1977
  • Giovanni Lista, F. T. Marinetti, l’anarchiste du futurisme, Éditions Séguier, Paris, 1995
  • Giovanni Lista, Le Futurisme : création et avant-garde, Éditions L’Amateur, Paris, 2001
  • Giovanni Lista, Le Futurisme, une avant-garde radicale, coll. "Découvertes Gallimard" (n° 533), Éditions Gallimard, Paris, 2008.
  • Giovanni Lista, Journal des Futurismes, Éditions Hazan, coll. "Bibliothèque", Paris, 2008 (ISBN 978-2-7541-0208-7)
  • Antonino Reitano, L'onore, la patria e la fede nell'ultimo Marinetti, Angelo Parisi Editore, 2006


  1. ^ Berghaus, Günther (2007). "F.T. Marinetti (1876–1944): A Life Between Art and Politics". Filippo Tommaso Marinetti: Critical Writings. Macmillan. ISBN 9780374706944.
  2. ^ Somigli, Luca (2003). Legitimizing the Artist: Manifesto Writing and European Modernism, 1885–1915. University of Toronto Press. pp. 97–98. ISBN 9780802037619.
  3. ^ Critical writings / F.T. Marinetti ; edited by Günter Berghaus ; translated by Doug Thompson
  4. ^ Barzun, Henri-Martin, L'Ere du Drame, Essai de Synthèse Poétique Moderne, Figuière, 1912
  5. ^ Daniel Robbins, Albert Gleizes, 1881–1953, a Retrospective Exhibition, Solomon R Guggenheim Museum, 1964 (Guggenheim website)
  6. ^ The Founding and Manifesto of Futurism
  7. ^ Haycock, A Crisis of Brilliance (London: Old Street Publishing, 2009), 138–40, 142, 147, 187–8
  8. ^ Valesio, Paolo; Words-in-Freedom—"The Unique Colors of our Changeable 'I'", Guggenheim website, August 28, 2014
  9. ^ [1]
  10. ^ [2]
  11. ^ [3]
  12. ^ Daly, Selena ; The Futurist mountains: Filippo Tommaso Marinetti's experiences of mountain combat in the First World War, Modern Italy, 2013; retvd 8 24 15
  13. ^ Berghaus, Günter (editor; introduction to) Marinetti, Filippo Tommaso; Critical Writings: New Edition; Macmillan, 2007; ISBN 0374706948, 9780374706944
  14. ^ Futurism: an anthology By Lawrence S. Rainey, Christine Poggi, Laura Wittman, page 30
  15. ^ "WAC | La Futurista: Benedetta Cappa Marinetti (1917–1945)". Retrieved 5 January 2014.
  16. ^ Dahlia S. Elazar. The making of fascism: class, state, and counter-revolution, Italy 1919–1922. Westport, Connecticut, USA: Praeger Publishers, 2001, p.73
  17. ^ Scarpellini, Emanuela (2016). Food and Foodways in Italy from 1861 to the Present. Palgrave Macmillan US. p. 82. ISBN 978-1-137-56962-2. Retrieved 21 June 2017.
  18. ^ Sorini, Alex Revelli; Cutini, Susanna (15 February 2014). "Dining With Marinetti: the Manifesto of Futurist Cuisine". Fine Dining Lovers. Retrieved 21 June 2017.
  19. ^ a b c d Gross, Daniel A. (2016). "Food Fight". Distillations. 2 (3): 22–23. Retrieved 22 March 2018.
  20. ^ a b Theroux, Alexander (2017). Einstein's Beets. Fantagraphics Books. ISBN 978-1606999769. Retrieved 21 June 2017.
  21. ^ a b Brickman, Sophie (1 September 2014). "The Food of the Future". The New Yorker. Retrieved 21 June 2017.
  22. ^ Quoted in Braun, Emily, Mario Sironi and Italian Modernism: Art and Politics under Fascism, Cambridge University Press, 2000
  23. ^ Feinstein, Willy, The Civilization of the Holocaust in Italy, 2010, Associated University Presses
  24. ^ Kay, Carolyn, "Review of Affron, Matthew and Antliff, Mark, Fascist Vision: Art and Ideology in France and Italy (1997)" Left History, 7.1, 191–193
  25. ^ a b Italian Futurism, 1909–1944: Reconstructing the Universe, Solomon R. Guggenheim Museum, 2014
  26. ^ Mario Isnenghi, Il mito della grande guerra da Marinetti a Malaparte, Laterza, 1970, p. 44.
  27. ^ Günter Berghaus, Futurism and the Technological Imagination, Rodopi, 2009, p. 341.
  28. ^ (2009-08-25). "Manifesto of Futurist Sacred Art (English translation)". Retrieved 5 January 2014.
  29. ^ Giovanni Balducci. "La spiritualità di Marinetti: fra anticlericalismo, spiritismo e cristianesimo". Centro Studi La Runa. Retrieved 11 November 2018.
  30. ^ Ialongo, Ernest; Filippo Tommaso Marinetti: The Artist and His Politics, p.289; Rowman & Littlefield, 2015; ISBN 1611477573, 9781611477573

Further reading

External links

1909 in Italy

See also:

1908 in Italy,

other events of 1909,

1910 in Italy.

Events from the year 1909 in Italy.

Caffè Giubbe Rosse

Caffè Giubbe Rosse is a café in Piazza della Repubblica (13-14r), Florence.

When opened in 1896, the caffè was actually called "Fratelli Reininghaus". It was named "Giubbe Rosse" (Red jackets or coats) in 1910, after the jackets which waiters wear to this very day.

The café has a long-standing reputation as the resort of literati and intellectuals. Alberto Viviani defined the Giubbe Rosse as "fucina di sogni e di passioni" ("a forge of dreams and passions"). The Giubbe Rosse was the place where the Futurist movement blossomed, struggled and expanded; it played a very important role in the history of Italian culture as a workshop of ideas, projects, and passions. "We want to celebrate love of danger, of constant energy, and courage. We want to encourage going in aggressive new directions, feverish sleeplessness, running, deathly leaps, slaps and blows".Poets such as Ardengo Soffici, Giovanni Papini, Eugenio Montale, Filippo Tommaso Marinetti, Giuseppe Prezzolini and many others met and wrote in this literary café, an important venue of Italian literature in the beginning of the 20th century.

Important magazines such as Solaria and Lacerba originated here from the writers who frequented the café.Giubbe Rosse was founded by two Germans, the Reininghaus brothers, in 1896.


Futurism (Italian: Futurismo) was an artistic and social movement that originated in Italy in the early 20th century. It emphasised speed, technology, youth, violence, and objects such as the car, the airplane, and the industrial city. Its key figures were the Italians Filippo Tommaso Marinetti, Umberto Boccioni, Carlo Carrà, Gino Severini, Giacomo Balla, and Luigi Russolo. It glorified modernity and aimed to liberate Italy from the weight of its past. Cubism contributed to the formation of Italian Futurism's artistic style. Important Futurist works included Marinetti's Manifesto of Futurism, Boccioni's sculpture Unique Forms of Continuity in Space, Balla's painting Abstract Speed + Sound, and Russolo's The Art of Noises.

Although it was largely an Italian phenomenon, there were parallel movements in Russia, England, Belgium and elsewhere. The Futurists practiced in every medium of art, including painting, sculpture, ceramics, graphic design, industrial design, interior design, urban design, theatre, film, fashion, textiles, literature, music, architecture, and even cooking. To some extent Futurism influenced the art movements Art Deco, Constructivism, Surrealism, Dada, and to a greater degree Precisionism, Rayonism, and Vorticism.

Futurism (music)

Futurism was an early 20th-century art movement which encompassed painting, sculpture, poetry, theatre, music, architecture, cinema and gastronomy. Filippo Tommaso Marinetti initiated the movement with his Manifesto of Futurism, published in February 1909. Futurist music rejected tradition and introduced experimental sounds inspired by machinery, and influenced several 20th-century composers.

Futurist Political Party

The Futurist Political Party (Italian: Partito Politico Futurista) was an Italian political party founded in 1918 by Filippo Tommaso Marinetti as an extension of the futurist artistic and social movement. The party had a radical program which included promoting gender parity and abolishing marriage, inheritance, military service and secret police. The party was absorbed into the Fasci Italiani di Combattimento in 1919.

Futurist architecture

Futurist architecture is an early-20th century form of architecture born in Italy, characterized by strong chromaticism, long dynamic lines, suggesting speed, motion, urgency and lyricism: it was a part of Futurism, an artistic movement founded by the poet Filippo Tommaso Marinetti, who produced its first manifesto, the Manifesto of Futurism, in 1909. The movement attracted not only poets, musicians, and artists (such as Umberto Boccioni, Giacomo Balla, Fortunato Depero, and Enrico Prampolini) but also a number of architects. A cult of the Machine Age and even a glorification of war and violence were among the themes of the Futurists (several prominent futurists were killed after volunteering to fight in World War I). The latter group included the architect Antonio Sant'Elia, who, though building little, translated the futurist vision into an urban form.

Futurist cooking

Futurist meals comprised a cuisine and style of dining advocated by some members of the Futurist movement, particularly in Italy. These meals were first proposed in Filippo Tommaso Marinetti and Fillia's Manifesto of Futurist Cooking, published in the Turin Gazzetta del Popolo on December 28, 1930.

Futurista (Ryuichi Sakamoto album)

Futurista (未来派野郎) is a 1986 album by Ryuichi Sakamoto with themed references to the Futurist Movement. "Parolibre" and "Milan 1909" include voice recordings of Futurist Filippo Tommaso Marinetti

Gioventù Fascista

Gioventù Fascista ("Fascist Youth") was a magazine designed for youth in Italy under Benito Mussolini's Fascist state. Its features included stories and cartoons praising the regime and inculcating the tenets of Fascism.

Most of the magazine covers feature the fasces, and sometimes other Roman imagery; the style of its illustrations was heavily influenced by art deco.

The paper was founded on 23 March 1931 (the 12th anniversary of the creation of the Fasci Italiani di Combattimento, the precursor of the National Fascist Party). Its first editor was Carlo Scorza, replaced by Achille Starace later in the first year of the magazine's existence. During its existence, Gioventù Fascista published contributions by notable Fascists, including Filippo Tommaso Marinetti, Italo Balbo, Giovanni Giuriati, and Giuseppe Bottai. It was no longer in print after December 1936.

Giuseppe Caselli

Giuseppe Ugo Caselli (5 July 1893 – 19 December 1976) was an Italian painter.

Caselli was born in Luzzara (Emilia-Romagna). When he was young, he was student of Felice Del Santo and Antonio Discovolo. In 1913, he became acquainted with Lorenzo Viani. During World War I, Caselli was captured and interned in a concentration camp in Austria. After that, he studied at the Academy of Fine Arts in Florence, at the "free school of the nude".

His painting style is situated between the first divisionists expressions of the early twentieth century, and a personal expressionism, close to the Austrian groundbreaking movements, but also influenced by the poetry of his friend Viani, with his entire repertoire of characters suffering and desperate.

With aeropittura ("aeropainting") works, technique derived from futurism, Caselli participated in 1933 in the Premio del Golfo (Gulf Award), organized by Filippo Tommaso Marinetti.

Being very linked to La Spezia, Caselli dedicated his painting to portray the life of the city and the province, and specially, the life in the Cinque Terre.

Manifesto of Futurism

The Manifesto of Futurism (Italian: Manifesto del Futurismo) is a manifesto written by the Italian poet Filippo Tommaso Marinetti and published in 1909. Marinetti expresses an artistic philosophy called Futurism that was a rejection of the past and a celebration of speed, machinery, violence, youth and industry. It also advocated the modernization and cultural rejuvenation of Italy.

Piazza San Sepolcro

The Piazza San Sepolcro is a piazza in the center of Milan not far from the Piazza del Duomo.

During the Roman period the piazza was the forum at the intersection of the cardo and the decumanus. In 1030 the Church of San Sepolcro was founded, giving the piazza its name.

On March 23, 1919 Benito Mussolini founded the Fasci di combattimento at a rally held at the piazza. Participants of this rally were known as sansepolcristi, and were granted special privileges under the regime. The square was adjacent to the Palazzo Castani, the national headquarters of the Partito Nazional Fascista from 1921 to 1924, and of the Partito Fascista Repubblicano from 1943 to 1945.

The term Sansepolcrismo, however, pointed to the original spirit of the movement of Fasci di combattimento in which, alongside nationalist ideas and combative myths, there were strong instances of social palingenesis, egalitarianism and even republican components.

Futurist poet Filippo Tommaso Marinetti composed "Il poema dei sansepolcristi" in commemoration of the event.

Poesia (magazine)

Poesia (meaning Poetry in English) is an Italian magazine founded by Filippo Tommaso Marinetti in Milan in 1905 which was closely associated with the Italian Futurist movement. During its early existence a total of thirty-one issues were published until the 1920s. It was headquartered in Verona.Later Poesia was revived and is still published in Milan. The original magazine supported modern poetry from different nations. It still covers poems by different artists.

Pranzo Oltranzista

Pranzo Oltranzista is Mike Patton's second solo project. It is subtitled "Musica da Tavola per Cinque" (literally translated as Banquet Piece for Five Players), and is based on "Futurist Cookbook" by Filippo Tommaso Marinetti, written in 1932. Following the experimental Adult Themes for Voice, it contains numerous tracks linked by culinary themes and best listened to as a unitary movement. Featuring Marc Ribot on guitar, William Winant on percussion, Erik Friedlander on cello and John Zorn on alto sax, this is Patton's most technically sophisticated solo project.

Primo Conti

Primo Conti (16 October 1900 – 12 November 1988) was an Italian futurist artist.

Conti was born in Florence. Between the ages of 8 and 9, he showed precocious talent in the fields of music, poetry and painting. In 1913 he met the Futurists.

His attraction to the latest innovations was expressed in almost completely Futurist forms in his drawings, while he developed a unique style in his painting that was a mixture of Art Nouveau, Fauvism, Expressionism and Orphism. It was not until 1917, after meeting with Giacomo Balla in Rome, and with Filippo Tommaso Marinetti in Naples (who later enthusiastically praised Conti's book Imbottigliature which was about to be printed) that Conti became part of the Futurist movement. His contribution to the movement was not only his literary works, but also the paintings and drawings he produced between 1917 and 1919—the years in which his work was taking on the metaphysical style.

The 1920s were a complex period for Conti. He explored Mannerism, Exoticism, Pittura Metafisica, and great historical and religious painting, covering a vast area that can be compared with his keen interest in the theatrical and literary world of Luigi Pirandello, Massimo Bontempelli and Enrico Pea, which led him to found the Viareggio Prize in 1929.

The 1930s brought a series of alternating events that created problems in his private life and led to his celebrative paintings. The decade also saw his enforced adhesion to Fascism (joining the Partito Nazionale Fascista), and his inner rebellion against it which transpired from his refusal to join Margherita Sarfatti's Novecento Italiano group and from other episodes when he stepped out of line. New prospects were only opened up to him when he became involved in designing stage sets for the opera house with the foundation of the Maggio Musicale Fiorentino.

By the 1940s, long before the official rediscovery (20 years later) of the Futurist movement, Conti was again working on Futurist subjects and experiments. From 1948 to 1963 he followed the rules of the Order of the Franciscans, though he still continued to paint.

Many of his works are housed in the Museo Primo Conti (Primo Conti Foundation Museum [1]) in the Villa le Coste at Fiesole (near Florence).

The Futurist

The Futurist may refer to:

The Futurist, a publication by the World Future Society

"The Futurist Manifesto", a 1909 essay by Italian poet Filippo Tommaso Marinetti

The Futurist (Shellac album), 1997

The Futurist (Robert Downey Jr. album), 2004

The Futurist Cinema, Liverpool, a cinema in England

Futurist Theatre in Scarborough, North Yorkshire

Thomas Köner

Thomas Köner (born 1965 in Bochum, Germany) is a multimedia artist whose main interest lies in combining visual and auditory experiences. The BBC, in a review of Köner's work in 1997, calls him a "media artist," one who works between installation, sound art, ambient music and as one half of Porter Ricks dub techno. A noted characteristics of Köner's dark ambient style are low drones and static soundscapes evocative of desolate, Arctic places. During Köner's exhibition at the Musée d'art contemporain de Montreal, the museum described him as a major innovator in the contemporary music scene, as well as noted his collaborative practice which has led to his working with musicians, filmmakers and visual artists on installations and sound performances, and to his creation of six video works produced in two cycles, starting in 2003.2006 Köner produced Station Eismitte, a work inspired by Alfred Wegener's 1930 arctic expedition and named after the expedition's site.2009 Köner created The Futurist Manifesto, a digital opera, to coincide with the 100 year anniversary of the famous manifesto published in 1909 by Filippo Tommaso Marinetti. This work has been performed live several times in festivals across Europe with Carl Faia and Iris Garrelfs.

Wanda Wulz

Wanda Wulz (Trieste, 25 July 1903 – Trieste, 16 April 1984) was an Italian experimental photographer. One great example of her works is the self-portrait merged with a portrait of a cat.Wanda Wulz was born on 25 July 1903 in Trieste, Italy. Both her grandfather Giuseppe Wulz and her father Carlo Wulz were photographers who shot social events and created portraits of fellow artists and local intellectuals. Wanda began her career photographing musicians, dancers, and actors in Trieste. She exhibited six photographs in Rome in 1930.In 1932, she joined the Futurist movement after meeting Filippo Tommaso Marinetti in an art exhibition. Her photography in the late 1930s would frequently incorporate superposed images and motion. She eventually left Futurism at the end of the 1930s.

Zang Tumb Tumb

Zang Tumb Tumb (usually referred to as Zang Tumb Tuuum) is a sound poem and concrete poem written by Filippo Tommaso Marinetti, an Italian futurist. It appeared in excerpts in journals between 1912 and 1914, when it was published as an artist's book in Milan. It is an account of the Battle of Adrianople, which he witnessed as a reporter for L'Intransigeant. The poem uses Parole in libertà (words in freedom; creative typography) and other poetic impressions of the events of the battle, including the sounds of gunfire and explosions. The work is now seen as a seminal work of modernist art, and an enormous influence on the emerging culture of European avant-garde print.

"[The] masterpiece of Words-in-freedom and of Marinetti’s literary career was the novel Zang Tumb Tuuum... the story of the siege by the Bulgarians of Turkish Adrianople in the Balkan War, which Marinetti had witnessed as a war reporter. The dynamic rhythms and onomatopoetic possibilities that the new form offered were made even more effective through the revolutionary use of different typefaces, forms and graphic arrangements and sizes that became a distinctive part of Futurism. In Zang Tumb Tuuum; they are used to express an extraordinary range of different moods and speeds, quite apart from the noise and chaos of battle.... Audiences in London, Berlin and Rome alike were bowled over by the tongue-twisting vitality with which Marinetti declaimed Zang Tumb Tuuum. As an extended sound poem it stands as one of the monuments of experimental literature, its telegraphic barrage of nouns, colours, exclamations and directions pouring out in the screeching of trains, the rat-a-tat-tat of gunfire, and the clatter of telegraphic messages" Caroline Tisdall and Angelo Bozzola

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