Balla, painting Dynamism of a dog on a leash (1912), gave a running alongside his mistress more than a dozen dog paws and tails.
Severini in Blue Dancer (1912) he tried to play motion as the sum of its various moments by multiplying the legs, arms and head, appearing and disappearing, like flashing before our eyes. Both paintings look more like kaleidoscopic images than real motion, but according to development of art it is still an innovation. It is necessary to concede that the art from early XX century are rather interesting intermediate stage between stillness and movement- intelligent, in fact, a compromise between the traditional art of painting and rush to the dynamics.
The only theorist and sculptor of futurism, Umberto Boccioni has stood against academic fidelity of nature in compositions and historic tradition. He used a form of negative and intermingled. He rejected the principle of uniformity of material, called for the use of glass, electric lights and motors, and the inclusion of sculpture in the space surrounding it. With the sculpture, like with painting, it is impossible any renewal, if we’re not looking for a style of movement that is creating a systematic and definitive synthesis of what the impressionism was fragmented, random, and therefore analytic. With such a systematization of the vibration of light and penetrate the planes will be born our futuristic sculpture. This will be a sculpture with architectural features, not only in terms of structure of solids, and for that reason but that the block sculptures absorb the structural elements of visual space in which the object exists.
Although Futurism was mainly Italian movement, it played a huge role in the development of twentieth-century art in Poland, contributed to Formists or constructivism in Russia. Futuristic ideas greatly influenced the art of film. The period of most vigorous activity ended at the time of World War I, when the group broke up. Most of the artists moved away from that movement, taking in the twenties and thirties, more static art, abstract and even a classicist.
PHOTOGRAPHY OF MOTION
A man with a long beard in the portrait looks more than strange. His deep-set, cat’s eyes seem to be absent, staring in his own inner and turbulent world. Even by the standards of the nineteenth century when the great men of Tennyson after Carlyle wore like Old Testament prophets, Eadweard Muybridge, a strange spelling of the name is borrowed from the Anglo-Saxon king, gives the impression of not really healthy for the mind. But instead of burying Muybridge the distant world of Victorian eccentricity, we are becoming more frequent and more likely to admit him as one of the fathers of the modern era.
Muybridge was a pioneer of cinema, whose experiments helped us to better understand the phenomenon of movement of people and animals. Eadweard Muybridge's famous 'Motion Studies' was the product of the wealth and the whim of the railroad baron, Leland Stanford. Stanford came to Muybridge because he had a rich man's problem. A passionate race horse breeder, he wanted to prove that a horse lifted all four feet off the ground when it trotted - something that had evaded human perception for millennia. Muybridge sets up strings of interconnected photo cameras along the tracks, after which the horses were running and took pictures. If he was able to set sufficient number of cameras, at a distance and run them at the right time, work was the result in series of pictures, recording each stage of movement. Photography which we can see below was made in 1878, and to make it Muybridge used 50 photo cameras which trigger shutters one by one.
Muybridge's photographs were the first source of accurate information about the gait of a horse, and it's the beginning of this change where suddenly the camera allows human beings to see faster than our own eyes, to break down the world and dissect motion. It's part of that intrusion into the flow of time. For Stanford, the project was always about horses, whereas Muybridge understood that this was potentially about everything he could possibly find and really create an encyclopaedia of zoological.
Perhaps if we consider that, then we realize that a better place for an exhibition dedicated to him would be the Science Museum, not Tate Britain gallery. It is not difficult to prove how much influence had on the visual arts, from Degas and Duchamp, by Bacon and Hockney to the contemporary conceptual artists, directors, creators of blockbuster movies and music videos. Amazing landscapes and kept moving human silhouette returned today in an ever more surprising incarnations. Eadweard Muybridge’s whole life was to watch and try to examine the nature of the movement. He was not only a photographer but also an inventor - because in order to achieve the objectives that he has posed, it was necessary to develop a new technique for his own. Before the Muybridge’s era people could only guess how they look in motion. Photographer resigned from the commonly used long exposure, setting the number of camera shutter speed of one thousandth of a second. There appeared the true human pose, sometimes heroic, but often clumsy or absurd. construct special lenses, all in order to photograph the movement at every stage of the "happening", the register, as the muscles move, what steps executes body while running, lifting, stretching up. At the same time with equal passion Muybridge documented the movement of both man and animals - such as horses. What interesting, he came up with a movie projector before Lumiere brothers. Interesting fact is that although he has created a brilliant one thousand photographs, which were beautiful example study of movement or nudity, he didn’t consider himself artist. He preferred to identify with society of scientists.
Muybridge was really a showman, an entertainer from the Wild West, like itinerant theatre owners. He swapped frames in their sequence to get a better presented, with the crowd enthusiastically talked about his work and mount the photos animated movies using your own invention Zoopraxiscope. This early version of the cinematograph has not suffered the expected success. Pavilion dedicated Zoopraxiscope at the World Exhibition in Chicago in 1893 was quickly closed due to lack of interest and replaced with panoramic views of Pompeii. People were not yet ready for the magic of moving images.
Despite of that his work remained an incredible treasure trove of images for other artists. Analyzing its impact on the art world, we should remember the vivid of his photos. On the one hand, they undermine the Renaissance ideal of man as a measure of universal beauty- show body as sack of meat and bones, which operate the inexorable laws of physics. We can see now why those present had such a great influence on Francis Bacon. But we can also see something more in them, some unbridled exuberance, and pure energy of mankind, which fills us with profound optimism.