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Tullio d’Albisola between Futurism and Fascism

  • Luca Bochicchio
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Volume 10 2020
This chapter is in the book Volume 10 2020

Abstract

Tullio d’Albisola has been recognized as one of the most important members of the so-called second generation of Futurism, due to of his engagement in the movement after 1925 both as a ceramic designer and sculptor, as a poet and an art critic. Taking the political origins of his artistic pseudonym as a starting point, this essay addresses the complicated relationship between the Fascist régime and the artist, originally born as Spartaco Mazzotti, and later baptized Tullio d’Albisola. Based on unpublished documents in Marinetti’s and Tullio’s personal archives, preserved in the Beinecke Rare Books and Manuscripts Library, Yale University, and the Casa Mazzotti in Albissola Marina, my investigations produced new insights into the collaboration between the founder of Futurism and the leader of the Futurist branch in Albisola.

Abstract

Tullio d’Albisola has been recognized as one of the most important members of the so-called second generation of Futurism, due to of his engagement in the movement after 1925 both as a ceramic designer and sculptor, as a poet and an art critic. Taking the political origins of his artistic pseudonym as a starting point, this essay addresses the complicated relationship between the Fascist régime and the artist, originally born as Spartaco Mazzotti, and later baptized Tullio d’Albisola. Based on unpublished documents in Marinetti’s and Tullio’s personal archives, preserved in the Beinecke Rare Books and Manuscripts Library, Yale University, and the Casa Mazzotti in Albissola Marina, my investigations produced new insights into the collaboration between the founder of Futurism and the leader of the Futurist branch in Albisola.

Chapters in this book

  1. Frontmatter I
  2. Contents V
  3. Editorial IX
  4. Section 1: Futurism Studies
  5. The Futurist Manifestos of 1909: Dates and Editions Reconsidered 3
  6. Margherita Sarfatti, Novecento and Futurism 35
  7. Network Diagrams in Futurist and other Avant-garde Magazines: The Creation and Self-Positioning of an Imaginary Community 68
  8. The Reception of Italian Futurism in Vienna during the 1920s and 1930s 95
  9. Carlos Porfírio and Futurism in the Algarve: An Early Chapter in the History of Portuguese Modernism 120
  10. Tullio d’Albisola between Futurism and Fascism 149
  11. The Georgian Avant-garde: Futurism and More 172
  12. Futurism and the Birth of Modern Typography 200
  13. Tato and Exhibitions of Futurist Photography in the 1930s 216
  14. In Search of Lost Scents: The Olfactory Dimension of Italian Futurism 247
  15. Satirizing Futurism in France: Roland Dorgelès, André Warnod and their Circle 276
  16. Section 2: Caricatures and Satires of Futurism in the Contemporary Press
  17. At a Sándor Bortnyik Exhibition in Budapest (June 1919): A Hungarian Critic’s Interpretation of ‘Futurism’ 309
  18. Ragnvald Blix’s Caricature of Futurist Painting in the Midst of WWI 315
  19. French Humour and Futurist Music: Luigi Russolo’s intonarumori in a Cartoon by Jean-Jacques Roussau 319
  20. Caricatures of Futurism in Il travaso delle idee 324
  21. Macaronetti, Marie Netti, and the Like: Parodies of Futurism at the Great Zwans Exhibition in Brussels (1914) 328
  22. Returning to the Futurist Fold: A Caricature in Bloodless Murder Magazine (1916) 332
  23. Marinetti Viewed by Antonio Teixeira Cabral, a Portuguese “Caricature-on-the-scene reporter” 336
  24. Section 3: Archive Report
  25. Archive Report: The Archiv der Avantgarden (AdA) in Dresden 341
  26. Section 4: Reviews
  27. A New Study on Italian Futurism and the Machine 359
  28. New Research into Marinetti’s Notebooks 368
  29. Evola’s Path from Futurism to Dada and Beyond 379
  30. Valentine de Saint-Point: Between Carnality and Ideism, Between East and West 383
  31. Contours and Borders of International Futurism 392
  32. Růžena Zátková’s Life and Works Elucidated in a New Study 397
  33. Ukrainian Modernism between Futurism and Constructivism, between Russia and the West 404
  34. Section 5: Bibliography
  35. A Bibliography of Publications on Futurism, 2017–2020 411
  36. Section 6: Back Matter
  37. List of Illustrations and Provenance Descriptions 431
  38. Notes on Contributors 439
  39. Name Index 449
  40. Subject Index 481
  41. Geographical Index 511
https://doi.org/10.1515/9783110702200-006

Chapters in this book

  1. Frontmatter I
  2. Contents V
  3. Editorial IX
  4. Section 1: Futurism Studies
  5. The Futurist Manifestos of 1909: Dates and Editions Reconsidered 3
  6. Margherita Sarfatti, Novecento and Futurism 35
  7. Network Diagrams in Futurist and other Avant-garde Magazines: The Creation and Self-Positioning of an Imaginary Community 68
  8. The Reception of Italian Futurism in Vienna during the 1920s and 1930s 95
  9. Carlos Porfírio and Futurism in the Algarve: An Early Chapter in the History of Portuguese Modernism 120
  10. Tullio d’Albisola between Futurism and Fascism 149
  11. The Georgian Avant-garde: Futurism and More 172
  12. Futurism and the Birth of Modern Typography 200
  13. Tato and Exhibitions of Futurist Photography in the 1930s 216
  14. In Search of Lost Scents: The Olfactory Dimension of Italian Futurism 247
  15. Satirizing Futurism in France: Roland Dorgelès, André Warnod and their Circle 276
  16. Section 2: Caricatures and Satires of Futurism in the Contemporary Press
  17. At a Sándor Bortnyik Exhibition in Budapest (June 1919): A Hungarian Critic’s Interpretation of ‘Futurism’ 309
  18. Ragnvald Blix’s Caricature of Futurist Painting in the Midst of WWI 315
  19. French Humour and Futurist Music: Luigi Russolo’s intonarumori in a Cartoon by Jean-Jacques Roussau 319
  20. Caricatures of Futurism in Il travaso delle idee 324
  21. Macaronetti, Marie Netti, and the Like: Parodies of Futurism at the Great Zwans Exhibition in Brussels (1914) 328
  22. Returning to the Futurist Fold: A Caricature in Bloodless Murder Magazine (1916) 332
  23. Marinetti Viewed by Antonio Teixeira Cabral, a Portuguese “Caricature-on-the-scene reporter” 336
  24. Section 3: Archive Report
  25. Archive Report: The Archiv der Avantgarden (AdA) in Dresden 341
  26. Section 4: Reviews
  27. A New Study on Italian Futurism and the Machine 359
  28. New Research into Marinetti’s Notebooks 368
  29. Evola’s Path from Futurism to Dada and Beyond 379
  30. Valentine de Saint-Point: Between Carnality and Ideism, Between East and West 383
  31. Contours and Borders of International Futurism 392
  32. Růžena Zátková’s Life and Works Elucidated in a New Study 397
  33. Ukrainian Modernism between Futurism and Constructivism, between Russia and the West 404
  34. Section 5: Bibliography
  35. A Bibliography of Publications on Futurism, 2017–2020 411
  36. Section 6: Back Matter
  37. List of Illustrations and Provenance Descriptions 431
  38. Notes on Contributors 439
  39. Name Index 449
  40. Subject Index 481
  41. Geographical Index 511
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