We the Italians April 18, 2016 - 78 | Page 13

tH

# 78 APRIL 18 , 2016

Giacomo Balla, Velocità astratta + rumore (Abstract Speed + Sound), 1913–14. Oil on unvarnished millboard in
artist's painted frame, 54.5 × 76.5 cm. Peggy Guggenheim Collection, Venice © 2014 Artists Rights Society (ARS)

ment, which kept yet a Eu- vited the artist to join the
movement. However, Moropean vocation.
digliani’s response was
2• Modigliani’s refusal. negative, and reported
The painter Amedeo Mo- as such by Severini: “He
digliani was actually asked was not interested in such
to join the group. Gino Se- manifestations […]. He diverini, Italian painter living scouraged even me to get
in Paris at that time, had to involved.” Operating duchoose whether or not to ring that period of “-isms,”
adhere to Futurism’s ide- Modigliani did not want to
als and practices. So he be categorized within any
asked Modigliani for an of those predominant laadvice. It was at that point bels.
that Severini himself in-

3• Eat fresh and futurist.
Visual arts were not the
only field explored by Futurism. Mentality and taste
had to be changed under
every aspect, even meals!
That is what pushed Marinetti to publish the Manifesto of Futurist Cooking
(1930) in Turin. As long as
people “think, dream and
act according to what they
eat and drink”, cooking
and eating needed to be
part of the whole aesthe-

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