Gino SeveriniItália, 1883–1966Self-Portrait
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Art Institute of Chicago
Chicago, Estados Unidos
Pertence à coleção, mas de momento não está exposta.
- Verificado
- há 16 horas
- Neste estado desde
- 19 de ago. de 2026
- Fonte
- Os dados da própria coleção do museu
Pormenores
- Número de inventário
- 1969.376
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Fontes
- Art Institute of Chicago: the museum's own open data · obtido há 4 dias
- Imagem: Art Institute of Chicago — © the artist or rights holder
Entretanto, na vida de Gino Severini
A vida inteirafrom 1910
Big-city nightlife becomes his main theme
From 1910 the main theme of his paintings is the nightlife of the big city, in which signs of Futurism — dynamism and sharpness of image — can be seen. The machine attracts him less than his fellow Futurists, and he most often chooses the figure of the dancer to express the Futurist theories of dynamism.
February – April 1910
Signs the manifestos of Futurist painting
Invited by Filippo Tommaso Marinetti and Boccioni to join the Futurist movement, he co-signs, with Balla, Boccioni, Carlo Carrà and Luigi Russolo, the Manifesto of the Futurist Painters (February 1910) and the Technical Manifesto of Futurist Painting (April of the same year).
1911
The link between Paris and the Futurists
An important link between artists in France and Italy, he comes into contact with Cubism before his Futurist colleagues; after a visit to Paris in 1911 the Italian Futurists adopt a sort of Cubism, which gives them a means of analysing energy in paintings and expressing dynamism.
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