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The Street Pavers 1914 Umberto Boccioni Italian. Vintage art by a master. A great gift for art lovers and a peice that lifts the decor by its presence. Boccioni was a member of the Futurists, a group of Italian artists who announced their existence in 1909 with a manifesto published on the front page of the French paper, Le Figaro. The group called for the abandonment of the past in favor of modern life and aimed to represent the metropolis in "multicolored and polyphonic tidal waves of revolution." Canvases such as The Street Pavers offered Boccioni the opportunity to radically transform a scene of backbreaking work into a celebration of the powerful form of the modern laborer. Through his inventive use of pulsating color and rhythmic brushwork, the artist activated the surface of the canvas, making the faceless workers almost indistinguishable from their urban setting. Title: The Street Pavers Artist: Umberto Boccioni (Italian, Reggio 1882–1916 Sorte) Date: 1914 Medium: Oil on canvas Designed for indoor use, custom stretched canvas prints are made from treated cotton - providing the smoothest of matte surfaces for exceptional design vividity. A combination of quality and durability, these hangings come with a lifelong color guarantee; there's significant confidence in their withstanding the test of time. On the backside, pre-installed hanging hardware ensures proper locking to walls. .: 100% cotton fabric .: Wooden frame .: High image quality and detail .: For indoor use References on original A[ttilio]. Po[destà]. "Vitalità di Boccioni." Emporium 107 (February 1948), ill. p. 73, notes its inclusion in Exh. Milan 1948. Alfred H. Barr Jr. in James Thrall Soby and Alfred H. Barr Jr. Twentieth-Century Italian Art. Exh. cat., Museum of Modern Art, New York. New York, 1949, pp. 9, 126, pl. 1, dates it "1910?". Marco Valsecchi. Umberto Boccioni. Venice, 1950, pp. [2–4], ill., calls it "I Selciatori" and tentatively dates it 1909. Giulio Carlo Argan with Maurizio Calvesi. Umberto Boccioni. Rome, 1953, pp. 15, 34, 75, pl. 20, as "Selciatori," in the collection of Toninelli, Milan. Raffaele Carrieri. Avant-Garde Painting and Sculpture (1890–1955) in Italy. 2nd rev. ed. (1st ed., Italian, 1950). Milan, 1955, pp. 5 (English translation), 45, pl. 16, calls it "The Pavers"; dates it 1909 in the text and 1909? in the caption; erroneously locates it still in the Toninelli collection. "The Winston Collection on Tour." Arts 32 (January 1958), ill. p. 37 (color), dates it 1909. Joshua C. Taylor. Futurism. Exh. cat., Museum of Modern Art, New York. New York, 1961, pp. 43–45, 142, no. 31, ill. (color), tentatively dates it summer 1911. Raffaele De Grada. Boccioni, il mito del moderno. Milan, 1962, pp. 158–59, 173, 178, 343, colorpl. IX, calls it "I Selciatori" and dates it 1910. Lydia K. Winston and Harry L. Winston. "Le Futurisme." Aujourd'hui 6 (February 1962), ill. p. 6 (color), date it 1911. Reyner Banham. "Futurism for Keeps." Arts Yearbook 6 (1962), ill. p. 162 (color), dates it 1911. Raffaele Carrieri. Futurism. Milan, 1963, pl. 1, dates it 1909. Joshua C. Taylor. "Harry Lewis Winston, Birmingham, Michigan: Futurist and Other Twentieth-Century Art." Great Private Collections. Ed. Douglas Cooper. New York, 1963, p. 297, ill. p. 294 (color), tentatively dates it summer 1911. George Savage. "Collectors Collected." Studio 167 (February 1964), ill. p. 89 (color). Gene Baro. "Collector: Lydia Winston." Art in America 55 (September–October 1967), ill. pp. 73 (installation photo), 77 (color), dates it 1911. Teresa Fiori, ed. Archivi del divisionismo. Rome, 1968, vol. 2, p. 197, no. 2447, pl. 506, calls it "I Selciatori" and dates it 1910. Marianne W. Martin. Futurist Art and Theory, 1909–1915. Oxford, 1968, pp. 105–6, 158 n. 2, pl. 73, calls it "I Selciatori"; dates it summer 1911, noting the early influence of Cubism, although Boccioni had not yet seen a Cubist painting. Gianfranco Bruno. L'Opera completa di Boccioni. Milan, 1969, pp. 114–15, no. 178a, ill. and colorpl. LV, calls it "Selciatori" and dates it 1914. Gene Baro. "Futurism Preserved: Lydia Winston Malbin." The Collector in America. Ed. Jean Lipman. New York, 1970, ill. p. 181 (installation photo). Linda Shearer and Marianne W. Martin. Futurism: A Modern Focus. The Lydia and Harry Lewis Winston Collection. Dr. and Mrs. Barnett Malbin. Exh. cat., Solomon R. Guggenheim Museum. New York, 1973, pp. 66–67, 236, no. 27, ill., date it 1911, noting that the theme of workers relates to "The City Rises" (1910; Museum of Modern Art, New York) and was not taken up again in later works; consider the "hesitant and superficial allusions to Cubism" evidence of Boccioni's earlier style; suggest the influence of Courbet's "Stone Breakers" which Boccioni may have seen at the 1910 Venice Biennale. Umbro Apollonio, ed. Futurist Manifestos. New York, 1973, p. 229, no. 93, ill. p. 168, as "Pavers," 1914. Caroline Tisdall and Angelo Bozzolla. Futurism. New York, 1978, pp. 85, 212, pl. 85, as "The Pavers," 1914; compared to "The City Rises," call it "quite the opposite, a detail of city life transformed into still-life". Guido Ballo. Boccioni, la vita e l'opera. 2nd ed. (1st ed., 1964). Milan, 1982, pp. 165, 228, appendix no. 580, ill. and pl. 237, calls it "I Selciatori (The Pavers)"; dates it 1914, based on its stylistic similarities with other works of this year. Maurizio Calvesi and Ester Coen. Boccioni: L'opera completa. Milan, 1983, pp. 510–11, no. 911, ill. (color), as "I selciatori," 1914; catalogue five sketches for this picture (nos. 912–916; MMA 1990.86; private collection, Milan; MMA 1990.38.29; MMA 1990.38.28; private collection, Tivoli). Ann Temkin in The Futurist Imagination: Word + Image in Italian Futurist Painting, Drawing, Collage and Free-Word Poetry. Ed. Anne Coffin Hanson. Exh. cat., Yale University Art Gallery. [New Haven], 1983, pp. 31, 83–84, no. 18, colorpl. 3, dates it 1911. Sandra Berresford. "Book Reviews: Boccioni. L'Opera Completa." Burlington Magazine 127 (April 1985), p. 239, remarks that although Ref. Calvesi and Coen 1983 date it 1914, the preparatory studies could indicate an earlier date of 1908–10. Maria Drudi Gambillo and Teresa Fiori, ed. Archivi del futurismo. 2nd ed. (1st ed., 1962). Rome, 1986, vol. 2, p. 263, no. 197, ill. p. 208, as "I Selciatori". Gerald Silk. "At Home with the Future: In New York, Lydia Winston Malbin's Futurist Art Rivals Italy's Best." House & Garden 158 (October 1986), ill. pp. 207–8 (color, installation photos), dates it 1911. John Dorsey. "New Wing Lifts the Met Into the 20th Century." Sun (February 1, 1987), p. K12, dates it 1911. Ester Coen. Umberto Boccioni. Exh. cat., The Metropolitan Museum of Art. New York, 1988, pp. 179–81, no. 76A, ill. (color), dates it 1914 for stylistic reasons, adding that after his fellow Futurists criticized his book "Pittura, scultura futuriste," published earlier that year, Boccioni returned here to a divisionist examination of color; states that there are at least four studies for this picture [see Ref. Calvesi and Coen 1983]. Sylvia Hochfield. "Spotlight. Lydia Winston Malbin: A Futurist Eye." Art News 87 (April 1988), ill. p. 91 (color, installation photo). Giorgio Verzotti. Boccioni: Catalogo completo dei dipinti. Florence, 1989, p. 137, no. 136, ill. (color). Lisa M. Messinger in "Recent Acquisitions. A Selection: 1989–1990." Metropolitan Museum of Art Bulletin 48 (Fall 1990), pp. 66–67, ill. (color), notes that the MMA owns three of four known sketches for this picture [see Ref. Calvesi and Coen 1983]. Livia Velani in On Dynamism: Works by Umberto Boccioni from The Metropolitan Museum of Art, New York and the Civiche Raccolte d'Arte del Castello Sforzesco, Milano. Ed. Giovanna Bonasegale. Exh. cat., Galleria Comunale d'Arte Moderna e Contemporanea. Rome, 1999, pp. 21–22, 72–74, no. 10, ill. and colorpl. VIII, calls it "I Selciatori"; notes that 1914 is the "generally accepted date," adding that its style and form place it late in that year. Alberto Dambruoso in Maurizio Calvesi and Alberto Dambruoso. Umberto Boccioni: Catalogo Generale delle Opere. Turin, 2016, p. 464, no. 761, ill. There are five sketches for this painting, three in the MMA collection (1990.38.28, 1990.38.29, 1990.86; Calvesi and Coen 1983, nos. 915, 914, 912) and two in private collections (Calvesi and Coen 1983, nos. 913, 916). .: 100% Cotton fabric .: Closed Back .: Build with a patented solid support face .: High image quality and detail .: For indoor use
.: 100% cotton fabric
.: Wooden frame
.: High image quality and detail
.: For indoor use
