- Let us explain again by examples. In painting a person on a balcony, seen from inside the room do not limit the scene to what the square of the window renders visible; we try to render the sum total of visual sensations which the person on the balcony has experienced; the sun-baked throng in the street, the double row of houses which stretch to right and left, the beflowered balconies etc. This implies the simultaneity of the ambient, and, therefore, the dislocation and the dislocation and dismemberment of objects, the scattering and fusion of details, freed from accepted logic and independent from one another. In order to make the spectator live in the center of the picture, as we express it in our manifesto (the ‘Manifesto of Futurist Painters’, 1910, fh), the picture must be the synthesis of what one remembers and what one sees. You must render the invisible which stirs lives beyond intervening obstacles, what we have on the right, or the left, or behind us, and not merely the small square of life artificially compressed, as it were, by the wings of a stage set. We have declared in our manifesto that what must be rendered is the dynamic sensation, that is to say, the particular rhythm of each object, its inclination, its movement, or more exactly, its interior force.
* Umberto Boccioni, source of his artist quotes on futurist painting art & sculpture: ‘Les exposants au public’, Boccioni et al.; exh. Cat. Galerie Bernheim-Jeune & Cie February 1912, p. 47 ( painter sculptor in Italian Futurism and co-editor of the Futurist Manifesto; his famous futurist painting ‘City rises’; some links for more biography facts and images of Boccioni’s art at the bottom)