Access count of this item: 241
|Other Titles:||Denial of Fotodinamismo: An Essay on Umberto Boccioni|
|Author's alias:||SABAE, Hideki|
|Journal title:||ディアファネース -- 芸術と思想 = Diaphanes: Art and Philosophy|
|Abstract:||This paper focuses on the mutual relationship between Umberto Boccioni's artworks and Fotodinamismo, an experimental art photography invented by Bragaglia brothers (Anton Giulio Bragaglia (1890-1960) and Arturo Bragaglia (1893-1962)), in order to examines the effect of photographs on the arts of Futurismo, Avant-garde art movement in the early 20th century. Bragaglia brothers were involved in this movement, but were exiled from the group's activities by the opposition of the painters. However, it is hypothesized that their photographs encouraged the reconstruction of Futuristic art and theory. Fotodinamismo is a method of photography that records moving objects like the works of Eadweard Muybridge and Etienne-Jules Marey, pioneers of moving-object photography at the end of the 19th century. The characteristic of that expression is to grasp the trajectory of motion as a white light streak. According to Anton Giulio's theory, this photographic representation reveals "the essence of motion" that could not be seen with the human eyes or with technology of reproduction that existed so far. The invention of this new type of photograph was inspired by Manifesto tecnico della pittura futurista (1910), mainly written by Boccioni. Besides, Fotodinamismo, in turn, influenced the Futuristic artworks as clearly shown in the paintings of Giacomo Balla. Judging from these facts, Fotodinamismo could have been a model for expression of dynamism that Futurist painters aimed to express on their works. It was Umberto Boccioni who strongly denied such simplistic way of expression of motion. However, his manifesto had resulted in a theoretical basis for devising Fotodinamismo. One of the reasons Boccioni modified his work and theory since the summer of 1913 would be to repent having allowed photography to interfere with the field of art. In fact, his theory's major theses, "mutual penetration of planes" and "the only movement inherent in things", were to characterize his paintings and sculptures. In this respect, Fotodinamismo was like a counter-evidence to deepen further the theory of "plastic dynamism" that Boccioni advanced.|
|Appears in Collections:||第5号|
Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.