AVANZI DI VIAGGIO (Italian Edition)

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Nonetheless, he had still considered painting to be the most prestigious of all arts.

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In practice, however, they proved rather ineffective: nobody took note of them or bought them. In New York, Depero did not paint. For example, in the — Nove teste con cappello Nine Heads with Hat , he made use of the grid structure to evoke repetitive quality of life in a metropolis figure The work does not manifest on a canvas in the style of Mondrian , but on a pillowcase, a practical everyday object. Significantly, Depero had been making pillows for more than a decade before arriving in New York, but in the United States, he decided to abandon the handmade method he had employed in previous years and instead planned a mechanical production line.

He also visited museums and the studio of Constantin Brancusi. We know from his private notes that he encountered Avant-garde works and met important people from the arts world in New York.

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However, back home he rarely made any mention of these aspects of his sojourn. For example, he named Katherine Dreier only once: in his autobiography, she is listed as one of the many supporters of his show at the Guarino Gallery. He celebrated the Roxy Theatre and the Paramount building with great enthusiasm, and his publications often focused on popular films, such as the series Our Gang also known as Little Rascals , which primarily features child actors:. They set the house on fire, attached a donkey to a cart full of ladders, ropes and watering cans.

Depero devoted a chapter of his book to this building.

Synonyms and antonyms of anfibiotico in the Italian dictionary of synonyms

However, he did so not because of its modernist architecture, but because, to him, it stood as a symbol of consumer culture. As he expressed in his texts and projects concerned with architettura pubblicitaria commercial architecture , Depero was fascinated by architectural forms that were able to represent and advertise but not necessarily follow their function.

A building whose external architecture and internal environments were inspired, both in style and in mechanical function, from a movie camera. The waiting room features metal walls and ladies wearing red and black cloves. The interior of the [projection] hall is a kind of trapezoidal funnel. Lights that drop and explode and spin dramatically, directing the stream of the crowd in a rhythmic flux and re-flux of a thousand colors.

Before moving to New York, Depero had believed advertising to work like a megaphone. Once he had arrived in the United States, he realized that the city itself was the most powerful megaphone. In reality, he produced none of the gigantic billboards, monumental balloons, or explosive fireworks that he described in his writings. As both a real city and a symbol of modernity, New York not only served as a marketing tool to promote Campari, but also as a means of self-promotion for the artist. Through a deliberate mixture of fact and fiction, Depero exploited the manipulating power of mass media, just as Marinetti had done since the publication of his Foundation and Manifesto of Futurism in Yet, Depero continued reiterating his fictional account for two decades in articles, lectures, radio programs, books, and memoirs.

The book was filled with self-congratulatory stories about his success in New York. Bringing the text to American audiences was thus a short-circuit of fictional invention with real experience. This blatant discordance between fantasy and reality raises the following question: did Depero end up believing his own myths?

For post-war Americanists, the country therefore represented a land of opportunities and a new beginning. It was not by chance that was the year when Pavese wrote a first essay on s Americanism. Depero also had direct knowledge of the profitable business conducted by his close friends and patrons in New York and Milan, John Salterini and Gianni Mattioli. In , Depero was economically destitute and politically compromised. He had embraced the most aggressive Fascist propaganda until the end.

As late as , he published A passo romano Roman Step , a book that featured Fascist and Nazi symbols combined with racist and imperialist slogans. While housing Salterini, Depero had to leave his lodgings early in the morning — when the employees and clients of Salterini arrived — and could not come back until it was late at night, when the machines had been switched off. Recurring themes in his letters from this period were coldness, hunger, and loneliness.

He lost most of his teeth and fell into a state of deep depression. His main hope rested on the exportation of Buxus, a sort of synthetic wood he had used for some of his furniture, to the United States. Being a Futurist also did not help Depero either. Barr, Jr.

In the spring of , Depero left the Salterini factory, as well as New York. His wife Rosetta joined him and together they moved to New Millford, Connecticut, where they worked as housekeepers in the holiday mansion of William Hillman and Angela Sermolino, a wealthy New York couple.

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    Cortesini, Sergio. PhD Dissertation. Rome: Donzelli, Depero, Fortunato. Fortunato Depero nelle opere e nella vita. Trento: Mutilati e Invalidi, A passo romano: lirismo fascista e guerriero programmatico e costruttivo. Trento: Edizioni Credere Obbedire Combattere, Bari: Laterza, Gentile, Emilio. Ginex, Giovanna. Depero and advertising. Greene, Vivien, ed. Italian Futurism, — Reconstructing the Universe. New York: Guggenheim Museum Publications, Levi, Carlo.

    Marinetti, Filippo Tommaso. Venice: Biennale di Venezia, Mattioli Rossi, Laura. Pavese, Cesare. Berkeley: University of California Press, Poggi, Christine. Futurism: An Anthology. New Haven: Yale University Press, Ruele, Michele, ed. Rovereto: Via della Terra, Salaris, Claudia, ed. Fortunato Depero: Un futurista a New York. Montepulciano: Del Grifo, In other jurisdictions, re-use of this content may be restricted; see Reuse of PD-Art photographs for details. You cannot overwrite this file. Structured data Items portrayed in this file depicts.

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