1882 -1916 · Milan and futuristic dynamism

Expanding cities, bodies crossed by space and lines of force make Boccioni the great visual theorist of Italian futurism.

Umberto Boccioni was born in Reggio Calabria in 1882 and died near Verona in 1916. After a mobile youth, he moved to Rome in 1899, studied advertising drawing then joined Giacomo Balla's studio with Gino Severini. Divisionism taught him to build light and atmosphere with colorful touches. Travels to Paris, Russia and Europe fueled his interest in the modern city, crowds and avant-gardes. Based in Milan, Boccioni met Filippo Tommaso Marinetti and in 1910 became one of the authors of futuristic painting manifestos. He does not simply want to represent a moving object: he seeks the interpenetration of the body, light, noise and the environment. The City rises transforms the construction site and the horses into a monumental synthesis of work, light and movement. In The Street enters the house, the balcony no longer protects the interior: facades, workers and urban vibrations cross the figure. The moods and Les Adieux combine station, separation and speed with a psychic experience. After studying Cubism in Paris in 1911, Boccioni transposed his research into sculpture and published Futuristic Painting and Sculpture in 1914. After studying Cubism in Paris in 1911, Boccioni transposed his research into sculpture and published Futurist Painting and Sculpture in 1914. After having studied Cubism in Paris in 1911, Boccioni transposed his research into sculpture and published Futurist Painting and Sculpture in 1914. After having studied Cubism in Paris in 1911, Boccioni transposed his research into sculpture and published Futurist Painting and Sculpture in 1914. After having volunteered during the First World War, he died at thirty-three years after falling from his horse. His brief career lastingly established the image of dynamism modern. The "Umberto Boccioni" selection notably compares The City Rises and The Street Enters the House. His reading favors drawing.

Boccioni does not paint speed in front of us: he dissolves the boundary between the thing, space and our own perception.