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Genuine Automobiles: Forms of Passion, Personal, and a Joy Forever
"We went up to the three snorting beasts, to lay amorous hands on their torrid breasts.
I stretched out on my car like a corpse on its bier, but revived at once under the steering wheel, a guillotine blade that threatened my stomach.
The world's magnificence has been enriched by a new beauty; the beauty of speed. A racing car whose hood is adorned with great pipes, like serpents of explosive breath--a roaring car that seems to run on grapeshot-- is more beautiful than the Victory of Samothrace."
Filippo Tommaso Marinetti, Founding and Manifesto of Futurism, 1909.
"Our growing need of truth is no longer satisfied with Form and Color as they have been understood hitherto. In order to conceive and understand the novel beauties of a Futurist picture, the soul must be purified; the eye must be freed from its veil of atavism and culture, so that it may at last look upon Nature and not upon the museum as the one and only standard. We are...the primitives of a new sensitiveness...our art is intoxicated with spontaneity and power."Giacomo Balla, Umberto Boccioni, Carlo Carra, Luigi Russolo, Gino Severini Technical Manifesto of Futurist Painting, 1910.
"We see almost everywhere the blind and clumsy imitation of all the formulae inherited from the past: an imitation which the cowardice of tradition and the listlessness of facility have systematically encouraged. It defies explanation how generations of sculptors can continue to construct dummies without asking themselves why all the exhibition halls of sculpture have become reservoirs of boredom and nausea, or why inaugurations of public monuments, rendezvous of uncontrollable hilarity.
It is necessary to destroy the pretended nobility, entirely literary and traditional, of marble and bronze, and to deny squarely that one must use a single material for a sculptural ensemble. The sculptor can use twenty different materials, or even more, in a single work, provided that the plastic emotion requires it. Here is a modest sample of these materials: glass, wood, cardboard, cement, iron, horsehair, leather, cloth, mirrors, electric lights, etc."
Umberto Boccioni, Technical Manifesto of Futurist Sculpture, 1912.