The Manifest Image

For our first episode away from Futurism we look back at the Salon D'Automne of 1905, the exhibition that lead to the coining of the term Fauve, and Fauvism. But was this designation by critic Louis Vauxcelles correct? Was Fauvism ever a movement? Or just a loose taxonomy for limited critical minds to classify forms of expression as yet unseen? What is the role of art criticism? Can we see the emergent art movment Vauxcelles did? Can you? Join us! Links for images discussed are below.

Our intro music is by Aron Gyenge, whom we greatly thank.

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https://www.metmuseum.org/art/collection/search/359875

https://www.henrimatisse.org/woman-with-a-hat.jsp#prettyPhoto[image1]/0/

https://upload.wikimedia.org/wikipedia/en/5/59/Matisse-Open-Window.jpg

Le Séchage des voiles – The drying sails. Derain

https://upload.wikimedia.org/wikipedia/en/c/c3/Andr%C3%A9_Derain%2C_1905%2C_Le_s%C3%A9chage_des_voiles_%28The_Drying_Sails%29%2C_oil_on_canvas%2C_82_x_101_cm%2C_Pushkin_Museum%2C_Moscow._Exhibited_at_the_1905_Salon_d%27Automne.jpg

https://totallyhistory.com/louis-valtat-paintings/

https://upload.wikimedia.org/wikipedia/en/f/fd/Jean_Puy%2C_1905%2C_Fl%C3%A2nerie_sous_les_pins%2C_oil_on_canvas%2C_81_x_115_cm%2C_Mus%C3%A9e_Paul-Dini%2C_Villefranche-sur-Sa%C3%B4ne.jpg

Strolling through pine woods)

https://upload.wikimedia.org/wikipedia/en/d/d8/Georges_Rouault%2C_1905%2C_Jeu_de_massacre_%28Slaughter%29%2C_%28Forains%2C_Cabotins%2C_Pitres%29%2C_%28La_noce_%C3%A0_Nini_patte_en_l%27air%29%2C_watercolor%2C_gouache%2C_India_ink_and_pastel_on_paper%2C_53_x_67_cm%2C_Centre_Georges-Pompidou%2C_Paris.jpg

Georges Rouault, 1905, Jeu de massacre (Slaughter), (Forains, Cabotins, Pitres), (La noce à Nini patte en l'air), watercolor, gouache, India ink and pastel on paper,

https://fr.wikipedia.org/wiki/David_%28Donatello%29#/media/Fichier:Donatello_-_David_-_Floren%C3%A7a.jpg

https://www.gutenberg.org/cache/epub/36676/pg36676-images.html

https://commons.wikimedia.org/wiki/File:Henri_Manguin,_1905,_La_Sieste_%28Le_repos,_Jeanne%29,_oil_on_canvas,_88.9_x_116.84_cm,_Villa_Flora,_Winterthur.jpg

This week, our last with Futurism for a while, we take a look at Futurist Stage Design, written by Enrico Prampolini, one of the stranger prophesies the Futurists made of art to come: The staid walls of the naturalistic set were to be demolished, the theatrical unbound from mere mimesis and predictability. The actor would become a gaseous cloud of pure colour and activity.

Our intro music is by Aron Gyenge, whom we greatly thank.

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This week, as our dive into Futurism slowly comes to an end, we take a look at Futurist Synthetic Theatre, F.T. Marinetti, Emilio Settimelli, and, Bruno Corra's explosive foray into the theatrical arts. With characteristic verve they skewer the prevailing forms at the time and propose an audacious, and most importantly short, form of theatre that went on to influence the likes of Samuel Becket and other 20th century playwrights.

Our intro music is by Aron Gyenge, whom we greatly thank.

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This week we dive into the theatrical arts by reading the Futurist Variety Theatre, the first manifesto where they lay out the foundations of their distinct form of theatre. The theatre is for the Futurists more than just another vehicle for provocation, it was rather another terrain where they foresaw the development of a new art.

Our intro music is by Aron Gyenge, whom we greatly thank.

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This week we discuss "Destruction of Syntax – The Wireless Imagination – Words In Freedom" written by FT Marinetti in May 1913, and read at Galerie La Boetie in Paris on the 22nd of June of the same year. Also known as the "Radio Imagination", this manifesto follows up on A Response to Objections and the Tehcnical Manifesto of Futurist Litterature. In it the Futurists lay out a doctrine that goes on to have serious impact on 20th century modernism.

Our intro music is by Aron Gyenge, whom we greatly thank.

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This week we take a break from music and look at Futurist Litterature. Specifically, the Technical Manifesto of Futurist Litterature by F.T. Marinetti. Published in 1912, the manifesto seeks to revolutionize litterature and poetry by encouraging writers to liberate their words entirely from the shackles of syntax. The resulting noun-heavy poetic prose was ahead of its time and, like many aspects of Futurism, inlfuenced the development of arts in the 20th century.

Our intro music is by Aron Gyenge, whom we greatly thank.

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We are back this week with The Art of Noises by Luigi Russolo anda guest appearence by musician Aron Gyenge. This manifesto, that was originally written as a letter to his friend and fellow Futurist Francesco Balilla Pratella in 1913, had a huge influence on the development of musical aesthetics in the 20th century.

Our intro music is by Aron Gyenge, whom we greatly thank.

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In this episode we look at The Exhibitors to the Public written in 1911 by Umberto Boccioni. The English version we read is from the catalogue of The Exhibition of Works by the Italian Futurist Painters at the Sackville Gallery, London. The text presents new concepts like physical transcendentalism and futuristic primitivism and primes viewers for the novel paintings they are about to see. The texts also defend the Futurists against claims of latent academism in their work.

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This week we have composer Aron Gyenge joining us to discuss the Technical Manifesto of Futurist Musicians. Published in 1911 by Francesco Balilla Pratella, the manifesto was an attempt to flesh out the radical intentions set forth in his previous Manifesto of Futurist Musicians.

Pratella excoriates those that are still trapped by traditional narrative and formal constraints and outlines a brave new future for a music more akin to free verse than the sonnet.

This is the first of three episodes on Futurist music. This week we dive into the Manifesto of Futurist Musicians by Francesco Balilla Pratella, a successful composer in his time. Like most Futurist writings it is lively and scathing. Pratella reduces the singer to an instrument, elevates the composer to librettist, and aims to challenge audiences rather than mollify them. Join us through tangents, digressions, and mentions of Thomas’ favourites: Katy Perry and Henrik Ibsen.

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