Futurism

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Anton Giulio Bragaglia, Salutando, [Waving], 1911. Gelatin silver print. Image: 8 x 10.7 cm.
Giacomo Balla, Dinamismo di un Cane al Guinzaglio [Dynamism of a Dog on a Leash], 1912. Oil on canvas. 89.9 x 109.9 cm. Albright-Knox Buffalo.
Umberto Boccioni, Unique Forms of Continuity in Space, 1913 (cast 1931). Bronze. 111.2 x 88.5 x 40 cm. MoMA. Met. Tate.

Artists, writers, events, magazines

Works

For journals see Magazines section.

Italy

Manifestos, proclamations

  • F.T. Marinetti, "Manifeste du Futurisme", Figaro, 20 Feb 1909, p 1; repr. in Poesia (March? 1909); repr., Milan: Direction du Mouvement Futuriste, 1909 (but 1911/1912), 4 pp. [1] [2] [3]. First futurist manifesto. (French) Marinetti: "On 11 October 1908, after having worked for six years at my international review, Poesia, in order to liberate the Italian lyrical genius, which was threatened with extinction from traditional and commercial obstacles, I suddenly felt that all the poems, articles, and debates were no longer sufficient. A change of method was absolutely imperative: to get down into the streets, to attack the theaters, and to bring the fist into the midst of the artistic struggle." (from "First Futurist Battles", 1990). Marinetto began writing the programmatic portion, a list of eleven demands, sometime in late October or November 1908, completing it near Christmas. In January 1909 he published the programmatic section as an independent, two-page leaflet titled, “Manifesto of Futurism.” By mid-month he was sending it out to friends, intellectuals, writers who had contributed to Poesia, and editors of literary reviews and newspapers, both in Italy and France. In mid-February he traveled from Milan to Paris, where he took a room at the Grand Hôtel and wrote the narrative preamble that would accompany the manifesto. With help from an old crony of his father from the days in Alexandria, "the Pashah Mohammed el Rachi, an Egyptian ex-minister and seventy-year-old Epicurean who resided in Paris and owned a large number of shares in Le Figaro", Marinetti managed to get the manifesto onto the newspaper’s front page.
  • F.T. Marinetti, "Uccidiamo il chiaro di luna" [11 Apr 1909]. Portions were published in French as "Tuons le clair de lune!", in Poesia 5:7-8-9 (August-September-October 1909). (Italian) It was also published as an independent leaflet in French, where, in place of the title, it read: "The international journal Poesia publishes this proclamation of war in response to the insults with which aged Europe has gratified triumphant Futurism." The contemporary Italian leaflet presented its title for the first time, [4]. Marinetti's reply to criticisms leveled at "The Founding and Manifesto of Futurism".
  • Umberto Boccioni, Carlo D. Carrà, Luigi Russolo, Giacomo Balla, Gino Severini, "Manifesto dei pittori futuristi" [11 Feb 1910], HTML. Written in January by Carrà, Boccioni and Russolo, revised by Marinetti, all residing in Milan, and sent to Severini, then residing in Paris, and Balla, then in Rome, for their signatures to be added.
  • Umberto Boccioni, Carlo D. Carrà, Luigi Russolo, Giacomo Balla, Gino Severini, "Il manifesto tecnico dei pittori futuristi", Poesia, Milan, 11 Apr 1910, HTML. Drafted by Boccioni; an attempt to give a more substantial account of the painters' aims. First published as an independent leaflet in Italian, this manifesto gained notoriety because it was included in the catalogue to the first Exhibition of Futurist Paintings shown in Paris, London, Berlin, and Brussels, from 5 February to 5 June 1912. Also translated into French and German, it appeared in English as "The Manifesto of the Futurist Painters".
  • F.T. Marinetti, Umberto Boccioni, Carlo Carrà, Luigi Russolo, "Contro Venezia passatista" [27 Apr 1910], HTML. This document amalgamates two separate but related works. The first, comprising the first seven paragraphs, was a leaflet published in late April 1910; the Futurists scattered copies of it from the top of the bell tower in the piazza of San Marco in Venice on 8 July 1910. Translated into French with the title "Premier Manifeste futuriste aux Vénitiens", it was published in the Parisian newspaper Comoedia, 17 June 1910, and republished under that title in Le Futurisme [Futurism] (Paris: Sansot, 1911). The second work, comprising the last twenty-five paragraphs ("Venetians! ... that great Italian lake!"), is a lecture that Marinetti gave in Venice on 1 August 1910 at the Teatro della Fenice as part of the fourth Futurist serata. It was translated into French and published in an undated leaflet not much later, with a prefatory comment. A revised version of this note, in turn, became the passage that serves as a bridge between the first and second parts, in italics. The three were merged together as a new whole under the title "Against Passéist Venice", in 1914, when it appeared in an anthology which Marinetti edited, I manifesti del futurismo [The Manifestos of Futurism] (Florence: Edizioni di Lacerba, 1914). Later, when Marinetti prepared Guerra, sola igiene del mondo [War, the Only Hygiene of the World] (Milan: Edizioni futuriste di Poesia, 1915), he made further stylistic revisions.
    • An abridged version, in a poor English translation, appeared in a journal The Tramp 1:6 (August 1910) pp 487-488. It also printed the manifesto portion of "The Founding and Manifesto of Futurism", i.e., the eleven points called for at the end. These were the first publication of Futurist texts in English. The Tramp, otherwise devoted to hiking and travel, was edited by Douglas Goldring.
    • "Against Passéist Venice", in Futurism: An Anthology, 2009, pp 67-75. (English)
  • F.T. Marinetti, "Manifeste des auteurs dramatiques futuristes" [Jan 1911], Poesia, Milan, 22 Apr 1911. Manifesto on the theatre, an attack on the linear style of drama and the constraints of meaning. (French)
  • Balilla Pratella, "Manifeste des musiciens futuristes", Poesia, Milan, 11 May 1911; repr., Milan: Direction du Mouvement Futuriste, 29 Mar 1911 (but 1912), 4 pp. [7]. Pratella's important text, championing the work of the musical avant-garde. (French)
  • F.T. Marinetti, "Contro la spagna passatista" [1911], HTML.
  • Anton Giulio Bragaglia, Fotodinamismo futurista, Rome: Nalato, Dec 1911; 2nd ed., exp., 30 Jun 1913; 3rd ed., unaltered, 1913; new ed., ed. Antonella Vigliani Bragaglia, Torino: Einaudi, 1980. A treatise on photography that integrated influences from Filippo Tommaso Marinetti’s first Futurist manifesto of 1909, the chronophotographs of Étienne-Jules Marey, and cinema. [8] (Italian)
  • Umberto Boccioni, "Manifeste technique de la sculpture futuriste", Milan: Direction du Mouvement Futuriste, 11 Apr (but Sep) 1912; repr. L'Italia, 30 Sep 1912. [9]. Boccioni wrote this following his return from Paris, in response to his feeling that sculpture was not adapting to modernity in the same manner as painting. (French)
  • F.T. Marinetti, "Manifeste technique de la litterature futuriste", L'intransigeant, Paris, 7 Jul 1912; also in Figaro, Paris, 7 Jul 1912. This manifesto propounds Marinetti's ideas for 'free words', unrestrained by considerations of syntax and linked with mathematical symbols, thus enabling direct communication with the imagination. (French)
  • F.T. Marinetti, "Supplément au manifeste technique de la littérature futuriste", Milan: Direction du Mouvement Futuriste, 11 Aug 1912. A review and a selection of this manifest had been published in L'Intransigeant, Paris, 20 August 1912 and, the same day, in Paris-Journal. [11]. Attacked for the previous manifesto, this is Marinetti's riposte and includes his poem Bataille, poids + odeur, which is illustrative of his theories. (French)
  • Marinetti, "Tripoli Italiana (Secondo Manifesto Politico)", 11 October 1912, HTML.
  • Valentine de Saint-Point, "Manifeste Futuriste de la Luxure", Paris, 11 January 1913. Saint-Point's famous 'Manifesto of Lust': 'La Luxure est une force', the anti-feminist tone of which caused outrage when announced in a series of lectures.
  • Anton Giulio Bragaglia, "La fotografia del movimento (La fotodinamica futurista)", Noi e il mondo 3:4 (Apr 1913), pp 357-364. (Italian)
  • F.T. Marinetti, "L'Imagination sans Fils et les Mots en Liberte, Manifeste Futuriste", Milan, 11 May 1913. An expansion on Marinetti's previous literary theories, this document prefigures the stream of consciousness of Surrealism.
    • "Distruzione della sintassi Immaginazione senza fili Parole in libertà", 11 May 1913, HTML.
  • Carlo Carrà, La pittura dei suoni, rumori e odori. Manifesto futurista, 11 August 1913, HTML. [12]
  • Guillaume Apollinaire, "L'antitradition futuriste. Manifeste=synthèse", Milan: Direction du Mouvement Futuriste, 29 June (but July) 1913, 4 pp; repr. in Gil-Blas (3 August 1913); Lacerba 18 (15 September 1913). (French) [13]. Although he opposed Futurism at first, Apollinaire grew to appreciate it. In this work he attacks the old and praises the new (Picasso, Stravinsky, Duchamp etc.), including himself. The typography has to be ascribed to Apollinaire according to André Salmon, but to Marinetti according to Carrà.
    • "L'antitradizione futurista. Manifesto=sintesi". [14]
  • C.D. Carra, "La Peinture des Sons, Bruits et Odeurs, Manifeste Futuriste", Milan, 11 August 1913. Carra's Manifesto, as important as those of the other Futurist artists, attempts to deal with the artist's own problems with the expression of the Futurist ethic: how to make the work more evocative and more visceral without resorting to reactionary techniques.
  • F.T. Marinetti, "Le Music-Hall, Manifeste Futuriste", Milan, 29 September 1913; repr. in Daily-Mail, 21 November 1913. A further attack by Marinetti on the excesses of the theatre, highlighted through his appreciation of the Music Hall as the perfect Futurist arena.
  • Gino Severini, "Le analogie plastiche del dinamismo", September-October 1913, HTML.
  • Palazzeschi, "Il controdolore", 29 December 1913, HTML.
  • F.T. Marinetti, A bas le Tango et Parsifal! Lettre futuriste circulaire à quelques amies cosmopolites qui donnent des thès-tango et se parsifalisent, Milan: Direction du Mouvement Futuriste, 11 January 1914. [15]. (French) Marinetti dismisses Wagner's Parsifal and the Tango: 'Ce n'est pluuus chic!' .
    • Abbasso il tango e Parsifal. Lettera futurista circolare ad alcune amiche cosmopolite che dànno dei thè-tango e si parsifalizzano, Milan: Direzione del Movimento Futurista, 11 January 1914, HTML; repr. in Lacerba 2:2 (15 January 1914), Firenze. [16] (Italian)
  • Enrico Prampolini, "Un'arte nuova? Costruzione assoluta di moto-rumore", February 1914, HTML.
  • F.T. Marinetti, La splendeur géometrique et mécanique et la sensibilité numérique. Manifeste futuriste, Milan: Direction du Mouvement Futuriste, (11 March, but April) 1914, 4 pp. The first part (to paragraph 7) was first published in the magazine Lacerba (Anno II, n. 6, 15 March 1914) under the title "Lo splendore geometrico e meccanico nelle parole in libertà" [17]. The second part, without the last sentence referring to Mallarmé, was published in the following issue (n. 7, 1 April 1914) of the same magazine, under the title "Onomatopee astratte e sensibilità numerica". The complete text was published as leaflet, in French and Italian, with the date of 11 March for the French version and of 18 March for the Italian one. [18] [19]. Marinetti attempts to create a new aesthetic of beauty founded on mechanical principles as opposed to the passé notions of beauty in vogue.
  • F.T. Marinetti, R.W. Nevinson, "Vital English Art, Futurist Manifesto", The Observer (7 June 1914). Read aloud by Marinetti in London, during the exposition of the futurist painters at the Doré Gallery. Attacked passé art forms, Marinetti chides the English for the 'culte de la tradition', etc. He is joined in this by the English Futurist Nevinson, who wish for an 'art anglais' that is 'viril, puissant et anti-sentimental'.
    • Contre l'art anglais. Manifeste futuriste lu à la Doré Galerie (Exposition des peintres futuristes Boccioni, Carrà, Russolo, Balla, Severini, Soffici) et à l'Université de Cambridge - Juin 1914, London, (11 June, but July) 1914. [20] (French)
  • Umberto Boccioni, "Architettura futurista", 1914, HTML.
  • Antonio Sant'Elia, "Architettura futurista" [11 July 1914], Lacerba, 1 Aug 1914, HTML. [21]
  • G. Balla, "Il vestito antineutrale", 11 September 1914, HTML.
  • F.T. Marinetti, "Contro l'amore e il parlamentarismo", 1915, HTML.
  • F.T. Marinetti, "La volutta d'esser fischiati", 1915, HTML.
  • Marinetti, Settimelli, Corra, "Il teatro futurista sintetico (Atecnico-dinamico-simultaneo-autonomo-alogico-irreale)", 11 January 1915 -18 February 1915, HTML.
  • Giacomo Balla, Fortunato Depero, astrattisti futuristi, "Ricostruzione futurista dell'universo", 11 March 1915, HTML.
  • Umberto Boccioni, "Manifesto futurista ai pittori meridionali", February 1916, HTML.
  • F.T. Marinetti, "La nuova religione-morale della velocità. Manifesto Futurista", L'Italia futurista 1:1 (1 June 1916), HTML; repr. Milan: Direzione del Movimento Futurista, (11 May, but June) 1916, 4 pp. Also printed in two issues as leaflet, only differing for the space between the words in some paragraphs, and for the complete address of the magazine. A second enlarged edition was published in Le Futurisme Revue Synthétique Illustrée 4, Milan: Direction du Mouvement Futuriste (1 October 1922), with the date of 11 September 1922. [22]
  • F.T. Martinetti, B. Corrà, E.Settimelli, A.Ginna, G.Balla, R.Chiti, "La cinematografia futurista", 11 September 1916, HTML.
  • F.T. Marinetti, "Il manifesto della danza futurista", 8 July 1917, HTML.
  • Giacomo Balla, "Manifesto del colore", October 1918, HTML.
  • F.T. Marinetti, Enrico Settimelli, Mario Carli, "Che cos'è il Futurismo. Nozioni elementari", Roma Futurista 2:7, (16 February 1919); repr. in Dinamo, Rivista Futurista (February 1919). Followed in March 1919 by the first leaflet edition, Milan: Direzione del Movimento Futurista, in two issues: the first one advertising the National Futurist Exhibition in Milan, the second one advertising the magazines Roma futurista and Dinamo. A second edition in leaflet form was published in December 1920. First edition, first issue, with the exhibition advertising. (Italian) [23]
  • Fedele Azari, Le Theatre Aerien Futuriste, Le vol deviendra une expression artistique de nos etats d'ame, Milan, 11 April 1919. Written by the 'aviateur futuriste', this Manifesto promotes flying as one of the arts, or rather as an integral part of the theatre, which will be 'le premier theatre vraiment democratique'.
  • F.T. Marinetti, Emilio Settimelli, Bruno Corra, "Le Theatre Futuriste Synthetique (Sans Technique - Dynamique - Simultane - Autonome - Alogique - Irreel)", Milan, 11 May 1919. Marinetti rants, as usual, against the passé in the theatre and proposes solutions.
  • F.T. Marinetti, "Contre le luxe féminin. Manifeste futuriste", Roma futurista 3:75 (21 March 1920), Rome; repr. (11 March, but March) 1920. (French) [24]
    • Roma futurista 3:77 (4 April 1920), Rome. (Italian)
  • F.T. Marinetti, "La Danse Futuriste, Danse de l'Aviateur - Danse du Shrapnell - Danse de la Mitrailleuse", Milan, (1920). 'La danse futuriste sera: Inharmonieuse - Disgracieuse - Asymmétrique - Dynamique - Motlibriste'.
  • F.T. Marinetti, "Le Tactilisme, Manifeste futuriste. Lu au Théatre de l'Oeuvre (Paris), à l'Exposition mondiale d'art Moderne (Geneve), et publié par 'Comoedia' en Janvier 1921", Comoedia, (16 January 1921), Paris; repr. Milan: Direction du Mouvement Futuriste, (11 January, but April) 1921, 4 pp. [25]. (French) On 14 January, at the "Maison de l'Oeuvre de Paris", during a conference Marinetti announces the birth of a new form of art, the tactilism; this disclosure lead to a brawl with the Dadaists. Marinetti attempts to define the interplay of the senses, which he refuses to limit to five.
    • "Il Tattilismo. Manifesto futurista letto al Théatre de l'Oeuvre (Parigi), all'Esposizione mondiale d'Arte Moderna (Ginevra), e pubblicato da "Comoedia" in Gennaio 1921", L'Uomo Nuovo Rivista di Critica Letteraria e d'Arte 2:11 (1 March 1921), Firenze: La Nave; repr. Milan: Direzione del Movimento Futurista, (11 January, but April) 1921, 4 pp. (Italian) [26] HTML.
  • F.T. Marinetti, F.Cangiullo, "Il teatro della sorpresa (Teatro sintetico, Fisicofollia Parole in libertà sceneggiate Declamazione dinamica e sinottica Teatro-giornale Teatro-galleria di quadri Discussioni improvvisate di strumenti musicali, ecc.)", 11 October 1921, HTML.
  • Fedele Azari, La flora futurista ed equivalenti plastici di odori artificiali. Manifesto futurista, Rome: Direzione del Movimento Futurista, November 1924. First manifesto published from the new headquarters of the Futurist Movement in Rome, Piazza Adriana. [27]
  • Enrico Prampolini, "L'atmosfera scenica futurista. Scenosintesi - Scenoplastica - Scenodinamica - Spazioscenico polidimensionale - L'attore-spazio - Il teatro poliespressivo", 1924, HTML.
  • Fedele Azari, "Vita simultanea futurista", 1927, HTML.
  • F.T. Marinetti, Tato, "La fotografia futurista", 16 April 1930, HTML.
  • F.T. Marinetti, "Manifesto della cucina futurista", 28 December 1930, HTML.
  • Enrico Prampolini, "La nuova architettura", 1931, HTML.
  • F.T. Marinetti, Angiolo Mazzoni, Mino Somenzi, "Manifesto Futurista dell'architettura aerea", 1931, HTML.
  • F.T. Marinetti, Pino Masnata, "La radia", October 1933, HTML.
  • Fortunato Depero, "Al di là della pittura verso i polimaterici", 1934, HTML.
  • F.T. Marinetti, "La poesia dei tecnicismi", 1938, HTML.
  • Tullio Crali, "Sassintesi - manifesto futurista", 1959, HTML.
Resources

Other publications

  • Auguste Joly, "Sur le futurisme", La Belgique artistique et litteraire 82 (July 1912).
    • Le Futurisme et la Philosophie - Il Futurismo e la Filosofia, Milan: Direction du Mouvement Futuriste, July 1912, 4 pp. [28] [29] (Italian)/(French)
  • Mario Carli, Rosa Rosà, Notti filtrate. 10 liriche di Mario Carli. 10 disegni di Rosa Rosà, Firenze: Edizioni de L’Italia futurista, 1918. (Italian)
  • Dominique Braga, "Il Futurismo giudicato da una grande rivista francese", Le Crapouillot (15 April 1920), Paris; repr., Milan: Direction du Mouvement Futuriste, April 1920, 4 pp. [30] [31]
  • Henry Bidou, "Les Bruiteurs Futuristes Italiens de Luigi Russolo - Gl'Intonarumori Futuristi di Luigi Russolo", Milan: Direzione del Movimento Futurista, July 1921. [32]. Report of the concert held on 17 June 1921 and repeated on 17 and 24 of June in Paris, of the Italian noise - playing the Intonarumori (noise-generating devices designed and constructed by Russolo with the help of his assistant Ugo Piatti). (Italian)
  • "L'art mecanique. Manifeste futuriste", Noi; repr. in Le futurisme 12 (11 November 1926).

Anthologies

  • Archivi del futurismo, 2 vols., eds. Maria Drudi Gambillo and Teresa Fiori, Rome, 1958 & 1962, 618+528 pp; repr., Rome, 1986. (Italian)
  • Sintesi del futurismo. Storia e documenti, ed. Luigi Scrivo, Rome: Bulzoni, 1968. (Italian)
  • Futurismo, ed. Umbro Apollonio, Milan: Mazzotta, 1970, 291 pp; 2nd ed., 1976, 291 pp. (Italian)
    • Futurist Manifestos, trans. Robert Brain, et al., London: Thames & Hudson, 1973; New York: Viking, 1973, 232 pp; new ed., afterw. Richard Humphreys, Boston: MFA, 2001, 239 pp; London: Tate, 2009, 239 pp. [33] (English)
  • Antologia do Futurismo Italiano. Manifestos e Poemas, ed. & trans. José Mendes Ferreira, Lisbon: Vega, 1979, 222 pp. (Portuguese)
  • Manifesti, proclami, interventi e documenti teorici del futurismo, 1909–1944, 4 vols., ed. Luciano Caruso, Firenze: Spes-Salimbeni, 1980. (Italian)
  • Hansgeorg Schmidt-Bergmann, Futurismus. Geschichte, Ästhetik, Dokumente, Reinbek bei Hamburg: Rowohlt, 1993; 2009, 351 pp. (German)
  • Futurism: An Anthology, eds. Lawrence Rainey, Christine Poggi and Laura Wittman, Yale University Press, 2009, 604 pp. (English)

more

Russia

Works by Kruchenykh – Khlebnikov – Mayakovsky.

For journals see Magazines#Index.

Anthologies
  • Manifesty i programmy russkich futuristov / Die Manifeste und Programmschriften der russischen Futuristen [Манифесты и программы русских футуристов], ed. & intro. Vladimir Markov, Munich: Wilhelm Fink, 1967, 182 pp. Preface in English. Review: Karlinsky (SEEJ 1968 EN). (Russian)
  • Manifestes futuristes russes, ed. Léon Robel, Français Réunis, 1971, 132 pp. (French)
  • Futurism / Formalism / FEKS: Eccentrism and Soviet Cinema, 1918-36, eds. Ian Christie and John Gillett, London: British Film Institute, 1978, 74 pp. Published to accompany a 1978 season at the National Film Theatre, London, Russian Eccentrics. (English)
  • Russian Futurism through its Manifestoes, 1912-1928, eds. Anna Lawton and Herbert Eagle, Cornell University Press, 1988, 353 pp; 2nd ed. as Words in Revolution: Russian Futurist Manifestoes 1912-1928, New Academia Publishing, 2005, 360 pp. [35] Introduction and Afterword [36]. Review: Stapanian (SEEJ 1991). (English)
  • The Russian Futurists and Their Books, ed. Nina Gurianova, Paris: La Hune Libraire/Moscow: Avant-Garde, 1993. Facsimile reproduction of 6 artists' books originally published 1912-1914, containing poems by Kruchenykh and Khlebnikov and illustrations, with introductory text in English and French. [37] (English)
  • Tri veka russkoy metapoetiki: Legitimatsiya diskursa, Tom 3: Pervaya polovina XX veka. Avangard: Kubofuturizm. Egofuturizm. Tsentrifuga. Luchizm. Imazhinizm. Proletkul't. Lef. VAPP. Konstruktivizm. OBERIU [Три века русской метапоэтики: Легитимация дискурса, том 3: Первая половина XX века. Авангард: Кубофутуризм. Эгофутуризм. Центрифуга. Лучизм. Имажинизм. Пролеткульт. Леф. ВАПП. Конструктивизм. ОБЭРИУ], ed. K.E. Shtayn, Stavropol: Izdatelstvo Stavropolskogo gosudarstvennogo universiteta, 2006, 830 pp. (Russian)
  • Alex Cigale, "Back to Futurism", in (ĕm): A Review of Text and Image 1 (2012), pp 100-159. Commented English translations of poems by D. Burliuk, Khlebnikov, Kruchenykh, Severyanin, Aseev, Gnedov, Pasternak, Mayakovsky, Kharms, Shershenevich, Selvinsky, Kirsanov, Voznesensky, Khvostenko and Segay. (English)

Literature

Italy

Monographs, book chapters

Art, literature
  • Guido Ballo, Preistoria del futurismo: corso monografico di storia dell'arte, Accademia di Brera 1959-1960, Milan: Maestri, 1960, 167+32 pp. (Italian)
  • Raffaele Carrieri, Il futurismo, Milan: Milione, 1961, 176+100 pp. (Italian)
    • Futurism, trans. Leslie Van Rensselaer White, Milan: Milione, 1963, 354 pp. (English)
    • Futurismus, Milan: Milione, 1963, 153 pp. (German)
  • M. Calvesi, Dinamismo e simultaneità nella poetica futurista, Milan: Fratelli Fabri, 1967, 448 pp. (Italian)
  • Rosa Trillo Clough, Futurism: The Story of a Modern Art Movement: A New Appraisal, New York: Philosophical Library, 1961, 297 pp; repr., Westport, Conn.: Greenwood Press, 1969. (English)
  • Enrico Crispolti, Il secondo futurismo, Torino 1923-1938. 5 pittori & 1 scultore: Fillia, Mino Rosso, Diulgheroff, Oriani, Alimandi, Costa, Torino: Edizioni d'Arte Fratelli Pozzo, 1961, iv+338 pp. (Italian)
  • Giovanni Acquaviva, Futurismo: 1909, 1920, 1961. le Colonne d'Ercole della modernita, Milan: Gastaldi, 1962, 298 pp. (Italian)
  • Christa Baumgarth, Geschichte des Futurismus: Balla, Boccioni, Carrà, Marinetti, Palazzeschi, Prampolini, Russolo, Sant'Elia, Reinbek bei Hamburg: Rowohlt, 1966, 312 pp. (German)
  • Maurizio Calvesi, Il futurismo, 3 vols., Milan: Fratelli Fabbri, 1967, 240 pp. (Italian)
    • Le futurisme, Paris: Ed. Tête de feuilles, 1976, 99 pp. (French)
    • Futurismo, Barcelona: Planeta-De Agostini, 2000, 60 pp. (Spanish)
  • Marianne W. Martin, Futurist Art and Theory, 1909-1915, Oxford: Clarendon, 1968, xxx+228+144 pp. (English)
  • Mario Verdone, Cinema e letteratura del futurismo, Rome: Edizioni di Bianco e nero, 1968, 310 pp; repr., 1990. (Italian)
  • Enrico Crispolti Il mito della macchina e altri temi del futurismo, Trapani: Celebes, 1969, 938+54 pp. (Italian)
  • Michael Kirby, Futurist Performance: with Manifestos and Playscripts, trans. Victoria Nes Kirby, New York: Dutton, 1971, xvi+335 pp; New York: PAJ, 1986, xvi+335 pp. [38] (English)
  • Caroline Tisdall, Angelo Bozzolla, Futurism, London: Thames and Hudson, 1977, 216 pp. (English)
    • Futurismo, trans. Massimo Parizzi, Milan: Rusconi, 1988, 216 pp. (Italian)
    • Miraiha, trans. Matsuda Yoshiko, Tokyo, 1992. (Japanese)
  • Karl Gustav Fellerer, Der Futurismus in der italienischen Musik, Brussels, 1977, 68 pp. (German)
  • RoseLee Goldberg, "Futurist Performance: 'The Untamables'", ch 1 in Goldberg, Performance: Live Art 1909 to the Present, New York: Harry N. Abrams, 1979, pp 9-21. (English)
  • Giovanni Lista, Arte e politica: il futurismo di sinistra in Italia, Milan: Multhipla, 1980, 244 pp; new ed., Milan: Mudima, 2009, 248 pp. (Italian)
  • Fanette Roche-Pézard, L'aventure futuriste, 1909-1916, Rome: Ecole française de Rome, 1983, viii+505 pp. (French)
  • Claudia Salaris, Storia del futurismo: Libri, giornali, manifesti, Rome: Riuniti, 1985, 299 pp; 1992. Review. (Italian)
  • Enrico Crispolti, Storia e critica del futurismo, Rome: Laterza, 1986, xxiii+380 pp; 2nd ed., 1987. (Italian)
  • Anna D'Elia, L'universo futurista: una mappa, dal quadro alla cravatta, Bari: Dedalo, 1988, 239 pp. (Italian)
  • John J. White, Literary Futurism: Aspects of the First Avant-Garde, Oxford: Clarendon, 1990, xiii+382 pp. Review: Bohn (CompLit 1993). (English)
  • Christine Poggi, In Defiance of Painting: Cubism, Futurism, and the Invention of Collage, Yale University Press, 1992. (English)
  • Günter Berghaus, Futurism and Politics: Between Anarchist Rebellion and Fascist Reaction, 1909-1944, Berghahn Books, 1996. (English)
  • Wolfgang Sterneck, "Das Künstliche Geräusch. Futuristische und konkrete Musik", in Der Kampf um die Träume - Musik und Gesellschaft, 1998. (German)
  • Giovanni Lista, Cinema e fotografia futurista, Milan: Skira, 2001. (Italian)
    • Cinéma et photographie futuristes, Paris: Skira-Flammarion, 2008. (French)
  • Christine Poggi, Inventing Futurism: The Art and Politics of Artificial Optimism, Princeton University Press, 2008. (English)
  • A Century of Futurism, 1909-2009, eds. Federico Luisetti and Luca Somigli, University of North Carolina, 2009, 378 pp. [39] (English)
  • Giovanni Lista, Il Cinema futurista, Genova: Le Mani-Microart's Edizioni, 2010. (Italian)
  • Luciano Chessa, Luigi Russolo, Futurist: Noise, Visual Arts, and the Occult, University of California Press, 2012. (English)
  • Arndt Niebisch, Media Parasites in the Early Avant-Garde: On the Abuse of Technology and Communication, Palgrave Macmillan, 2012. (English)
  • Nina Gurianova, The Aesthetics of Anarchy: Art and Ideology in the Early Russian Avant-Garde, University of California Press, 2012, x+345 pp. Reviews: Johnson (Choice 2012), Spieker (SR 2013). (English)
  • Publications on futurism at Monoskop Log

Catalogues

  • Joshua C. Taylor, Futurism, New York: The Museum of Modern Art, 1961, 154 pp.
  • Futurism: A Modern Focus, New York: Solomon R. Guggenheim Museum, 1973.
  • Anne Coffin Hansen (ed.), The Futurist Imagination, Yale University Art Gallery, 1983.
  • Pontus Hultén (ed.), Futurismo e futurismi, Milan: Bompiani, 1986, 638 pp. For the exhibition at Palazzo Grassi, Venice, 4 May-12 Oct 1986. (Italian)
    • Futurism and Futurisms, London: Thames & Hudson, 1986; New York: Abbeville Press, 1986.
    • Futurisme et futurismes, Paris: Chemin, 1986. (French)
  • Le futurisme à Paris: une avant-garde explosive, Paris: Centre Georges Pompidou, 2008, 359 pp. (French)
  • Italian Futurism, 1909-1944: Reconstructing the Universe, New York: Guggenheim Museum, 2014. [40]

Online resources

Russia

Monographs, book chapters

Art
Literature, book design
  • Vladimir Markov, Russian Futurism: A History, University of California Press, 1968, xiv+467 pp. Reviews: Muchnic (RR 1969), Gasiorowska (SEEJ 1970), Friedberg (PC 1970), Wasiolek (MP 1972). (English)
    • Storia del futurismo russo, Torino: Einaudi, 1973, 421 pp. (Italian) [42]
  • Vahan D. Barooshian, Russian Cubo-Futurism, 1910-1930: A Study in Avant-Gardism, The Hague: Mouton, 1974, 176 pp. Review: Milner-Gulland (SEER 1976). (English)
  • Susan Compton, World Backwards: Russian Futurist Book 1912-1916, London: British Library, 1978, 136 pp. (English)
  • Marjorie Perloff, The Futurist Moment: Avant-Garde, Avant Guerre, and the Language of Rupture, University of California Press, 1985; 2003. [43], [44]. Reviews: Lazer (SAR 1988), Bohn (CompLit 1989), Rabate (Jacket2 2012). (English)
  • E.F. Kovtun, Russkaya futuristicheskaya kniga [Русская футуристическая книга], Moscow: Kniga, 1989, 248 pp. [45] [46] (Russian)
  • Gerald Janecek, Zaum: The Transrational Poetry of Russian Futurism, San Diego State University Press, 1996, 427 pp. Review: Comins-Richmond (SEEJ 1997). (English)
  • Alan Bartram, Futurist Typography and the Liberated Text, Yale University Press, 2006, 160 pp. [47] (English)
  • John Milner, A Slap in the Face! Futurists in Russia, London: Philip Wilson, 2007, 112 pp. [48] (English)
Theatre
  • Rosamund Bartlett, Sarah Dadswell (eds.), Victory over the Sun: The World's First Futurist Opera, Exeter: University of Exeter Press, 2012, 328 pp. TOC. (English)
  • Eva Birkenstock, Kerstin Stakemier, Nina Köller (eds.), Anfang Gut, Alles Gut - Actualizations of the Futurist Opera Victory Over the Sun 1913, Kunsthaus Bregenz, 2013. Contributors: Roger Behrens, Devin Fore, Anke Hennig, Oliver Jelinski, Christiane Ketteler, Avigail Moss, Nikolai Punin, Marina Vishmidt. (German)/(English)
Culture

Catalogues

See also


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