Balla is often portrayed as a painter closely associated with Italian Futurism although in fact, like a number of others associated with the group, his work crossed into a number of creative disciplines including fashion and the applied arts. In 1914 he wrote the Manifesto on Menswear, later retitled Antineutral Clothing, a dramatic exhortation to dispense with the mundaneity of everyday menswear in favour of dynamic, expressive, and aggressive Futurist clothing. Like his fellow Futurists he sought to sweep away all vestiges of Italy cultural heritage in favour of an emphatically 20th-century way of life. He conceived of Futurist menswear as allowing its wearers to respond to mood changes through pneumatic devices that can be used on the spur of the moment, thus everyone can alter his dress according to the needs of his spirit. It could also be animated by electric bulbs. He had an exhibition at the Casa DArte Bragaglia in Rome in 1918, in conjunction with which he co-published his Colour Manifesto. He was also committed to Futurist applied arts and furniture, brightly painted and with richly animated surfaces, and showed them at his Futurist House in 1920, the year in which he collaborated on the journal Roma futurista. He also exhibited at the Paris Exposition des Arts D??coratifs et Industriels of 1925 and the International Exhibition at Barcelona in 1929. However he failed to get his Futurist designs put into mass production and during the 1930s gradually distanced himself from such an outlook.  Related Paintings of giacomo balla :. | La Presentazione dell' Anima a Dio | merkuriu passerar framfor solen | dynamism of a dog on a leash | swifts paths of movement dynamic sequences | merkurius passerar framfor solen |
Related Artists:
Nicolas de Largilliee
Largilliere's father, a merchant, took him to Antwerp at the age of three. As a boy, he spent nearly two years in London. Sometime after his return to Antwerp, a failed attempt at business led him to the studio of Goubeau. However, Largilliere left at the age of eighteen and went to England, where he was befriended and employed by Peter Lely for four years at Windsor, Berkshire. Painting careerEarly careerHis painting caught the attention of Charles II, who wished to retain Largilliere in his service, but the controversy aroused by the Rye House Plot against Roman Catholics alarmed Largilliere. Largilliere left for Paris, where he was well-received by the public as a painter. Upon ascending to the throne in 1685, James II requested Largilliere to return to England. James II offered Largilliere the office of keeper of the royal collections, but he declined due to being uneasy about Rye House Plot. However, during a short stay in London, he painted portraits of the king, the queen Mary of Modena, and the prince of Wales James Francis Edward Stuart. The portrait of the Prince of Wales could not have been painted during Largilliere's stay in London because the prince was not born until 1688. The three portraits painted by Largilliere of the prince in his youth must have been executed in Paris, where he returned sometime before March 1686. The portrait of King James II was painted in 1686. King James is portrayed in golden armor with a white cravat and is positioned in front of a watercolour-like background set in a round frame.
THORNHILL, Sir James
English painter (b. 1676, Melcombe Regis, d. 1734, Weymouth).
BREKELENKAM, Quiringh van
Dutch painter (active c. 1647-1669 in Leiden) Dutch painter. He probably trained in Leiden, possibly under Gerrit Dou. In 1648, with several other painters, he founded the Guild of St Luke in Leiden. He married for the first time in 1648 and again in 1656, a year after his first wife's death. In 1649 his sister Aeltge married the painter Johannes Oudenrogge (1622-53), and the couple soon moved to Haarlem while the Brekelenkam family remained in Leiden. About 1656 Brekelenkam apparently acquired a licence to sell beer and brandy, perhaps because his income as a painter was insufficient to support his large family (six children from his first marriage and three from his second). He continued to be active as an artist and paid his guild dues fairly regularly. The last dues were paid in 1667, and his last dated painting, the Portrait of a Man Aged 33, is from 1669.