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“While the impressionists make a table to give one particular moment and subordinate the life of the table to its resemblance to this moment, we synthesize every moment (time, place, form, color-tone) and thus build the table.”

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Umberto Boccioni

1914 - 1916, Pittura e scultura futuriste' Milan, 1914

“I work a lot but don't seem to finish. That is, I hope what I am doing means something because I don't know what I am doing. It's strange and terrible but I feel calm. Today I worked non-stop for six hours on a sculpture and I don't know what the result is... Planes upon planes, sections of muscles, of a face and then? And the total effect? Does what I create live? Where will I end up?”

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Umberto Boccioni

Boccioni's quote, from an undated letter to Gino Severini (probably July or August 1912, or November); as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008.
1912

“With this new tendency [of Orphism] the Cubists dubbed Impressionism of forms according to Appolinaire, is entering a final and glorious phase:.. Orphism, pure painting, simultaneity. And there you have it, as many obvious plagiarisms of what has formed, from its earliest appearances, the essence of Futurist painting and sculpture…. But we insist on sorting things out. Orphism [initiated by former Cubist artist Robert Delaunay as an colorful alternative for strict Cubism ], let us say it right away, is just an elegant masquerade of the basic principles of Futurist painting. This new trend simply illustrates the profit that our French colleagues managed to driver from our first Futurist exhibition in Paris.”

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Umberto Boccioni

Boccioni's critical art quote to Orphism and simultaneity pictures Orphism, as alternative concept for Cubism as a soft version of Futurist painting; in 'Les futurists plagues en France', Boccioni, in 'Lacerba', Florence 1, no. 7, 1 April 1913
1913

“It will be readily admitted that brown tints have never coursed beneath our skin; it will be discovered that yellow shines forth in our flesh, that red blazes, and that green, blue and violet dance upon it with untold charms, voluptuous and caressing.”

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Umberto Boccioni

As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 136.
1910, Manifesto of Futurist Painters,' April 1910

“.. since our past is the greatest in the world and thus all the more dangerous for our life!... We must smash, demolish and destroy our traditional harmony, which makes us fall into a 'gracefullness' created by timid and sentimental cubs”

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Umberto Boccioni

cubs refers sneering to the Cubists
as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008.
1912, Boccioni's 'Sculptural Manifesto', 1912,

“.. Is it indisputable that several aesthetic declarations of our French comrades (the Cubists) display a sort of masked academicism. It is not, indeed, a return to the Academy to declare that the subject, in painting, has a perfectly insignificant value?... To paint from the posing model as an absurdity, and an act of mental cowardice, even if the model be translated upon the picture in linear, spherical and cubic forms..”

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Umberto Boccioni

Quelle: 1912, Les exposants au public', 1912, pp. 2, 3.

“Our bodies penetrate the sofas upon which we sit and the sofas penetrate our bodies. The motorbus rushes into the houses which it passes, and in their turn the houses throw themselves upon the bus and are blended with it.”

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Umberto Boccioni

As quoted in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 64.
1910, Manifesto of Futurist Painters,' April 1910

“The sixteen people around you in a rolling omnibus are in turn and at the same time one, ten, four, three; they are motionless and they change places; they come and go, bound into the street, are suddenly swallowed up by the sunshine, then come back and sit before you, like persistent symbols of universal vibration. How often have we not seen upon the cheek of the person with whom we are talking the horse which we passes at the end of the street.”

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Umberto Boccioni

As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 167.
1910, Manifesto of Futurist Painters,' April 1910

“Your eyes, accustomed to semi-darkness, will soon open to more radiant visions of light. The shadows which we shall paint shall be more luminous than the high-lights of our predecessors, and our pictures, next to those of the museums, will shine like blinding daylight, compared with deepest night. We conclude that painting cannot exist today without divisionism... w:Divisionism - [ Paul Signac initiated divisionism slightly earlier, together with Seurat ] - for the modern painter, must be an innate complementariness which we declare to be essential and necessary.”

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Umberto Boccioni

As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 92.
1910, Manifesto of Futurist Painters,' April 1910

“.. the characteristic motion peculiar to the object (absolute motion), with the transformations the object undergoes in its shifting in relation to the environment, mobile or immobile (relative motion; both motions should be conceived in art)”

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Umberto Boccioni

Boccioni's quote on motion; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 328.
1914 - 1916, Pittura e scultura futuriste' Milan, 1914

“Who can still believe in the opacity of bodies since our sharpened and modified sensitivity has already penetrated the obscure manifestations of the medium? Why should we forget in our creations the double power of our sight, capable of giving results analogous to those of X-rays?”

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Umberto Boccioni

As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 154.
1910, Manifesto of Futurist Painters,' April 1910

“.. the moving whirlwind of modernity through its crowds, its cars, its telegraph poles, its bare, working-class neighbourhoods, its noises, its squeals, its violence, its cruelty, its cynicism, and its relentless pushiness.”

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Umberto Boccioni

In Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008.
1914 - 1916, Pittura e scultura futuriste' Milan, 1914

“To the Young Artists of Italy!
The cry of rebellion that we launch, linking our ideals with those of the Futurist poets, does not originate in an aesthetic clique. It expresses the violent desire that stirs in the veins of every creative artist today.”

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Umberto Boccioni

Original text:
Agli artisti giovani d'Italia!
Il grido di ribellione che noi lanciamo, associando i nostri ideali a quelli dei poeti futuristi, non parte già da una chiesuola estetica, ma esprime il violento desiderio che ribolle oggi nelle vene di ogni artista creatore.
Quelle: 1910, Manifesto of Futurist Painters', Feb. 1910, p. 24: Lead paragraph

“.. if the objects will be mathematical values, the ambient in which they live will be a particular rhythm in the emotion which surrounds them. The graphic translation of this rhythm will be a state of form, a state of color, each of which will give back to the spectator the 'state of mind' which produced it..”

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Umberto Boccioni

in a letter of 12 Feb. 1912 from Paris, to his friend Nino Barbantini (director of the Ca' Pesaro in Venice); as cited in: Shannon N. Pritchard, Gino Severini and the symbolist aesthetics of his futurist dance imagery, 1910-1915 https://getd.libs.uga.edu/pdfs/pritchard_shannon_n_200305_ma.pdf Diss. uga, 2003, p. 67
1912

“No one can any longer believe that an object ends where another begins.”

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Umberto Boccioni

Quote from Boccioni's text 'Dynamism of a Speeding Horse & Houses', 1914/15
Boccioni is here referring to the starting photography of 'moving horses' c. 1914
1914 - 1916

“Not only have we radically abandoned the motive fully developed according to its determined and, therefore, artificial equilibrium, but we suddenly and purposely intersect each motif with one or more other motifs of which we never give the full development but merely the initial, central, of final notes... We thus arrived at what we call the painting of states of mind.”

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Umberto Boccioni

Quelle: 1912, Les exposants au public', 1912, p. 8.

“A horse in movement is not a stationary horse that moves but a horse in a movement, which is to say something other, that should be conceived and expressed as something completely different. It is a question of conceiving objects in movement over and above the motion they carry within themselves. That is, a question of finding a form which is the expression of this new absolute... A question of studying the aspects that life has taken on in haste and in consequent simultaneity.”

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Umberto Boccioni

In Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008.
1914 - 1916, Pittura e scultura futuriste' Milan, 1914

“It is also true that without flashes of the absolute, which are granted to only a few, humanity would proceed in the dark, indeed it would not exist, because it would not acknowledge itself to itself! And as far as I know the flash as never preceded by explanations or preambles, and only a very small mind.... could fail to understand that eternal aspiration absolute and that the work is the relative, that to create is already to circumscribe; that to comment is to circumscribe the circumscribed, is to subdivide the divided; is to reduce to minimum terms, is to annihilate.”

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Umberto Boccioni

Boccioni's quote, from his lecture, Rome, May 1911, Boccioni's lecture 'La Pittura Futurista', 1911; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 55
1911

“From our very first conversation in the Closerie des Lilas the day after the opening of the first exhibition of Futurist painting [in Paris, February 1912] I noticed that Fernand Léger was one of the most gifted and promising Cubists... Léger's article ('Les origins de la peinture et sa valeur representative', Mai 1913) is a true act of Futurist faith which give us great satisfaction - all the more so since the author is kind enough to mention us.”

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Umberto Boccioni

Quote from 'Il dinamismo futurista et la pittura francese', Boccioni, in 'Lacerba', August 1913; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 118
1913

“Sculpture is based on the abstract of the planes and volumes that determine the forms, not their figurative value.”

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Umberto Boccioni

1912, Boccioni's 'Sculptural Manifesto', 1912,

“The simultaneousness of states of mind in the work of art: that is the intoxicating aim of our art... In the pictorial description of the various states of mind of a leave-taking, perpendicular lines, undulating lines and as it were worn out, clinging here and there to silhouettes of empty bodies, may well express languidness and discouragement. Confused and trepidating lines, either straight or curved, mingled with the outlined hurried gestures of people calling to one another will express a sensation of chaotic excitement. On the other hand, horizontal lines, fleeting, rapid and jerky, brutally cutting in half lost profiles of faces or crumbling and rebounding fragments of landscape, will give the tumultuous feelings of the person going away.”

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Umberto Boccioni

Quelle: 1912, Les exposants au public', 1912, pp. 47, 49

“Balla [his former art teacher in Italy] flabbergasted us because, not content with being involved in a Futurist campaign, as you can well imagine him doing, he launched himself into a complete transformation. He rejected all his works and all his working methods. He started work on four pictures of movement (one painting was his 'Girl running on a balcony'), which were still realist but incredible ahead of their time.... He confided this to w:Aldo Pallazzeschi: 'They (Balla's former - so much younger pupils Boccioni and Severini] did not want anything to do with me in Paris and they were right: they have gone much further than I, but I will work and I too will progress.”

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Umberto Boccioni

In a letter to Gino Severini, Jan. 1913; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008
Boccioni is referring in this quote to their common former teacher Balla who lived and worked that time in Paris
1913

“The first painting to appear with an affirmation of simultaneity was mine and had the following title: 'Simultaneous visions', [Boccioni painted in 1911]. It was exhibited in the galerie Bernheim in Paris, and in the same exhibition my Futurist painter friends also appeared with similar experiments in simultaneity.”

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Umberto Boccioni

Boccioni's quote on early realized simultaneity in his art; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 458.
1914 - 1916, Pittura e scultura futuriste' Milan, 1914

“If we paint the phases of a riot, the crowd bustling with uplifted fists and the noisy onslaughts of cavalry are translated upon the canvas in sheaves of lines corresponding with all the conflicting forces, following the general laws of violence of the picture... These force-lines must encircle and involve the spectator so that he will in a manner be forced to struggle himself with the persons in the picture.”

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Umberto Boccioni

Quelle: 1912, Les exposants au public', 1912, p. 8.

“The time has passed for our sensations in painting to be whispered. We wish them in the future to sing and re-echo upon our canvasses in deafening and triumphant flourishes.”

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Umberto Boccioni

As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 132.
1910, Manifesto of Futurist Painters,' April 1910

“The gesture which we would reproduce on canvas shall no longer be a fixed moment in universal dynamism. It shall simply be the dynamic sensation itself. Indeed, all things move, all things run, all things are rapidly changing... We would at any price re-enter into life.”

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Umberto Boccioni

As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 23.
1910, Manifesto of Futurist Painters,' April 1910

“The commitment I have made is terrible and the plastic means appear and disappear at the moment of implementation. It's terrible... And the chaos of will? What law? It’s terrible... Then I struggle with sculpture: I work, work and work and I don't know what I give. Is it interior? Is it exterior? Is it sensation? Is it delirium? Is it brain? Analysis? Synthesis? I don't know what the f… it is! Forms on forms.. confusion... The Cubists are wrong. Picasso is wrong. The academics are wrong. We're all a bunch of d.. heads.”

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Umberto Boccioni

1912
Quelle: an 2nd undated letter to Gino Severini (probably July or August 1912, or November); as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008.

“The street enters the house.”

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Umberto Boccioni

the title of one of Boccioni's most Futurist paintings: street enters the house' https://upload.wikimedia.org/wikipedia/commons/7/74/Boccioni_The_Street_Enters_The_House.jpg'The; Boccioni painted it in 1911.
1911

“We wanted a complementarity of form and colour. So we made a synthesis of analyses of colour (the divisionism of Seurat, Signac and Cross) and analyses of form”

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Umberto Boccioni

of Picasso and Georges Braque
In 'Dynanisme plastique' 1914, Boccioni; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 134
1914 - 1916

“.. the number of the engine [of the train], its profile shown in the upper part of the picture, its wind-cutting fore-part in the center, symbolical of parting, indicates the features of the scene that remain indelibly impressed upon the mind”

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Umberto Boccioni

of the viewer
Quote from Inventing Futurism: The Art and Politics of Artificial Optimism, by Christine Poggi, Princeton University Press, 2009, p. 21
a note on his tryptich painting, he made late in 1911, containing the canvasses 'States of Mind II', 'The farewells', 'Those Who go Those who Stay'.
1911