results of Bragaglia’s work contrast with the series
of analytic images from motion studies by nine-
teenth century figures such as those of photographic
innovator Eadweard Muybridge and the time
photography of physician and physiologist E ́ti-
enne-Jules Marey. Marinetti endorsed Bragaglia’s
investigations and exhibited all of his photo-
dynamic images. Bragaglia also commented on
them in lectures and in his published essayFoto-
dinamismo futurista (Rome: Nalato, 1911). Af-
terward, an initiative by Boccioni in 1913 officially
banned Bragaglia’s photographic experiments from
the futurist movement. Boccioni rejected pho-
tography as a potentially creative medium for the
intuition of the artist and feared that futurist paint-
ings would be seen as based in motion-study photo-
graphy. Bragaglia dedicated himself from that time
on to making film. In the futurist movement, photo-
graphy was then used only to make portraits of
individual members and of group gatherings. Dur-
ing the 1920s outside of Italy, countless experiments
were conducted with multiple and long exposures,
photo collages, and montages, as well as photo-
grams. These were undertaken by such people as
Ilse Bing, Anton Stankowski, La ́szlo ́ Moholy-
Nagy, and Heinz Hajek-Halke in Germany, many
of these figures associated with the Bauhaus; Maur-
ice Tabard and Man Ray in France, who were asso-
ciated with Surrealism; and Alexandr Rodchenko
and El Lissitzky in the Soviet Union, associated with
Constructivism. At this time Italian photographers
and artists also began once again to experiment with
photography. The photography of the European
avant-garde was exhibited from May to July 1929
at the exhibitionFilm und Fotoin Stuttgart.
The second generation of Italian futurism, as
Enrico Crispolti first called it in 1958, is character-
ized by an intensive engagement with new technol-
ogies. This included a fascination with speed, the
automobile, and the internal mechanisms of
machines. In September 1929, Marinetti published
his first theoretical writings about aeropittura,
painting that represents the visions and emotions
experienced while flying and thematizes the con-
quering of space—a notion developed by many
futurist artists, such as Giacomo Balla, Benedetta
Cappa, Tullio Crali, Enrico Prampolini, and Tato.
In November of the same year, Vinicio Paladini
published an essay on photomontage, which origi-
nated in Germany with La ́szlo ́Moholy-Nagy and
Hannah Ho ̈ch. In 1930, Tato (pseudonym of
Guglielmo Sansoni) and Marinetti published Il
manifesto della fotografia futurista(Manifesto of
Futurist Photography). In this work they called
for the art of photography to explore many things:
the drama of the static and moving object; the effect
of surprise; the transformation of objects; the inver-
sion of the reality effect; the optical fusion of bodies
and objects; the perspective from heights to depths
and from depths to heights; and photographing
characteristics of people or bodies with extreme
close-ups or psychological and satirical combina-
tions with other bodies that suggest an inner psy-
chological state. In the sixteen points listed in his
manifesto ‘‘The Art of Transforming Objects,’’
Marinetti, whose creative work was influenced by
a passion for war, includes, though it seems uncon-
nected, the art of war camouflage, which aims to
elude observation from the air.
Between 1930 and 1933 many amateur and pro-
fessional photographers exhibited futurist photo-
graphy in Turin, Milan, Rome, and Trieste.
Filippo Masoero presented views of flight,Aerofo-
tografia, that recorded distorted images of cities
from the perspective of an airplane. In 1915, For-
tunato Depero created staged self-portraits that
Giovanni Lista describes as the first futurist
photo performance. Like Ivo Pannaggi and Mar-
cello Nizzoli, Paladini created collages, such as the
series ‘‘Olympic Games’’ (1934), made from photo-
graphs, images printed with type, and colored
paper, which were similar to Dadaist works. In
the second and third decades of the twentieth cen-
tury, Arturo Bragaglia created many-headed por-
traits and extended time exposures of everyday
body movements, such asThe Smoker(1913) and
The Slap(1912). Tato, Ferruccio A. Demanins,
and Wanda Wulz stand out with their sandwich-
board portraits. These portraits represent how the
overlapping of memory and the impressions of
the present in an individual’s consciousness affect
perception. They were also intended to represent
characterizations of people and their inner psycho-
logical state. In this way, artists play with symbols
and with combinations of the ironic and serious, as
in the self-portrait of Wanda WulzIch + Katze
(1932) and in the portrait by Tato of the writer
Mino Somenzi—whose piercing gaze is shown
simultaneously from various directions, with a cen-
tral symbol of futurism, the propeller, transposed
over it. Tato combined different objects under
extreme lighting to create new and strange figura-
tions. He calls attention to these optical effects in
his naming of the images, for example, in the ironic
photographs titled thePerfect Citizen(1930) and
Shepherd with Little Ass(1930). He constructs the
scenes from paper figures and so deconstructs, very
much like Giulio Parisio, the claim to reality that is
generally imposed on photography, leading the
viewer through the same medium but to a subjec-FUTURISM