Manifesto Writing and European Modernism, 1885-1915: Toronto Italian Studies

Manifestos were a crucial part of the modernist movement, providing a platform for artists and writers to articulate their ideas and challenge traditional aesthetic norms. The period 1885-1915 saw a proliferation of manifestos, as artists and writers sought to define and promote new artistic movements.

Legitimizing the Artist: Manifesto Writing and European Modernism 1885-1915 (Toronto Italian Studies)

by Luca Somigli

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The first major modernist manifesto was the Symbolist Manifesto, published in 1885 by Jean Moréas. This manifesto called for a new kind of poetry that would be subjective, evocative, and symbolic. It rejected the traditional emphasis on rationality and objectivity, and instead celebrated the power of imagination and emotion.

The Futurist Manifesto, published in 1909 by Filippo Tommaso Marinetti, was another important modernist manifesto. This manifesto called for a new art that would be dynamic, violent, and modern. It rejected the past and celebrated the future, and it advocated for the use of new technologies and materials in art.

The Expressionist Manifesto, published in 1910 by Franz Marc and Wassily Kandinsky, was another influential modernist manifesto. This manifesto called for a new art that would be expressive, emotional, and subjective. It rejected the traditional emphasis on representation, and instead celebrated the power of expression.

The Cubist Manifesto, published in 1912 by Guillaume Apollinaire, was another important modernist manifesto. This manifesto called for a new art that would be based on the principles of Cubism. Cubism is a style of art that breaks down objects into geometric shapes, and it emphasizes the multiple perspectives of an object.

The Vorticist Manifesto, published in 1914 by Wyndham Lewis, was another significant modernist manifesto. This manifesto called for a new art that would be based on the principles of Vorticism. Vorticism is a style of art that emphasizes the power of the machine, and it celebrates the energy and dynamism of modern life.

The Dadaist Manifesto, published in 1916 by Tristan Tzara, was another important modernist manifesto. This manifesto called for a new art that would be anti-art. Dadaism is a style of art that rejects all traditional aesthetic norms, and it celebrates the absurd and the irrational.

The Surrealist Manifesto, published in 1924 by André Breton, was another influential modernist manifesto. This manifesto called for a new art that would be based on the principles of Surrealism. Surrealism is a style of art that emphasizes the power of the subconscious mind, and it celebrates the irrational and the dreamlike.

Manifestos played a crucial role in the development of European modernism. They provided a platform for artists and writers to articulate their ideas and challenge traditional aesthetic norms. They also helped to create a sense of community among artists and writers, and they fostered a spirit of experimentation and innovation.

The legacy of manifesto writing can still be seen in contemporary art and literature. Manifestos continue to be used by artists and writers to define and promote new artistic movements, and they continue to play an important role in the development of new aesthetic ideas.

References

• Manifestos of Surrealism, translated by André Breton and Mark Polizzotti, University of Michigan Press, 1994.
• The Dada Almanac, edited by Hannah Höch, Richard Huelsenbeck, and Raoul Hausmann, MIT Press, 2006.
• The Futurist Manifesto, translated by Marinetti and E.F. N. Prins, J.M. Dent & Sons, 1913.
• The Vorticist Manifesto, by Wyndham Lewis, Blast, 1914.
• The Cubist Manifesto, by Guillaume Apollinaire, Soirées de Paris, 1913.
• The Expressionist Manifesto, by Franz Marc and Wassily Kandinsky, Sturm, 1910.
• The Symbolist Manifesto, by Jean Moréas, Le Figaro, 1885.