Link nur auf Unterseiten benutzbar

The Italian artist Umberto Boccioni was one of the signatories of the first Futurist manifesto, written by Marinetti in 1910, and is considered to be an outstanding representative of the movement he founded. His painting 'Simultaneous Visions' from 1912 epitomises the aesthetic of Futurism. Different visual impressions can be seen at the same time, outside and inside interpenetrate, fragmented colour and surface forms illustrate the dynamics of the city. The view from a window is of a street surrounded by tall buildings. The street runs diagonally from bottom left to top right, with a horse-drawn carriage and tram representing the development of transport. The head of a female figure observing the action on the street is shown in two views. The foreshortening of the facades, the distortion of the passers-by and vehicles, and the curved outlines of the vehicles create the impression of movement.

Robert Delaunay's painting and Cubism and their idea of simultaneous vision - the simultaneous perception of different views - had a lasting influence on Boccioni. For him, however, simultaneity was not just an optical phenomenon, but corresponded to his idea of the temporal and spatial interpenetration of all objects. The simultaneous reproduction of successive phases of movement, spiral centres, curves, waves and diagonal lines of movement, effects of light and an often aggressive use of colour in his paintings make even static objects or motionless figures appear dynamic or as if they were dissolving.

Fontana was a great admirer of Boccioni's. To a certain extent, his 'Metalli' from the New York series in the first Room and Boccioni's 'Simultaneous Visions' can even be compared. Whereas in Boccioni's paintings all the motifs are broken down into sharp-edged facets in order to visualise the dynamics of urban life, Fontana uses a chisel to slice through copper sheets and make crisscrossing incisions.