Futurism in the context of "Carlo Carrà"

Abstract expressionism in the United States emerged as a distinct art movement in the aftermath of World War II and gained mainstream acceptance in the 1950s, a shift from the American social realism of the 1930s influenced by the Great Depression and Mexican muralists. The term was first applied to American art in 1946 by the art critic Robert Coates. Key figures in the New York School, which was the center of this movement, included such artists as Arshile Gorky, Jackson Pollock, Franz Kline, Mark Rothko, Norman Lewis, Willem de Kooning, Adolph Gottlieb, Clyfford Still, Robert Motherwell, Theodoros Stamos, and Lee Krasner among others.

The movement was not limited to painting but included influential collagists and sculptors, such as David Smith, Louise Nevelson, and others. Abstract expressionism was notably influenced by the spontaneous and subconscious creation methods of Surrealist artists like André Masson and Max Ernst. Artists associated with the movement combined the emotional intensity of German Expressionism with the radical visual vocabularies of European avant-garde schools like Futurism, the Bauhaus, and Synthetic Cubism.

Dada (/ˈdɑːdɑː/) or Dadaism was an international art movement that developed in the context of the Great War and Futurism first established in Zürich, Switzerland, and later quickly spread to Berlin, Paris, New York City and a variety of artistic centers in Europe and Asia. The Dada movement's principles were first collected in Hugo Ball's Dada Manifesto in 1916. Ball is seen as the founder of the Dada movement. Key figures in the movement included Hugo Ball, Emmy Hennings, Jean Arp, Johannes Baader, Marcel Duchamp, Max Ernst, Elsa von Freytag-Loringhoven, George Grosz, Raoul Hausmann, John Heartfield, Hannah Höch, Richard Huelsenbeck, Francis Picabia, Man Ray, Hans Richter, Kurt Schwitters, Sophie Taeuber-Arp, Tristan Tzara, and Beatrice Wood, among others. The movement influenced later styles like the avant-garde and downtown music movements, and groups including Surrealism, nouveau réalisme, pop art, and Fluxus.

Luigi Carlo Filippo Russolo (30 April 1885 – 4 February 1947) was an Italian Futurist painter, composer, builder of experimental musical instruments, and the author of the manifesto The Art of Noises (1913). Russolo completed his secondary education at Seminary of Portogruaro in 1901, after which he moved to Milan and began gaining interest in the arts. He is often regarded as one of the first noise music experimental composers with his performances of noise music concerts in 1913–14 and then again after World War I, notably in Paris in 1921. He designed and constructed a number of noise-generating devices called Intonarumori.

The culture of Italy encompasses the knowledge, beliefs, arts, laws, and customs of the Italian peninsula throughout history. Italy has been a pivotal center of civilisation, playing a crucial role in the development of Western culture. It was the birthplace of the Roman civilisation, the Catholic Church, and the Renaissance, and significantly contributed to global movements such as the Baroque, Neoclassicism, and Futurism.

Italy is one of the primary birthplaces of Western civilisation and a cultural superpower.

Giovanni Papini (9 January 1881 – 8 July 1956) was an Italian journalist, essayist, novelist, short story writer, poet, literary critic, and philosopher. A controversial literary figure of the early and mid-twentieth century, he was the earliest and most enthusiastic representative and promoter of Italian pragmatism. Papini was admired for his writing style and engaged in heated polemics. Involved with avant-garde movements such as futurism and post-decadentism, he moved from one political and philosophical position to another, always dissatisfied and uneasy: he converted from anti-clericalism and atheism to Catholicism, and went from convinced interventionism – before 1915 – to an aversion to war. In the 1930s, after moving from individualism to conservatism, he finally became a fascist, while maintaining an aversion to Nazism.

As one of the founders of the journals Leonardo (1903) and Lacerba (1913), he conceived literature as "action" and gave his writings an oratory and irreverent tone. Though self-educated, he was an influential iconoclastic editor and writer, with a leading role in Italian futurism and the early literary movements of youth. Working in Florence, he actively participated in foreign literary philosophical and political movements such as the French intuitionism of Bergson and the Anglo-American pragmatism of Peirce and James. Promoting the development of Italian culture and life with an individualistic and dreamy conception of life and art, he acted as a spokesman for Roman Catholic religious beliefs.

The Return to Order (French: retour à l'ordre) was a European art movement following the First World War that rejected the extreme avant-garde art of the years up to 1918 and emphasized the classical ideals of order and rationality. The movement is often thought to be a reaction to the war, though strands of the Return to Order began before its outbreak, such as the Noucentista movement in Spain. Futurism, which had praised machinery, dynamism, violence and war, was rejected by most of its adherents. The return to order was associated with a revival of classicism and representational painting. Among the many artists who participated in the movement were notable figures in modernism such as Picasso and Braque, Matisse, Cezanne, Renoir, and much of the Italian Futurists.

Artists of the Return to Order placed high emphasis on the classical ideals of rationality, quality of line, illusionism and order, in opposition to the preceding decades of irrationality and emotional turbulence which characterised the artworks of the avant-garde. Although taking classicism as its foundational inspiration, artists were keen to re-interpret the essence of classical art through the lens of modernism, and a link was often made between the idealism of the classical period and the “Plastic-like” art of the modern era. Many of the works made during the period display modernist tendencies alongside classical subjects and techniques.