Dictionary
Aeropittura
Strictly spoken, Futurism lasted from 1909/10 to 1944, however, it is subdivided into a "first Futurism" and a consequent "second Futurism" which followed as of 1920. The "first Futurism" was an avant-garde movement of Modernism, but it was also characterized by an aggressive glorification of war. The "Second Futurism" was quite dominated by fascist propaganda, which was at the expense of artistic quality. In Aeropittura, the "flight painting", the second Futurism found an ideologically fixed means of expression.
The frenzy of speed and the unconditional belief in technology, which had found expression in the early years of Futurism in the depiction of modern means of transportation, led the artists to choosing the airplane as their favorite subject. This is where the fascists winded potential for their propaganda, using Futurism's aggressive fascination for war. They concertedly supported and promoted this form of art and disburdened those artists that used their talents to serve fascism from military service.
The clearly propagandistic character of the art is also mirrored in the manifestos of the Second Futurism, the first "Manifesto of Flight Painting", published in 1929 by Giacomo Balla, Fortunato Depero, Gerardo Dottori, Fillia (actually Luigi Colombo), Filippo Tommaso Marinetti, Enrico Prampolini and several other signees, was followed by the "Futuristic Esthetic of War" (1935) or the "Flight Painting of Air Raids" (1940). The Aeropittura became a means to express a heroic pathos of war - with this form of art Futurism had entirely been absorbed by propaganda.
Strictly spoken, Futurism lasted from 1909/10 to 1944, however, it is subdivided into a "first Futurism" and a consequent "second Futurism" which followed as of 1920. The "first Futurism" was an avant-garde movement of Modernism, but it was also characterized by an aggressive glorification of war. The "Second Futurism" was quite dominated by fascist propaganda, which was at the expense of artistic quality. In Aeropittura, the "flight painting", the second Futurism found an ideologically fixed means of expression.
The frenzy of speed and the unconditional belief in technology, which had found expression in the early years of Futurism in the depiction of modern means of transportation, led the artists to choosing the airplane as their favorite subject. This is where the fascists winded potential for their propaganda, using Futurism's aggressive fascination for war. They concertedly supported and promoted this form of art and disburdened those artists that used their talents to serve fascism from military service.
The clearly propagandistic character of the art is also mirrored in the manifestos of the Second Futurism, the first "Manifesto of Flight Painting", published in 1929 by Giacomo Balla, Fortunato Depero, Gerardo Dottori, Fillia (actually Luigi Colombo), Filippo Tommaso Marinetti, Enrico Prampolini and several other signees, was followed by the "Futuristic Esthetic of War" (1935) or the "Flight Painting of Air Raids" (1940). The Aeropittura became a means to express a heroic pathos of war - with this form of art Futurism had entirely been absorbed by propaganda.
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