Aeropittura
Italian movement that emerged in the late 1920s from the second wave of Futurism (see FUTURISM, §1), which it eventually supplanted. It was announced by the publication on 22 September 1929 of the Manifesto dell’Aeropittura, signed by Giacomo Balla, Benedetta (Marinetti’s wife, the painter and writer Benedetta Cappa, 1897–1977), Fortunato Depero, Gerardo Dottori, Fillia, Filippo Tommaso Marinetti, Enrico Prampolini, the painter and sculptor Mino Somenzi (1899–1948) and the painter Tato (pseud. of Guglielmo Sansoni,
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Aeropittura
Italian movement that emerged in the late 1920s from the second wave of Futurism (see FUTURISM, §1), which it eventually supplanted. It was announced by the publication on 22 September 1929 of the Manifesto dell’Aeropittura, signed by Giacomo Balla, Benedetta (Marinetti’s wife, the painter and writer Benedetta Cappa, 1897–1977), Fortunato Depero, Gerardo Dottori, Fillia, Filippo Tommaso Marinetti, Enrico Prampolini, the painter and sculptor Mino Somenzi (1899–1948) and the painter Tato (pseud. of Guglielmo Sansoni, 1896–1974). This text became the key document for the new adherents of Futurism in the 1930s. Although Marinetti had written the first Futurist manifestos, and Balla, Depero and Prampolini were senior figures within the movement, it was Dottori and younger painters who developed the new form most impressively. Building on earlier concerns with the speeding automobile, both Marinetti and the Fascist government gave particular importance to aeronautics in the 1920s, extolling the pilot as a type of Nietzschean ‘Superman’.
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