Word: manifesto
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Futurism got its name from the Italian Poet Filippo Tommaso Marinetti, who in 1909 issued a flamboyant manifesto calling for a new philosophy of art suitable to the age of the machine. Not Pegasus, he declared, but the racing car, "with its hood draped with exhaust pipes like fire-breathing serpents," should be the new symbol of poetry. "A racing car, rattling along like a machine gun, is more beautiful than the Victory of Samothrace." The artist should "sing the love of danger, the habit of energy and boldness...
...Burn the Museums!" Inspired by the Marinetti manifesto, a second appeared the next year signed by the painters Umberto Boccioni, Carlo Carrà, Luigi Russolo, Gino Severini and Giacomo Balla-futurism's big five. Among other things, it declared that THE NAME OF "MAD MAN" WITH WHICH IT IS ATTEMPTED TO GAG ALL INNOVATORS SHOULD BE LOOKED UPON AS A TITLE OF HONOR. The five themselves sounded a bit mad with anti-tradition slogans of "Burn the museums!" and "Drain the canals of Venice!" But their underlying purpose could not have been more serious. "We choose to concentrate...
...first to prove convincingly how effective the plebeian material of reinforced concrete could be. Another was Architect Peter Behrens of Berlin, whose glass-and-steel industrial buildings were pioneers. Jeanneret worked for both. He found Ferret's reinforced concrete studio in Paris, with its glassed front wall, "a manifesto" in itself, and harked to Ferret's belief that "decoration always hides an error in construction." At Behrens' studio, Jeanneret was apprenticed with the self-effacing son of a poor masonry contractor in Aachen. His name: Mies van der Rohe...
...become the inseparable companion of an artist named Amédée Ozenfant, and at the advanced age of 31, Jeanneret began to paint too. The two friends published a manifesto called After Cubism-"an optimistic, lyrical song on the beauty and lesson of machines, on buildings for use, and on the part played by science in an art worthy of our time." To spread their new credo of Purism, Jeanneret and Ozenfant started the magazine L'Esprit nouveau. The most important pieces were those on architecture, on which the two editors often collaborated and which Jeanneret signed...
...comrade, is inclined to equate moral rectitude with winning wars, or at least to make the latter seem a result of the former. We know this is not always the case; in later years the writer himself was more detached. But inadequate as these pages might be for a manifesto of the French spirit, or of European civilization, they have a message that no history can render useless: "We had much to overcome, and, first of all, the constant temptation to imitate...