The Street Enters the House

La strada entra nella casa ( The Street Enters the House ) is a painting by Umberto Boccioni. The work was written after his visit to Paris in November of 1911, a very intense creative period Boccioni. Initially titled simply with balcony, it has already been shown for the first time and a year later under the title La rue entre dans la maison, on the occasion of the first organized abroad Futurist exhibition in the Galerie Bernheim- Jeune from 5 to 24 February 1912th of the 35 exhibits were shown in London in the Sackville Gallery in March 34, in Berlin in April in Herwarth Walden's Sturm Gallery paintings led the catalog only 24 now as " not for sale " and located in the " private property " on. The exhibition went to Brussels, Hamburg, The Hague and Amsterdam. In Berlin, acquired, among other paintings, the banker and collector Albert Borchardt just this painting. Today it is located in the Sprengel Museum in Hannover.

Image description

The main character, color shown in different shades of blue, is shown and overlooks from an elevated point of view, the balcony, the buzz on the street in back view. It is a kind repoussoir that leads the viewer into the depth of the image. On the road, including lift construction worker from a pit and put wooden sticks on establishing a framework for a new building. This image part is the center and impresses with its intense color, which ranges from a rich yellow to orange to brown. Durchbrochen is the color of the action by the robes of the workers, which are held in various shades of blue. And is bordered by the scenery rows of houses that seem to collapse towards the image center and increase in their colors of a pastel colored violet, a bright blue to finally go to yellow towards the center. Law and left the houses also located a woman on a balcony that looks down on the action. Uwe M. Schneede describes it as follows: ". A city scenery falls on the woman in " An inspiration regarding the work of La strada entra nella casa Boccioni became probably from his home in Milan, the upper floor of the house with the number 23 in the Via Adige, where he lived from 1908 to 1913, with interruptions. The area was characterized by rapid industrialization. After Laura Mattioli Rossi just this painting shows the construction of the Besozzi - Marzoli factory, but also other works such as La città che sale will be affected by this site.

Principle of simultaneity

In the preface to the catalog of the exhibition at Galerie Bernheim -Jeune Boccioni wrote in 1912:

The image description Life The Street Enters was in the house at the Berlin exhibition catalog:

Although the writer and critic Guillaume Apollinaire futurism as " poor imitation of Cubism " saw - as he wrote, for example, in response to the exhibition of the futurists in the Galerie Bernheim -Jeune in Paris, which took place from 5 to 24 February: " Quant à l'art futuriste, il fait un peu sourire à Paris, mais il ne pas faudrait qu `il fit sourire les Italy, ou bien ce serait tant pis pour eux ." - as he noted in the course of an exhibition of the works of Boccioni that Boccioni was the most important theorist of Futurism. In his 1914 published the theory of art work Pittura Scultura Futuriste ( Dinamico Plastico ) / Futurist painting and sculpture ( pictorial dynamism ), he provides an execution, and a summary of his art aesthetic understanding. But already in the previously partially quoted preface to the exhibition at the Galerie Bernheim- Jeune, the basic trends can be recognized. These principles were previously formulated only theoretical, they find in the work The Street Enters the House a / La strada entra nella casa, or even in the work Visioni simultanée / simultaneous visions that emerged around the same time, for the first time reflected in practice. A central principle futuristic aesthetic is that of simultaneity, which they declared as their own specific about which it soon came to a confrontation with Robert Delaunay and the French Cubists. If we follow the futurist view, so says the simultaneity connection with the objective beliefs excited by sensations subjective thoughts and feelings associations. The idea of ​​simultaneity of the different stages of memory in perception was encouraged by the writings of Henri Bergson, which should already have been known to him since 1910. Bergson called this " durée ". It was meant as an analogue to experience the big city with its varied sensations. Richard Huelsenbeck describes the simultaneity in his 1920 book En avant Dada incurred as follows:

Artistically rendered Boccioni this principle by the repetition of a single pixel on the one hand ( the woman on the balcony repeated on the sides, in other clothes, but in the same pose ), but also by the mutual penetration of the objects. The repetition of watching woman deals with the simultaneity of perspectives, but is also an invitation to the viewer to perceive the complexity of the events associative. The mutual penetration of the objects leads us to another central point, the dynamism. In his work Pittura Scultura Futuriste ( Dinamico Plastico ) he defines dynamism as follows:

So Boccioni, only to grasp intuitively and could not intellectually or analytically understand the subject matter of this inherent movement that was " absolute motion ". This analytical thinking he accuses the Cubists, who " dissect " the items. Even if he strongly polemic against cubism, he turns in his works even ideas from it to. He shattered the objects to give us an all-encompassing view. The idea of ​​an absolute and a relative movement was also strongly influenced by the ideas of Henri Bergson. However, the absolute motion is not confined to the object, but the objects penetrate each other and are interdependent. Thus the objects overlap in the work and influence each other. Boccioni puts seamlessly relation to each other. The horse protrudes into the balcony and into the head of the lady, the houses fall together. The title The Street Enters the House implies the breaking and merging of different spheres, namely the private to the public space. Occasionally, the title is also with The Street Enters the House a translated, so the experiment is indicated, acoustic stimuli visually reproduce.

Ratio of outside to inside

The exhibition of the Guggenheim Museum in 2004, the curator Vivien Green remarked in an essay that the private, domestic sphere is a traditionally feminine and that these two specific male and female ranges overlap here. The relationship between the indoor and outdoor space is discussed in Boccioni in several early paintings, for example, in the portrait of Signora Massimino, which was created in 1908 and also in the place where the actual events on the road. However, both spheres into more isolated side by side. In 1909 resulting work, La sorella al balcone / The sister on the balcony in 1909 while still separates the railing, but begin to blur the boundaries. By means of lines of force, a term that in the preface to the exhibition catalog of the Galerie Bernheim -Jeune in Paris first appears in 1912, Boccioni attempts to blur the boundaries of the objects and to show the connection of objects to the outside world, because they form an "extension of the rhythms ". This force lines indicate a certain state of mind again and so bind the viewer directly. Boccioni calls this psychological transcendentalism. The lines of force form a synthesis between the emotionally expressive vision of futurists of the dynamics and analytically formal approach of the Cubists. The Divisionists, which is more than just an artistic device for Boccioni, is particularly suitable to represent the dynamics and the penetration of the individual objects artistically. At the same time it is a paradox to the iconoclastic attitude of the Futurists over past art, as the Divisionists developed in parallel with the French Neo - Impressionism and has its roots in earlier artistic traditions. The Divisionist technique is due to the individually prominent pigments to reflect light suitable, "which destroys the materiality of the body " next move. In Futurism by Maurizio Calvesi there is a more detailed consideration of the mystical cult in the light Futurism. The work and the next is to bear principles go a synthesis between the Divisionists one hand and the Cubism one on the other. As a suggestion of this work can be seen in 1910 resulting work La tour / Eiffel Tower Pictures of Robert Delaunay. In Pittura Scultura Futuriste Boccioni implies that he already had knowledge of Cubism in Paris at that time. Uwe M. Schneede assumes that it were La tour / Eiffel Tower Pictures of 1910 known by a publication from 1911. Delaunay itself and the so-called Orphic Cubism - a term coined by Apollinaire term for a tending towards abstraction grouping within the Cubism - were strongly influenced by the manifestos of Futurism and were able to apply their artistic statements by an accurate knowledge of Cubism. Apart from the collapse translucent facades can, however, make a clear conclusion concerning the role Boccioni suggestions Delaunay has taken and implemented in this work.

References

  • Henri Bergson: Matière et mémoire - essai sur la relation du corps à l' esprit. Paris, 1910
  • Umberto Boccioni: Les exposants au Public. In: Les peintres Futuristes Italy. Exhibition catalog Galerie Bernheim -Jeune, Paris, 5 - February 24, 1912 (new edition: Florence 1978)
  • Umberto Boccioni, Carlo Carrà D., Luigi Russolo, Giacomo Balla, Gino Severini: The futuristic painting - Technical Manifesto; German translation by Christa Tree Garth ( first Italian La pittura futurista - Manifesto tecnico Milan 1910. ); in: Hans Georg Schmidt Bergmann: Futurism. Hamburg 1993
  • Umberto Boccioni: Pittura Scultura Futuriste ( Dinamismo Plastico ). Milan 1914; Futuristic painting and sculpture ( pictorial dynamism ); German translation by Angelika Chott, ed. Astrit Schmidt- Burkhardt, Dresden 2002
  • Maurizio Calvesi: Il futurismo. La fusione della vita nell ' arte. Milan, 1977; Futurism - art and life. German translation by Michael Koulen, Gerhard Meier, Cologne 1987
  • Ester Coen, Umberto Boccioni: Exhibition Boccioni: a Retrospective, held at the Metropolitan Museum of Art from September 15, 1988, to January 8, 1989 New York, 1988.
  • Hal Foster, Rosalind Krauss, Yve -Alain Bois, Benjamin HD Buchloh: Art since 1900 - Modernism, antimodernism, postmodernism. London 2004
  • Guillaume Apollinaire, Béatrice Riottot El -Habib (ed.): Apollinaire critique d'art. Publié à l' occasion de l' exposition « Apollinaire critique d' art » conçue et réalisée au Pavillon des Arts. Paris, 1993
  • Marianne W. Martin: Futurist Art and Theory 1909-1915. New York 1978
  • Brian Petrie, Umberto Boccioni, Henri Bergson: The Burlington Magazine. Vol 116, no. 852, 1974, p 140-147
  • Les Peintres Futuristes Italy. Exhibition catalog Galerie Bernheim -Jeune, Paris, 5 - February 24, 1912 (new edition: Florence 1978)
  • The Italian Futurist Painters. Exhibition catalog. The Sackville Gallery, London 1912; (New edition: Florence 1978).
  • The Futurists. Exhibition catalog, Society for the promotion of modern art mbH, editor Herwarth Walden, Berlin ( 1912); (New edition: Florence 1978).
  • Umbro Apollino (ed.): Futurism - Manifestos and documents of an artistic revolution 1909-1918, Cologne, 1972
  • Laura Mattioli Rossi ( ed.) et al: Boccioni 's materia. A futurist masterpiece and the avant -garde in Milan and Paris. Exhibition catalog, Solomon R. Guggenheim Museum, New York, February 6 to May 9 2004, ISBN 0-89207-303-9
  • Eberhard Roters (ed.): Me and the City - Man and City in German art of the 20th century. Exhibition Catalogue, Martin -Gropius -Bau Berlin, 1987
  • Hans Georg Schmidt Bergmann: Futurism - History, Aesthetics, documents. Hamburg 1993
  • Uwe M. Schneede: Umberto Boccioni. Hatje Cantz, Stuttgart 1994, ISBN 3-7757-0449-3
  • Berliner Festspiele, Languages ​​of Futurism, October 2, 2009 to January 11, 2010, exhibition catalog ISBN 978-3-86859-066-1
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