Academic literature on the topic 'Aeropittura'

The article focuses on the aerodynamic experiments of Petr Vasil’evich Miturich (1887–1956), in particular his so-called letun, a project comparable to Vladimir Tatlin’s Letatlin, but less familiar. Miturich became interested in flight during the First World War, elaborating his first flying apparatus in 1918 before constructing a prototype and undertaking a test flight on 27 December 1921—which might be described as an example of Russian Aero-Constructivism (by analogy with Italian Aeropittura). Miturich’s basic deduction was that modern man must travel not by horse and cart, but with the aid of a new, ecological apparatus—the undulator—a mechanism which, thanks to its undulatory movements, would move like a fish or snake. The article delineates the general context of Miturich’s experiments, for example, his acquaintance with the ideas of Tatlin and Velemir Khlebnikov (in 1924 Miturich married the artist, Vera Khlebnikova, Velemir’s sister) as well as the inventions of Igor’ Sikorsky, Fridrikh Tsander, Konstantin Tsiolkovsky and other scientists who contributed to the “First Universal Exhibition of Projects and Models of Interplanetary Apparatuses, Devices and Historical Materials” held in Moscow in 1927.

Artistically speaking, Futurist production dating from the foundation of the movement in 1909 until the First World War bas traditionally benefited from a considerable scrutiny, often to the detriment of the rest of the Futurist trajectory that continued until the outbreak of the Second World War. Conventionally stigmatized as an unsophisticated form of political propaganda, Aeropittura, which developed throughout the 1930s,is probably one of the most controversial futurist productions. An analysis of the critical responses to Aeropittura from the post-war period until the present day will constitute the initial section of this text together with an investigation into the critical reception of Futurisma mong its contemporaries in the 1930s and after 1945. The aim is to identify key episodes that have shaped the conventional interpretation or provided innovative new perspectives. In the second chapter the developments of the notion of space within the Futurist aesthetic will be explored in conjunction with a brief exploration of contemporary ground-breaking scientific discoveries and their popularization, innovations in the cultural and artistic discourse and pioneering philosophical theories on time and space. Issues of control and power in reference to the visual sphere and a pantheistic, multi-sensoriaal pproacht o naturea re someo f the themes that will be exploredi n the text. A more environmental notion of space will be discussed in the third chapter that concentrates on the architectural heories formulated by the Futurist artists. Though plastica murale and polimaterismo the artists attempted to find an alternative form of artistic expression that could articulate their desire for an expansion of artistic practices and spaces. The last chapter Addresses The extent to which particular themes of space inherent in late Futurism impacted on later artworks and how artists developed the spatial Futurist postulates into other forms of artistic practices

L'un des principaux objectifs de cette thèse est de remettre en question le pluralisme esthétique qui caractérise la situation des arts figuratifs pendant le régime fasciste italien (1922-1943) comme garant d'une autonomie de l'art. Plutôt que de réduire les œuvres et les artistes à de simples rouages de l'appareil de propagande, cette étude veut démontrer que la peinture en particulier, façonne et parfois anticipe même l'idéologie fasciste. La notion d'« italianité » ainsi que ses déclinaisons en « latinité », « romanité » etc. Se sont dégagées comme des notions opératoires du fait de leur récurrence dans les sources textuelles artistiques et politiques. Étudiés à la lumière des études post-coloniales, ces essentialismes permettent de reconstituer l'« horizon d'attente » des représentations analysées. Or, qu'il s'agisse des figures humaines du groupe Novecento érigées par Margherita Sarfatti en emblème d'un néo-classicisme de tradition romaine, du caractère synthétique des aéropaysages futuristes qui font l'apologie de l'Italie guerrière, ou encore des nus de l'École de Rome exaltés comme des archétypes italiques, on s'aperçoit que l’« italianité » sert systématiquement à légitimer une « civilisation » renouvelée par le fascisme, autoritaire, anticosmopolite et antidémocratique. Ces recherches ont finalement pour ambition d'étudier l'« italianité » comme le fondement idéologique d'une radicalisation du discours, et d'observer comment l'art contribue au fil du temps à légitimer la suprématie de la « race » italienne sur le plan spirituel autant que biologique<br>One of the main purposes of this thesis is to challenge the aesthetic pluralism characterising the situation of figurative arts during the Italian fascist regime (1922-1943) as a warranty of art autonomy. Rather than reducing the artworks and the artists to simple cogs of the propaganda machine, this study wishes to demonstrate that painting in particular, shapes and even anticipates the fascist ideology. The concept of "italianity" and its variants such as "latinity", "romanity" etc. Has emerged as operative notions because of their recurrence in political and artistic textual sources. Those essentialisms carefully observed in the light of post-colonial studies, allow to rebuild the "horizon of expectations" of chosen representations. Therefore, from the human figures of Novecento described by Margherita Sarfatti as the emblem of a neo-classicism of Roman tradition, to the synthetic dimension typical of the aerial futurist landscapes celebrating an Italy ready for war, or even the naked figures of the School of Rome exalting italic archetypes, "italianity" is systematically used to legitimate a "civilization" regenerated by fascism, authoritarian, anticosmopolitan and antidemocratic. This research attempts to study "italianity" as the ideological foundation of a radicalization and to observe how art contributes over time to legitimate the supremacy of Italian "race" in both spiritual and biological terms

Il s'agit de voir l'évolution des vues de Rome entre deux dates clefs dans l'histoire de sa représentation : 1918, l'année de « Valori Plastici » et du retour à l'ordre avec le besoin de revoir la peinture dans ses codes traditionnels, et 1965 où la représentation entre en crise avec le prélèvement des affiches des murs de Rome de Mimmo Rotella dans lequel la Ville éternelle n'est plus représentée mais présentée. L'étude des vues d'un certain nombre de peintres italiens, connus ou moins connus, mises en parallèle avec des images photographiques et littéraires de la même époque, permettra de voir l'évolution d'une histoire de l'art italien, mais également de redécouvrir l'histoire d'une époque au travers de l'histoire d'une ville.

Obiettivo della tesi è stata l’indagine della ricezione e delle modalità di adesione al Futurismo che hanno caratterizzato l’ambiente artistico ferrarese tra il 1911 e il 1942, nell’intento di restituire una identità agli episodi di avanguardia sorti nel territorio e colmare un vuoto storiografico che sottende e si intreccia con altre fondamentali vicende dell’arte italiana dei primi decenni del Novecento. L’attenzione catalizzata presso la critica da personalità quali Gaetano Previati, Giovanni Boldini, poi Aroldo Bonzagni, Achille Funi e Filippo De Pisis e, contestualmente, dalla nascita della pittura metafisica hanno, infatti, offuscato la comprensione e l’interesse di una stagione rivelatasi feconda sul piano della produzione artistica e densa di scambi tra numerose personalità di spicco dell’avanguardia. La ricerca, volta a ricostruire queste vicende concentrandosi sulle personalità attive in città e nella provincia a vario titolo tralasciando di occuparsi degli artisti ferraresi più noti, si compone di sei capitoli. Partendo dalla disamina del clima storico-culturale ferrarese che ha preceduto e accompagnato la risposta locale alle innovazioni futuriste, si è approfondito il predominio in campo artistico e letterario di un ceto intellettuale borghese cittadino, condizionato da filtri pregiudizievoli nei confronti delle novità provenienti dall’esterno e tenace nel consolidare le proprie posizioni attraverso le principali istituzioni sociali e culturali, quale la Società Promotrice di Belle Arti “Benvenuto Tisi”, e a orientare la formazione delle raccolte di arte moderna e contemporanea. Si è, quindi, analizzata la risonanza ottenuta dalla prima stagione futurista sulle riviste artistico-letterarie ferraresi nel corso degli anni Dieci, evidenziando il ritardo del milieu intellettuale locale arroccato nella difesa di un passato glorioso e, tuttavia, contrastato da un gruppo di esponenti della fronda più innovatrice, impegnato a favorire la diffusione degli ideali futuristi in città. Prendendo le mosse dalla serata futurista svoltasi al Teatro Bonacossi nel marzo 1911, lo studio si è poi concentrato sull’entourage politico e culturale fondato dai giovani Italo Balbo, Olao Gaggioli, Attilio Crepas e Alfredo Pitteri, fondatori del Fascio Futurista e quindi di un Gruppo Futurista Ferrarese, fornendo una lettura critica dei presupposti enunciati sui periodici inediti del gruppo e rilevando, grazie al ritrovamento di documentazione precedentemente sconosciuta, il patrocinio conferito all’iniziativa dallo stesso Marinetti. Successivamente, la ricerca ha messo a fuoco la serie di esposizioni d’arte ferrarese, avviate nel 1920 e proseguite lungo tutti gli anni Trenta con portata provinciale e regionale, e di iniziative, quale la decorazione della sede del quotidiano “Corriere Padano” affidata da Italo Balbo al futurista Tato, che hanno messo in luce i rapporti intrattenuti dagli artisti ferraresi con numerosi esponenti della corrente futurista nelle sue diramazioni bolognesi, romagnole, romane e poi venete. Il capitolo conclusivo coincide con il catalogo delle opere realizzate, dalla seconda metà degli anni Dieci al principio degli anni Quaranta, dai ferraresi Oreste Marchesi, Remo Fabbri, Annibale Zucchini, Giorgio Gandini, Antenore Magri, Mimì Quilici Buzzacchi, Mario Pozzati, Gaetano Sgarbi, Italo Cinti, e dagli ospiti Tato, Corrado Forlin, Giovanni Korompay e Magda Falchetto. Sul piano della produzione artistica, reperita in raccolte pubbliche e private, o purtroppo tramandata soltanto attraverso documentazione fotografica, quando non desunta dalla stampa periodica, l’impatto che il futurismo - forte anche dell’aggiornamento con gli sviluppi dell’avanguardia attuato in sede di importanti manifestazioni espositive tra Ravenna, Bologna, Torino, Faenza, Mantova, Milano e Venezia, in concomitanza con le Biennali - impresse sul tessuto artistico ferrarese innesca un’articolazione in più fasi e l’insorgere di una espressività plurima, scandita da un confronto con preminenti personalità di artisti foriero di sollecitazioni feconde e subito verificate nella prassi artistica.<br>The dissertation is concerned primarily with the impact of futurist art and its theories in Ferrara in the years between 1911 and 1942. At present no study has provided a full analysis of the influence of the avant-garde on the Ferrarese art scene in the context of Italian early XX century art, due to the overshadowing interest of the critics devoted to Gaetano Previati, Giovanni Boldini, Aroldo Bonzagni, Achille Funi and the birth of ‘pittura metafisica’. The research, which does not consider the more famous futurists who either worked in Milan or in Rome, illuminates six aspects in the reception of the futurist movement among local artists. Chapters 1 and 2 introduce the city’s cultural and socio-critical establishment dominated by a reactionary upper middle class, who clung to its intellectual positions by presiding over the local social and cultural institutions, among which the Società Promotrice di Belle Arti “Benvenuto Tisi” and the newborn collections of contemporary art. Chapter 3 analyzes the nature of the critical debate conducted by the literary and art Ferrarese reviews, either in favour or against the innovative artistic discourse proposed by the futurists, before and after the soirée held at Teatro Bonacossi in March 1911. Chapter 4 brings to light the young political and intellectual milieu that culminated with the foundation of the Ferrarese Futurist Fascio and the Ferrarese Futurist Group by such personalities as Italo Balbo, Olao Gaggioli, Attilio Crepas e Alfredo Pitteri. Next, chapter 5 focuses on the connections linking Ferrarese futurist artists to other fundamental active centres and exponents of the avant-garde in Bologna, Romagna,Veneto and Rome through the exhibition policy supported by the local authorities throughout the 1920s and the 1930s. Finally, the last chapter provides a raisonné catalogue of the works produced by Oreste Marchesi, Remo Fabbri, Annibale Zucchini, Giorgio Gandini, Antenore Magri, Mimì Quilici Buzzacchi, Mario Pozzati, Gaetano Sgarbi, Italo Cinti, Tato, Corrado Forlin, Giovanni Korompay and Magda Falchetto, within three decades spanning from 1913 to 1942, when World War II brought the futurist output in Ferrara to an abrupt halt.

Abstract Luigi Colombo (1904-36) began his artistic and literary career in Turin when, in 1922, he published a small volume of political poetry and exhibited his first paintings. In 1923 he was one of the founding members of the Futurist Artistic Syndicate, and from 1924 he became the leader of a Turin branch of the Futurist movement, using from now on his mother ‘s maiden name as his nom de plume. Over the next ten years he built up a wide-ranging CEuvre which extended into many media, such as painting, poetry, drama, the novel, architecture, interior design, ceramics, fashion design, and cooking. The guiding principle behind Fillia ‘s multifaceted activities was the Futurist ‘Reconstruction of the Universe ‘, which he elucidated in a number of theoretical writings.1 His publishing ventures and managerial activities made him, especially in the 1930s, one of the most important members of the Futurist movement, eclipsed only by Marinetti and Prampolini. He was a chief architect of the dominant aesthetic trends of the Second Futurist phase: first ane meccanica, then arte sacra and aeropittura.