GINO SEVERINI: Restless dancer
(Verlag der Photograph1schen
Gesellschaft.
Berlm�Charlottenburg 9)identical: the "subject" even seems to stand out in front of the picture's
surface. At the same time the subject was so recklessly deformed and
geometrized that the layman could hardly recognize it any more. The
transformation applied equally to shape and colour. Cubism• (Gieizes,
Leger, Picasso, Feininger) tried for the first time to create a truly visual
harmony quite independent of the subject. What was also new in Cubism
was the occasional introduction of tin, paper, wood, and other materials
as components of painting, which were used just like paint as construc
tional elements in the design
As well as Cubism, which was predominantly French, Futurism•• in Italy and
Expressionism in Germany appeared concurr ently before the war. Futurism,
in order to achieve a new content, tried to capture movement in painting
Different methods were employed: in some, the object was partially
repeated several times (Balla), or by being broken up into individual parts,
so that perspective was abolished and the illusion of several simultaneous
- Cubus (Latm) = cube
•• futur (French) =future