Gino Severini's Exhibition

ID: 556, Status: proof read
Exhibition period:
Apr 1913
Organizing Bodies:
Marlborough Gallery
s (Great Britain Pound (in Shilling))
Catalogue Entries: 30
Types of Work: painting and drawing: 26, other medium: 4
Artists: 1
Gender: female: 0, male: 1
Nationalities: 1
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Date Title City Venue Type
Date Title City Venue # of common Artists
Jun‒Aug 1913 Der Sturm. Sechzehnte Ausstellung. Gemälde und Zeichnungen des Futuristen Gino Severini Berlin Der Sturm [venues] 1 artists
Jul 1912 Die Futuristen [Wanderausstellung Der Sturm] Hamburg Hamburg (exact location unknown) 1 artists
Apr 12‒May 15, 1912 Der Sturm. Zweite Ausstellung. Die Futuristen Berlin Gilka-Villa 1 artists
May 20‒Jun 1912 Les Peintres Futuristes Italiens / Exposition Brussels Galerie Georges Giroux 1 artists
Aug‒Oct 1914 Der Sturm. Die Futuristen [Achtundzwanzigste Ausstellung] Berlin Der Sturm [venues] 1 artists
Mar 5, 1912 Exhibition of works by the Italian Futurist Painters London Sackville Gallery 1 artists
Feb 5‒24, 1912 Les Peintres Futuristes italiens Paris MM. Bernheim-Jeune & Cie 1 artists
May 18‒Jun 15, 1913 Les Peintres et les Sculpteurs Futuristes Italiens Rotterdam Rotterdamsche Kunstkring 1 artists
Feb‒Mar 1914 Esposizione di Pittura Futurista. Boccioni, Carrà, Russolo, Balla, Severini, Soffici Rome Galleria Futurista - Sprovieri 1 artists
Feb 21‒Mar 21, 1913 Prima Esposizione Pittura Futurista Rome Foyer del Teatro Costanzi 1 artists
May 14‒Jun 10, 1914 Prima Esposizione di pittura futurista Naples Galleria Permanente Futurista 1 artists
Nov 1913‒Jan 1914 Esposizione di Pittura Futurista di "Lacerba" Florence Galleria Gonnelli 1 artists
Apr‒May 1914 Exhibition of Works of the Italian Futurist Painters and Sculptors London Doré Gallery 1 artists
1915 Der Sturm. Dreissigste Ausstellung Berlin Der Sturm [venues] 1 artists
1914 Der Sturm. Neunundzwanzigste Ausstellung Berlin Der Sturm [venues] 1 artists
Jan‒Feb 1913 A Futuristák és Expressionisták kiállitása [Exhibition of the Futurists and Expressionists] Budapest Nemzeti Szalon 1 artists
1915 Sammlung Walden. Gemälde, Zeichnungen, Plastiken Berlin Der Sturm [venues] 1 artists
Oct 12, 1913‒Jan 16, 1914 Post-Impressionist and Futurist Exhibition London Doré Gallery 1 artists
Sep 20‒Dec 1, 1913 Der Sturm. Erster Deutscher Herbstsalon Berlin Lepke-Räume 1 artists
Gino Severini's Exhibition. 1913.
Nr. of pages: 12 [PDF page number: 29].
Holding Institutions: Victoria & Albert National Art Library, online: Fondazione Memofonte
Catalogue Price
Gino Severini: Introduction, pp. 3-7

It has been my aim while remaining within the domain of the plastic, to realise, in the paintings and drawings which I am exhibiting, forms which partake more and more of the nature of the abstract.
This need for abstraction and for symbols is a characteristic sign of that intensity and rapidity with which life is lives to-day.
It often happens that a word, a phrase, will serve to synthetize a complete action, an entire psychology. In the same way, one gesture, one essential feature, may by suddenly throwing light upon our intuition, succeed in presenting to our vision the total reality.
“To perceive,” says Bergson, “is, after all, nothing more than an opportunity to remember.”
This is what I understand by “''plastic perception''”:–
The perception of an object in space is the result of the recollection which is retained of the object itself in its various aspects and in its various symbols. It must not be considered in its inmost nature, in its integral value, since we perceive it as a fleeting and complex continuity.
Things posses neither ''integral form'' nor individual outlines. Our perception bestows on objects boundaries in space, and these boundaries are the outcome of the multiple influences of remembrance, of ambience, and of emotion. These three factors cause us to perceive matter, mass and the integral value of objects in a manner which is entirely other than that in which scientific analysis shows them to us.
It is light which determines the value of forms and colours. [p. 3]
One object does not leave off where another begins, but the lines and planes which constitute the one influence the lines and planes of the other.
The desire to regard things as entirely isolated from one another belongs to analysis. We remain thereby within the realm of the relative, in the domain of scientific experiment.
A simple, plastic expression of lines and planes has been defined as „Platonic Art.“ But since it is not the world of the intelligence, but rather the dynamic world of the senses, which is revealed to the painter, there exists no such thing as Platonic Art.
Our modern complexity prevents us from being satisfied with a pictural and anecdotal expression. Moreover, the mechanical process of photography form an admirable substitute in this respect for the analytical realisations of our great painters.
The time has gone by when the painter painted as the bird sings. It is by his intuition that he is penetrating nowadays into the life, the soul, the activity of things. Art is now, before everything else, perception, and expression.
It has been said that „Art is Nature seen through the medium of the mind.“ This is perhaps but another method of expressing the same idea.
We are unfairly accused of severing all connections with tradition. The force with which we rid ourselves of the yoke of the Past and our hatred of that Past, do not prevent our recognizing brethren in every great epoch through which Art has passed. Every expression or Art which possesses true depth bears a natural connection with tradition.
We must come to an understanding as to this word „tradition.“ There is, to my mind, but one artistic tradition among the painters of the West: that of Italy. [p. 4] It is to the Italian tradition that the most advanced painters of our day, from Cézanne to the Cubists, are attached. Wheter in the work of Greco, Rembrandt, or Ribera, the solidity of the modelling, the aristocratic sobriety of tones, and the balance of values are altogether Italian. Delacroix, too, is Italian and, therefore, the Impressionists likewise.
This is short, is the conception of Futurist Paintings.
Painting will no longer translate some spectacle (''Anecdote'') or the outward semblance of some person who has been given an expression either of gaiety or sadness (''Literature and Psychology''), and will no longer limit itself to the simple pursuit of arabesques upon a plane (''Matisse''), or of mass (''the Cubists''), but by means of abstract forms will give the pictural rhythm of an ideal world.
A picture should be a world in itself; this world is the result of a direct vision of reality, freed by the artist of all purely exterior symbols and of all conventional generalities. So long as education and habit allow the public to look at a picture without thought of exterior realities, it will make no further endeavour to see what the picture possesses in common with those realities; it will not trouble itself as to what the picture represents, but it will be influenced by the purely pictural charm of its form and colour.
We asserted in our technical manifesto that ''"We shall no longer give a fixed moment in universal dynamism, but the dynamic movement itself."'' Our idea has not met with comprehension. It has been remarked that we have paid especial attention to the rendering of motion (dancers, motor-cars, racehorses, and so on). and it was thought that the word „dynamism“ stood for „displacement“ and it was taken for granted that our efforts were tending towards the attainment of that [p. 5] which has been already realised through the medium of the cinematograph.
This interpretation is both false and absurd.
Synthesis will never be reached by the path of analysis. While or art is, on the other hand, a synthesis.
In the realm of Art, everything, emotion as well as perception, is a matter of synthesis. The same applies to those individuals and objects which arouse our emotion and exercise our perception. Among these we include Nature, human beings, life in general, and inanimate things.
We use the word dynamism in the sense of „continuance“ as well as in that of „displacement,“ which os necessarily included in it. We choose to concentrate our attention on things in motion because our modern sensibility is particularly qualified to grasp the idea of speed. Heavy, powerful motor-cars rushing throigh the crowded streets of our cities, dancers reflected in the fairy ambience of light and colour, aeroplanes flying above the heads of an excited throng … These sources of emotion satisfy our sense of the lyric and dramatic universe, better than do two pears and an apple.
We have been reproached with being literary. Nothing is more unjustifiable. Our Art is a pure exaltation of form and colour, by means of which the plastic universe is revealed to us.
If, nevertheless, musical rhythms, or a metaphysical of a literary idea, are evolved from our pictural expression, so much the better, for this establishes the complexity of our Art. While remaining, before all else, a painter, I do not, for my part, refrain from feeling instinctively drawn towards a plastic whole in which a musical rhythm accompaies the arabesque of lines and planes. [p. 6]
I believe that every sensation may be rendered in the plastic manner. Noise and sounds enter into the element, „ambience,“ and may be translated through forms. The word „ambience“ implies thw word „atmosphere.“ We render plastically the displacement of a body in atmosphere as well as that atmosphere itself.
The Impressionists, in painting the atmosphere surrounding a body, have set the problem; we are working out the solution.

This, on broad lines, is the aesthetic creed of Futurist Painting. I trust that this simple explanation may assist the public to understand the works which I am exhibiting.
It will hardly be surprising if no rules as to the manner in which a head or a chair should be painted are to be found therein. Since the forms which we perceive in space, and which our sensibility apprehends, undergo incessant change and renewal, how are we to determine beforehand the manner in which these forms should be plastically expressed?
It is by abandoning objective reality that our Futurist painter arrives at abstract and subjective expression
Gino Severini,
Futurist Painter.“
Catalogue Structure
"Introduction by Gino Severini", pp. 3-7
"Catalogue", pp. 8-12

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Name Date of Birth Date of Death Nationality # of Cat. Entries
Gino Severini 1883 1966 IT 26
Recommended Citation: "Gino Severini's Exhibition." In Database of Modern Exhibitions (DoME). European Paintings and Drawings 1905-1915. Last modified Jul 13, 2018. https://exhibitions.univie.ac.at/exhibition/556