The glory of technology! The fascination of speed! The thrill of new products! For the creators of the Futurist movement of the early twentieth century, this was what inspired them. This and a desire to challenge the stagnant way of life led Filippo Tommaso Marinetti to publish his manifesto in the Paris newspaper "Le Figaro" on February 20, 1909, the official beginning of Futurism. F.T. Marinetti, dubbed the "caffeine of Europe" with his constant energy, had first thought of calling his new movement "Dynamism" or "Electricism" but finally settled on the word "Futurism". He awoke Italy when he wrote, "We declare that the world's splendor has been enriched by a new beauty; the beauty of speed...We shall sing of the great crowds excited by work, pleasure, and rebellion; we shall sing of the factories suspended from the clouds by twisted strings of their smoke...of broad-chested locomotives pawing at the rails like huge steel horses bridled with steel tubes; and of the gliding flight of the aeroplanes..." With powerful words he commanded the youth of Italy to let go of the past and be exalted in the contemporary world. The original manifesto was published in the Paris newspaper, "Le Figaro", Milan's "Poesia" (Marinetti's own review) as well as mailed to many influential members of society. Marinetti created both supporters and enemies. He was an agitation to many, but an inspiration to many more. Among those who rallied around him were other artists who wrote manifestos covering all areas of society - literature, music, dance, painting, architecture, clothing, food, smells, war, and lust. Their goal was to reinvent life in the face of technology, creating a new race of humans coupled with the all-glorified machine. Among those who shared Marinetti's beliefs were Carlo Carra, Umberto Boccioni, Luigi Russolo, Giacomo Balla, Gino Severoni, and Fortunato Depero. Together, the Futurists pushed towards a Futurist oriented society. During 1919, Marinetti allied Futurism with Mussolini's Facist party. He continued to be an active supporter of the movement until 1944. Other Futurist artists shared his beliefs to some extent or other, though none as much as Marinetti. Fortunato Depero came on board in 1913 when he read Marinetti's writings in the magazine "Lacerba". He grew up in Roverto, Italy where he attended classes at the Royal Technical and Applied Art School. He later applied, but was rejected, to the Fine Arts Academy in Vienna. His frustrations only were compounded when he took numerous jobs as an interior decorator, painter, and marble cutter. Periodically, he spent time in Florence with antitraditionalist artists. He moved to Romek in 1914 where he met like-minded Balla. He executed his artistry with Futurist fervor laced with humor. He believed in "art action" as did many of his fellow colleagues. His work displays this. Depero is hailed by Steven Heller, author of Print magazine's 1987 article "Fortunato Depero:Cheering up the Universe", as an "indefatigable laborer when it came to art and the propogation of Futurist principles." He even volunteered for service in World War I but was turned away . That did not quelch his fervor. He turned instead to his work, drawing, painting, sculpting, and engraving. In 1915, he was admitted to the circle of Futurist Painters and Sculptors. Later, with Giacomo Balla, he signed the Futurist Reconstruction of the World manifesto. His accomplishments include writing for newspapers, founding and directing "Dinamo" magazine, holding personal exhibitions, theater work (creating stage scenes and costumes), tapestry and wall decorations. He even explored the clothing and textile industry while designing Futurist clothing. In 1925 he represented the Futurists at the Paris Exposition of Modern and Industrial Art. In 1927 he accomplished "Book Pavilion" in Monza, Italy, built totally out of giant block letters. It is recognized as a great architectural feat. His bolted book entitled, "Depero Futurista" exemplifies his combination of Futurist materials and ideas. In September 1928 he traveled with his wife Rosetta to New York. There he participated in exhibitions at Guarino Galleria and at the "Advertising Club" on Madison Avenue. He was modestly successful, supporting himself mostly on advertising and theater work. He designed magazine covers for Vogue, Vanity Fair, the New Yorker, the American Printer, and Movie Makers. He also did work for the New York Daily News and Macy's. His Futurist House on West 23rd Street opened with the hopes of inspiring others to Futurist thinking. Depero and his wife returned to Italy in the fall of 1930. After Depero's return to his homeland, he continued his artwork and writing, completing "Subway", a homage to the system in America, and his essay "The Socialization of Art". By the late 1930's, Futurism had progressed immensely. Instead of a new idea, it was viewed as an official style. The rise of the Nazi party in Germany added a negative influence on the Futurists. With Marinetti's death in 1944, Futurism's fervor had basically expired. During his lifetime Depero contributed to Futurism in a vivid and lively manner. He did return to America for a brief period before retiring to Roverto, the place he was raised. He was recognized as unquestionably unique. Instead of burying himself in heady doctrines and theories, Depero was grounded simply in making art; Art that was uniquely flavored with good-natured humor, producing boldly colored and stylized works for all to enjoy.
Other Helpful Sites
Depero's Home Page
Brief Summary of Futurism
Indepth Look at Italian Futurism
