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138:, who believed that material objects exist in a state of continual flux. The painting is therefore an attempt to represent the dynamic sensation of a cyclist moving through time and space rather than a snap-shot of a particular moment in time. The bicycle, figure, and the surrounding space seemingly fuse together in a single form. Although the
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Futurism was an early twentieth-century movement in Italy that sought to free the country from what the
Futurists saw as the dead weight of its classical past. The Futurists were preoccupied with the technology and dynamism of modern life. The movement found its expression primarily in literature and
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Boccioni's preparatory drawings for the painting (two shown below) depict a head-down racing cyclist, behind in the air, his movement indicated by the characteristic
Futurist "force lines" and echoing curves. Force lines, which the Futurists claimed to have invented, show how an object would resolve
142:
had been invented in the early nineteenth century, it did not come into widespread use until the 1890s. Even in 1913, the bicycle, and the high speeds obtainable on it, still represented for the
Futurists one of the modern forms of transport that they idealised.
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257:(1913) includes some of the same techniques for portraying movement used by Boccioni and the other Futurists, although the work is far more directly representational than
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segmentation of planes. The discordant colour choices reflect the failure of the
Futurists to develop a coherent colour theory to match their theories in other areas.
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240:. In these paintings, Boccioni utilized a more vivid color palette than in his previous works, and his application of the paint was thicker and denser.
116:(1882–1916) that demonstrates the Futurist fascination with speed, modern methods of transport, and the depiction of the dynamic sensation of movement.
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In the final work, the lines of the preparatory drawings are translated into curves and cones, outlined using
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itself if it followed the tendencies of its own forces and reflected the interest of the
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This work is one of a series of "dynamism" paintings he created in 1913, including
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technique. This technique was primarily derived from the early
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70 cm Ă— 95 cm (28 in Ă— 37 in)
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painters, added new elements to the style, including the typical
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Andrew Graham-Dixon, 30 June 2002. Retrieved 11 February 2015.
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Wolf], Ester Coen ; [translated by Robert Eric (1988).
582:. New York: Metropolitan Museum of Art. pp. 160–174.
282:, 1912, oil and sand on canvas, 130.4 x 97.1 cm,
621:. New York: Metropolitan Museum of Art. p. 160.
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Wolf, Ester Coen; [translated by Robert Eric (1988).
559:Dynamism of a Football Player by Umberto Boccioni.
423:The Routledge Companion to Experimental Literature
247:explored many of the same themes as the Italians.
526:. Philippe Daverio Gallery. 1988. pp. 11–12.
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549:Estorick Collection. Retrieved 11 February 2015.
420:Joe Bray; Alison Gibbons; Brian McHale (2012).
488:, 18 January 2009. Retrieved 10 February 2015.
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476:"Umberto Boccioni and 100 years of Futurism".
641:: CS1 maint: multiple names: authors list (
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682:, 19 June 2009. Retrieved 11 February 2015.
674:"The Futurists’ Futile Chase After Motion".
664:, 16 June 2009. Retrieved 11 February 2015.
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881:Futurist Painting: Technical Manifesto
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383:. London: Herbert Press, pp. 108–109.
279:At the Cycle-Race Track (Au VĂ©lodrome)
862:Dynamism of a Speeding Horse + Houses
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343:, 1913, oil on canvas, 78 x 105 cm,
154:. Boccioni, after visiting Parisian
108:) is a 1913 oil painting by Italian
854:Unique Forms of Continuity in Space
540:, 13 January – 18 April 2010.
426:. Abingdon: Routledge. p. 26.
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214:showing the use of divisionism
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920:Paintings by Umberto Boccioni
410:. Retrieved 10 February 2015.
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800:Dynamism of a Soccer Player
784:The Street Enters the House
408:Peggy Guggenheim Collection
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320:Synthesis of Human Dynamism
284:Peggy Guggenheim Collection
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84:(long term loan from the
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379:Little, Stephen. (2004)
300:Dynamism of a Footballer
234:Dynamism of a Footballer
226:Dynamism of a Human Body
105:Dinamismo di un Ciclista
29:Dinamismo di un Ciclista
499:"Dynamism of a Cyclist"
381:Isms: Understanding Art
302:, 1913, oil on canvas,
129:Subject and composition
450:Heard Hamilton, George
792:Dynamism of a Cyclist
697:Dynamism of a Cyclist
545:19 March 2012 at the
458:Yale University Press
259:Dynamism of a Cyclist
212:Dynamism of a Cyclist
196:Dynamism of a Cyclist
176:Dynamism of a Cyclist
99:Dynamism of a Cyclist
22:Dynamism of a Cyclist
345:State Russian Museum
304:Museum of Modern Art
768:Riot in the Gallery
486:Andrew Graham-Dixon
180:Estorick Collection
82:Museo del Novecento
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564:2015-02-11 at the
524:Futurism 1911-1918
481:2013-12-03 at the
335:Natalia Goncharova
318:Umberto Boccioni,
298:Umberto Boccioni,
249:Natalia Goncharova
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433:978-1-136-30174-2
405:Umberto Boccioni.
322:, 1913. Destroyed
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538:On The Move
194:Sketch for
174:Sketch for
156:avant-garde
148:divisionist
914:Categories
830:Sculptures
503:Guggenheim
465:0300056494
365:References
306:, New York
210:Detail of
120:Background
70:Dimensions
865:(1914–15)
841:(1912–13)
755:(1909–10)
744:Paintings
637:cite book
598:cite book
508:13 August
452:. (1993)
182:, London.
27:Italian:
899:Futurism
811:Drawings
562:Archived
543:Archived
479:Archived
353:See also
286:, Venice
178:, 1913.
110:Futurist
78:Location
892:Related
340:Cyclist
254:Cyclist
236:, and
140:bicycle
112:artist
884:(1910)
857:(1913)
849:(1913)
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779:(1911)
771:(1910)
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699:, 1913
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359:Cubism
198:, 1913
160:Cubist
62:Medium
44:Artist
125:art.
90:Milan
643:link
623:ISBN
604:link
584:ISBN
510:2015
461:ISBN
428:ISBN
385:ISBN
243:The
57:1913
54:Year
251:'s
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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