Founder Of Futurist Painting Giacomo Bala

Giacomo Bala (1871-1958) was born in Turin, Italy and moved to Rome at the age of 24

. Later he was studying the optical mixing techniques of impressionist in Paris, France. In 1909, the poet Marinetti published Futurist Manifesto to praise modern industrial civilization, science and technology to completely change traditional concepts of time and space and advocate that future art should reflect modern machine civilization, power and competition on the one hand; on the other hand, to question the conservative culture, wipe out cultural heritage from ancient Rome, and advocate destroying museums, libraries and colleges. Futurism initiated from this manifesto.

In 1910, Bala and other Italian artists jointly published Declaration of Futurist painting techniques, calling on destroying old social and cultural order by the weapon of art. Bala became one of the founders of Futurism. Creation interest of Futurism artists covered all the art forms, including painting, sculpture, poetry, theater, music, etc. Bala advocated the principle of simultaneity in painting and displayed the moving objects through description of each side of the same object to lead art from negative to positive, from abstract to real, from the past to the future. Balas works were characterized by the basic use of color and shape, focus on melody, abstract handling of light and color to manifest the speed, movement and strength.

The dog on the chain is Balas most famous work, depicting the women dressed in skirts with the dog walking in the street. Because the figure and dog were moving, so the dog in this picture had many legs instead of four legs, leaving continuous memory of movement within the space. Many different instantaneous images were simultaneously condensed on the same scene like a film or a continuous shooting. Such multi-object, multi-dimensional simultaneous juxtaposition gave a sense of speed to the whole picture. On the basis of Cubism, Bala added the factors of speed and time and superposed different movements on the same image. What he stressed was the so-called principle of simultaneity of art, which is to depict all sides of the object in a certain activity to demonstrate the motion of the object.

by: Cotillard

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