Fillìa: Difference between revisions
m Added disambiguation note |
|||
| (31 intermediate revisions by 24 users not shown) | |||
| Line 1: | Line 1: | ||
{{more citations needed|date=December 2019}} |
|||
'''Fillìa ''' (3 October 1904 – 10 February 1936) was the name adopted by '''Luigi Colombo''', an Italian artist associated with the second generation of [[Futurism]]. |
|||
{{for|the Italian cyclist|Luigi Colombo (cyclist)}}{{For|the materials scientist|Luigi Colombo (scientist)}}[[File:Fillia L'Adorazione 1931.jpg|thumb|Fillia: ''L'Adorazione'', 1931]] |
|||
'''Fillìa ''' (3 October 1904 – 10 February 1936) was the name adopted by '''Luigi Colombo''', an Italian artist associated with the second generation of [[Futurism]]. Aside from painting, his works included interior design, architecture, furniture and decorative objects.<ref name=":0">{{Cite book|last1=Rainey|first1=Lawrence|title=Futurism: An Anthology|last2=Poggi|first2=Christine|last3=Wittman|first3=Laura|publisher=Yale University Press|year=2009|isbn=978-0-300-08875-5|location=New Haven, CT|pages=327, 511|language=en}}</ref> |
|||
==Biography== |
==Biography== |
||
| ⚫ | |||
| ⚫ | |||
| ⚫ | He established the Futurist movement in Turin in 1923 at the age of 19 with a group which included [[Nikolay Diulgheroff]], [[Pippo Oriani]], [[Enrico Alimandi]], [[Franco Costa]] and the sculptor [[Mino Rosso]]. Fillìa quickly became the leader of the group and its principal theorist. He published the art reviews: ''Futurismo'' (''Futurism'') (1924), ''Ventrina Futurista'' (1927), ''La Città Futurista'' (''The Futurist City'') (1929), ''La Città Nuova'' (''The New City'') (1930-1934), and ''Stile Futurista'' (''Futurist Style'') ( |
||
| ⚫ | He established the Futurist movement in Turin in 1923 at the age of 19 with a group which included [[Nikolay Diulgheroff]], [[Pippo Oriani]], [[Enrico Alimandi]], [[Franco Costa (painter)|Franco Costa]] and the sculptor [[Mino Rosso]]. Fillìa quickly became the leader of the group and its principal theorist. He published the art reviews: ''Futurismo'' (''Futurism'') (1924), ''Ventrina Futurista'' (1927), ''La Città Futurista'' (''The Futurist City'') (1929), ''La Città Nuova'' (''The New City'') (1930-1934), and ''Stile Futurista'' (''Futurist Style'') (1934–1935) with [[Enrico Prampolini]]. His work in the mid-1920s shows the influence of Prampolini. After 1928, Fillìa's work shows increasing subjectivity. |
||
| ⚫ | He became an exponent of ''L'[[Aeropittura]]'' (Aeropainting), the dominant Futurist style of the 1930s which applied the experience of flight to the depiction of landscape aerially; the world was no longer seen from the perspective of the person on the ground but as if from an aeroplane. In 1929, he was a co-signatory of the Futurist manifesto ''L'Aeropittura'', with Benedetta Cappa, [[Depero]], [[Gerardo Dottori]], [[Marinetti]], [[Somenzi]], Tato and Prampolini. |
||
| ⚫ | He became an exponent of ''L'[[Aeropittura]]'' (Aeropainting), the dominant Futurist style of the 1930s which applied the experience of flight to the depiction of landscape aerially; the world was no longer seen from the perspective of the person on the ground but as if from an aeroplane. In 1929, he was a co-signatory of the Futurist manifesto ''L'Aeropittura'',<ref>{{Cite book|last=Riazzoli|first=Mirko|url=https://books.google.com/books?id=2u4oDwAAQBAJ&dq=Luigi+Colombo+fillia+oriani&pg=PT589|title=Cronologia di Torino Dalla fondazione ai giorni nostri|date=2017-06-20|publisher=Youcanprint|isbn=978-88-926-7186-7|language=en}}</ref> with [[Benedetta Cappa]], [[Depero]], [[Gerardo Dottori]], [[Filippo Tommaso Marinetti|Marinetti]], [[Somenzi]], Tato and Prampolini. |
||
Fillìa was the co-author with Marinetti of the [[Futurist meals|''Manifesto of Futurist Cooking'']], published in the Turin newspaper, ''La Gazzetta del Popolo'', on 28 December 1930. |
|||
Fillìa was the co-author with Marinetti of the [[Futurist meals|''Manifesto of Futurist Cooking'']], published in the Turin newspaper, ''[[Gazzetta del Popolo]]'', on 28 December 1930. This document presented the Futurist movement's objective of creating a synthesis of art with everyday life.<ref>{{Cite book|last=Healey|first=Robin|title=Italian Literature since 1900 in English Translation 1929-2016: An Annotated Bibliography, 1929-2016|publisher=University of Toronto Press|year=2019|isbn=978-1-4875-0292-8|location=Toronto|pages=442}}</ref> |
|||
| ⚫ | Enrico Crispolti says that Fillìa and his colleagues in Turin explored an interior, psychological and subjective world, unlike other Futurists of the period such as Prampolini and [[Depero]]. Fillìa had recourse to an "airy body", a “synthesis of movement, of the organic aspect, of the emotions of flight". |
||
| ⚫ | Enrico Crispolti says that Fillìa and his colleagues in Turin explored an interior, psychological and subjective world, unlike other Futurists of the period such as Prampolini and [[Depero]]. Fillìa had recourse to an "airy body", a “synthesis of movement, of the organic aspect, of the emotions of flight". The [[ectoplasm (paranormal)|ectoplasmic]] forms which appear in Fillìa's paintings of the late twenties and early thirties contrast with the rigidity of his earlier work and were taken up to explore the subconscious. His interest in the spiritual aspects of art turned to specifically religious painting from 1930 to 1933. He had large exhibitions at [[Padua]] (1931), [[La Spezia]] (1932) and [[Florence]] (1933). In 1932, he co-authored the ''Manifesto of Sacred Futurist Art'' with Marinetti.<ref>{{Cite book|last1=Jones|first1=Tom Devonshire|title=The Oxford Dictionary of Christian Art and Architecture|last2=Murray|first2=Linda|last3=Murray|first3=Peter|publisher=Oxford University Press|year=2013|isbn=978-0-19-968027-6|location=Oxford|pages=187|language=en}}</ref> Fillìa was also fascinated with machines. In his mechanical paintings produced during the 1920s, they were linked to his interest in the occult so that they are venerated as vehicles to transcend mundane reality.<ref name=":0" /> He supported [[Enrico Prampolini|Prampolini]]'s conceptualization of the machine as a psychological unifying force within the human conscience alongside work and labor.<ref>{{Cite book|last=Berghaus|first=Günter|title=Futurism and the Technological Imagination|publisher=Rodopi|year=2009|isbn=978-90-420-2747-3|location=Amsterdam|pages=167|language=en}}</ref> |
||
He had an interest in architecture, designing the Futurist Pavilion at the 1928 International Exhibition in Turin. |
|||
He had an interest in architecture, designing the Futurist Pavilion at the 1928 International Exhibition in Turin. He designed the mosaic decorations of the Swimming Stadium and was executed by Ceramica Ligure.<ref>{{Cite book|last1=Jones|first1=Kay Bea|title=The Routledge Companion to Italian Fascist Architecture: Reception and Legacy|last2=Pilat|first2=Stephanie|date=2020-04-30|publisher=Routledge|isbn=978-1-000-06144-4|language=en}}</ref> Fillìa's contribution to architecture is evident in his editorial activities such as his influential monographs, ''La nouva architettura,'' and his essays on modern architecture.<ref name=":1">{{Cite book|last=Berghaus|first=Günter|title=Handbook of International Futurism|publisher=Walter de Gruyter GmbH & Co KG|year=2018|isbn=978-3-11-027356-4|location=Berlin|pages=77|language=en}}</ref> He also developed the notion of "ambientazione", which included the spiritual and technical fashioning of living environments.<ref name=":1" /> |
|||
| ⚫ | |||
| ⚫ | |||
There are works by Fillìa in the collections of the Galleria d'Arte Moderna in Rome, the Galleria d'Arte Moderna in Turin, and in a number of private collections. |
|||
There are works by Fillìa in the collections of the Galleria d'Arte Moderna in Rome, the Galleria d'Arte Moderna in Turin, and in a number of private collections. His Works ''Senza titolo'', 1923, is by [[Museo Cantonale d'Arte]] of [[Lugano]].<ref>[http://www.e-mca.ti.ch/lugano/eMuseumPlus?service=direct/1/ResultListView/result.t2.artist_list.$TspTitleLink$0.link&sp=10&sp=Sartist&sp=SfilterDefinition&sp=0&sp=1&sp=3&sp=SsimpleList&sp=0&sp=Sdetail&sp=0&sp=F&sp=T&sp=7 Museo Cantonale d'Arte, Lugano: Fillia]</ref> |
|||
==References== |
==References== |
||
{{reflist}} |
|||
| ⚫ | |||
== External links == |
|||
* ''Sensualità. Sette atti. Teatro d'eccezione'', 1925 [https://archive.org/details/fillia-sensualita.-sette-atti.-teatro-deccezione-1925 Digital copy] |
|||
* ''Onoranze all'architetto futurista Antonio Sant'Elia'', [[F.T. Marinetti]], [[Fillia]], [[Antonio Sant'Elia]], 1930 [https://archive.org/details/f.t.-marinetti-fillia-a.-santelia-onoranze-allarchitetto-futurista-antonio-santelia-1930/page/n1/mode/2up Digital copy] |
|||
| ⚫ | |||
{{Commons category|Fillia}} |
|||
{{Futurism|state=expanded}} |
|||
{{Authority control}} |
|||
{{DEFAULTSORT:Fillia}} |
|||
| ⚫ | |||
[[Category:1904 births]] |
[[Category:1904 births]] |
||
[[Category:1936 deaths]] |
[[Category:1936 deaths]] |
||
[[Category:People from the Province of Cuneo]] |
[[Category:People from the Province of Cuneo]] |
||
[[Category: |
[[Category:20th-century Italian painters]] |
||
| ⚫ | |||
[[fr:Fillia]] |
|||
[[it:Fillia]] |
|||
Latest revision as of 13:28, 16 April 2024
 | This article needs additional citations for verification. (December 2019) |
Fillìa (3 October 1904 – 10 February 1936) was the name adopted by Luigi Colombo, an Italian artist associated with the second generation of Futurism. Aside from painting, his works included interior design, architecture, furniture and decorative objects.[1]
Biography[edit]
Fillìa was born in Revello, Piedmont.
He established the Futurist movement in Turin in 1923 at the age of 19 with a group which included Nikolay Diulgheroff, Pippo Oriani, Enrico Alimandi, Franco Costa and the sculptor Mino Rosso. Fillìa quickly became the leader of the group and its principal theorist. He published the art reviews: Futurismo (Futurism) (1924), Ventrina Futurista (1927), La Città Futurista (The Futurist City) (1929), La Città Nuova (The New City) (1930-1934), and Stile Futurista (Futurist Style) (1934–1935) with Enrico Prampolini. His work in the mid-1920s shows the influence of Prampolini. After 1928, Fillìa's work shows increasing subjectivity.
He became an exponent of L'Aeropittura (Aeropainting), the dominant Futurist style of the 1930s which applied the experience of flight to the depiction of landscape aerially; the world was no longer seen from the perspective of the person on the ground but as if from an aeroplane. In 1929, he was a co-signatory of the Futurist manifesto L'Aeropittura,[2] with Benedetta Cappa, Depero, Gerardo Dottori, Marinetti, Somenzi, Tato and Prampolini.
Fillìa was the co-author with Marinetti of the Manifesto of Futurist Cooking, published in the Turin newspaper, Gazzetta del Popolo, on 28 December 1930. This document presented the Futurist movement's objective of creating a synthesis of art with everyday life.[3]
Enrico Crispolti says that Fillìa and his colleagues in Turin explored an interior, psychological and subjective world, unlike other Futurists of the period such as Prampolini and Depero. Fillìa had recourse to an "airy body", a “synthesis of movement, of the organic aspect, of the emotions of flight". The ectoplasmic forms which appear in Fillìa's paintings of the late twenties and early thirties contrast with the rigidity of his earlier work and were taken up to explore the subconscious. His interest in the spiritual aspects of art turned to specifically religious painting from 1930 to 1933. He had large exhibitions at Padua (1931), La Spezia (1932) and Florence (1933). In 1932, he co-authored the Manifesto of Sacred Futurist Art with Marinetti.[4] Fillìa was also fascinated with machines. In his mechanical paintings produced during the 1920s, they were linked to his interest in the occult so that they are venerated as vehicles to transcend mundane reality.[1] He supported Prampolini's conceptualization of the machine as a psychological unifying force within the human conscience alongside work and labor.[5]
He had an interest in architecture, designing the Futurist Pavilion at the 1928 International Exhibition in Turin. He designed the mosaic decorations of the Swimming Stadium and was executed by Ceramica Ligure.[6] Fillìa's contribution to architecture is evident in his editorial activities such as his influential monographs, La nouva architettura, and his essays on modern architecture.[7] He also developed the notion of "ambientazione", which included the spiritual and technical fashioning of living environments.[7]
Fillìa's activities as an organizer and polemicist, which he continued through his contact with the avant-garde in his numerous trips to Paris, ended with his death at Turin in 1936 at the age of thirty-two.
There are works by Fillìa in the collections of the Galleria d'Arte Moderna in Rome, the Galleria d'Arte Moderna in Turin, and in a number of private collections. His Works Senza titolo, 1923, is by Museo Cantonale d'Arte of Lugano.[8]
References[edit]
- ^ a b Rainey, Lawrence; Poggi, Christine; Wittman, Laura (2009). Futurism: An Anthology. New Haven, CT: Yale University Press. pp. 327, 511. ISBN 978-0-300-08875-5.
- ^ Riazzoli, Mirko (2017-06-20). Cronologia di Torino Dalla fondazione ai giorni nostri. Youcanprint. ISBN 978-88-926-7186-7.
- ^ Healey, Robin (2019). Italian Literature since 1900 in English Translation 1929-2016: An Annotated Bibliography, 1929-2016. Toronto: University of Toronto Press. p. 442. ISBN 978-1-4875-0292-8.
- ^ Jones, Tom Devonshire; Murray, Linda; Murray, Peter (2013). The Oxford Dictionary of Christian Art and Architecture. Oxford: Oxford University Press. p. 187. ISBN 978-0-19-968027-6.
- ^ Berghaus, Günter (2009). Futurism and the Technological Imagination. Amsterdam: Rodopi. p. 167. ISBN 978-90-420-2747-3.
- ^ Jones, Kay Bea; Pilat, Stephanie (2020-04-30). The Routledge Companion to Italian Fascist Architecture: Reception and Legacy. Routledge. ISBN 978-1-000-06144-4.
- ^ a b Berghaus, Günter (2018). Handbook of International Futurism. Berlin: Walter de Gruyter GmbH & Co KG. p. 77. ISBN 978-3-11-027356-4.
- ^ Museo Cantonale d'Arte, Lugano: Fillia
External links[edit]
- Sensualità. Sette atti. Teatro d'eccezione, 1925 Digital copy
- Onoranze all'architetto futurista Antonio Sant'Elia, F.T. Marinetti, Fillia, Antonio Sant'Elia, 1930 Digital copy
| International | |
|---|---|
| National | |
| Artists | |
| People | |
| Other | |
