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Sylvia Martin received her PhD in art history at the University of Cologne, trained at Kunstmuseum Dusseldorf, and worked as curator and academic collaborator at Kunstmuseum as well as at Kunst Palast Museum in Dusseldorf. She currently works as freelance curator in Munich.
This 96 page book covers Italian Futurism movement. Futurism movement was founded by Filippo Tomasso Marinetti in 1909. The movement went thorugh a lot of ups and downs until it finally lost momentum in the 40s. The movement united artists with a vision of renewal of life taking current technological achievements as the point of departure for their ideas. Their goal was to directly influence the life of people, not only have aesthetic innovation. This book has an interesting description of the movement and the artists involved in it.
The book showcases artwork of the following artists: Umberto Boccioni, Anton Bragaglia, Carlo Carra, Luigi Russolo, Giacomo Balla, Leonardo Dudre-ville, Gino Severni, Fortunato Depero, Filippo Marinetti, Antonio Sant'elia, Ardengo Soffici, Tullio Crali, Gerardo Dottori, Virgilio Marchi, Enrico Prampolini. It shows the art, explains the motivation behind the images, and gives some information about each artist as well as the movement itself.
I did not know much about this movement and feel much more educated after reading the book and enjoying the artists creativity.
Ali Julia review
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As part of Taschen’s “Basic Art” series on schools of art this book suffers from its main drawback. That is the too short overview and analysis. The book is relatively short, at only 96 pages, but the part of the book that provides the analysis of this school of art is only 25 pages. As a result, the reader does not obtain an adequate picture of how this school differed, albeit subtly, from similar turn of the century schools such as Cubism, Surrealism and Dadaism. Twenty-five pages is simply not enough to perform this task and this is simply a problem that all books in this Taschen series have. The discussion and analysis of the relevant schools of art are too brief.
The remainder of the book consists of two page coverage of the most famous art works of the school. This part of the book is much stronger. The one page textual discussion of each piece of art is quite good, the selection covers the major works in the school and, possibly most important, the one page illustration is up to Taschen’s extremely high standards, especially given the low price of this series. The works are all in fabulous well rendered color and on fine art paper. This makes up, to some degree at least, for the weaknesses in the 25 page discussion and analysis of the school of art as a whole.
In short, a pretty good introduction to the school, for the novice, but with weaknesses. But for the listed price of $9.99 (at least as of January 2013) not bad.
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