Aeropittura

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Aeropittura (aerial painting) was a style of Italian futurism characterized by aircraft and dynamism , which contemporaries also referred to as "Arte Sacra Futurista" and which can be found between 1926 and 1944.

Emergence

As early as 1928 Mino (Stanislao) Somenzi formulated the first manifesto on Aeropittura e aeroscultura (manifesto technico futurista) , which, however, was not discussed with Filippo Tommaso Marinetti and therefore did not become known to a broad public. Marinetti mentions this manifesto in 1926, but comes out in 1931 with his own manifesto on aerial painting, which - incorrectly - was presented as "The first confirmation in the world for a new Italian art: aerial painting" in the Roman Giornale della domenica . This manifesto, which can also be found in the catalog of the first exhibition on flight painting, which is taking place at the same time, contains other accents in key points, the first Somenzi manifesto is being forgotten.

history

The Aeropittura nationally and internationally successful. The exhibition presented by Marinetti travels from Rome, via Milan to Genoa and comes to Paris in 1934. Since the flight painting is ideally suited to depict the technical and aviation achievements of the new fascist Italy (South Atlantic flights by Arturo Ferrarin in 1928 and Francesco De Pinedo in 1928, Brazil and Chicago squadron flights by Italo Balbo in 1930/31 and 1933), it is particularly encouraged by the regime . Further major exhibitions followed in 1932 (La Spezia), 1934 (Nice) and 1937 (Paris World Exhibition). La Spezia is the place where the name “Aeropittura-Arte Sacra Futurista” was coined for the exhibition.

During the war, the Aeropittura was expanded by two Marinettis manifestos. In 1942 the Manifesto futurista dell'aeropittura dei bombardimenti and in 1943 the Manifesto futurista dell'aeropittura maringuerra came out, which dealt with the depiction of the bombing war on land and at sea. This shift in emphasis ultimately contributed to the fact that air painting as an independent art movement fell into twilight and disappeared at the end of the Second World War .

claim

The flight painting should on the one hand reflect the world of experience of the pilot during the rapid flight, on the other hand show the aircraft themselves in motion. Somenzi sums up the gist better than Marinetti. He explains that the phenomenon of flight violently breaks into life, you feel from a new perspective. Experiences that one collects on earth in an hour can be experienced in the air in a few moments.

"The flight painting should reproduce these perceptions with the introduction of new colors, merging in a synthesis with the elements of atmosphere and speed."

Artist

The most important representatives of this art direction are Giacomo Balla , Gerardo Dottori , Tullio Crali , Guglielmo Sansoni (Tato), Carlo Andreoni , Alfredo Gauro Ambrosi , Wladimiro Tulli , Albino Siviero Verossi , Ivano Gambini , Fortunato Depero , Giovanni Korompay , Benedetta Cappa , Alessandro Buschetti .

Remarks

  1. ↑ Gudrin Escher: "Aeropittura-Arte Sacra Futurista", in: Bartsch / Scudiero. 47
  2. ↑ Gudrin Escher: "Aeropittura-Arte Sacra Futurista", in: Bartsch / Scudiero. 49
  3. ↑ Gudrin Escher: "Aeropittura-Arte Sacra Futurista", in: Bartsch / Scudiero.50

literature

  • Ingo Bartsch, Maurizio Scudiero (Ed.): “... we machines too, we also mechanized! … “The second phase of Italian futurism 1915–1945. Bielefeld 2002, ISBN 3-933040-81-7 .
  • Dietrich Kämper (ed.): The musical futurism. Cologne 1999.
  • Maurizio Calvesi: Futurism. Munich 1975.
  • Caroline Tisdall, Angelo Bozzola: Futurism. London 2000, ISBN 0-500-20159-5 .
  • Christa Baumgarth: History of Futurism. Reinbek near Hamburg 1966.
  • Evelyn Benesch, Ingried Brugger: Futurism - Radical Avant-garde. Exhibition catalog. Milan 2003, ISBN 88-202-1602-7 .
  • Hansgeorg Schmidt-Bergmann : Futurism - History, Aesthetics, Documents. Reinbek near Hamburg 1993, ISBN 3-499-55535-2 .