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Lot Essay
Balla led the path for his two fellow artist friends, Umberto Boccioni (1882-1916) and Gino Severini (1883-1966), towards a 'modernist' way of painting. Therefore, when Boccioni and Severini initiated the first Manifesto of Futurist painting in 1910, they invited Balla to sign it. Futurist painting consisted of creating movement by breaking it down into structured stages, and focusing on the analysis of light, which Balla and his Futurist friends stripped bare into triangles of colours, known as 'iridescent interpretations'. The Futurists aimed to depict the dynamics of the new modern world, which was taking place at the beginning of the century.
By 1917, Balla's fascination lay in the synthesis of movement, studying the movement of cars and fusing the environmental factors such as light and sound, working on what he called 'the line of speed'. From then on, Balla felt a positively physical need to extend his interest from the canvas to the environment. He theorised this idea of 'Futurist reconstruction of the universe' in a manifesto in 1915. Balla went on to produce several stage and costume designs such as those for Stravinsky's Feu d'artifice of 1917. He further experimented his Futurist concepts on furniture, of which one of his most ambitious achievements in that field was the furniture he provided for Casa Balla, between 1918 and 1920. Balla also made clothes with the help of his daughter, Luce, which he and his friends wore (figs. 1 & 2). Autoritratto encapsulates Balla's determination to succeed in a 'Futurist reconstruction of the universe', which reaches its peak in this self-portrait. Balla divided his portrait in flat black geometrical surfaces, transforming himself as 'Balla Futurista'.
(fig. 1) Balla in his studio with a futurist dress, circa 1930. Anonymous photographer.
(fig. 2) Balla in front of his self-portrait, 1927.
By 1917, Balla's fascination lay in the synthesis of movement, studying the movement of cars and fusing the environmental factors such as light and sound, working on what he called 'the line of speed'. From then on, Balla felt a positively physical need to extend his interest from the canvas to the environment. He theorised this idea of 'Futurist reconstruction of the universe' in a manifesto in 1915. Balla went on to produce several stage and costume designs such as those for Stravinsky's Feu d'artifice of 1917. He further experimented his Futurist concepts on furniture, of which one of his most ambitious achievements in that field was the furniture he provided for Casa Balla, between 1918 and 1920. Balla also made clothes with the help of his daughter, Luce, which he and his friends wore (figs. 1 & 2). Autoritratto encapsulates Balla's determination to succeed in a 'Futurist reconstruction of the universe', which reaches its peak in this self-portrait. Balla divided his portrait in flat black geometrical surfaces, transforming himself as 'Balla Futurista'.
(fig. 1) Balla in his studio with a futurist dress, circa 1930. Anonymous photographer.
(fig. 2) Balla in front of his self-portrait, 1927.