Abstract
This essay argues that the painting Bretonnes (1913) by the Futurist Félix Delmarle represents a distinctive modernist use of pre-industrial, communal relations to death. An archaic social practice is manifested within the most radical of modernist styles, in an exemplary rendering of Futurism simultaneità. Thus, mourning, imbricated into the time and space of an apparently archaic community, is represented with the most modern of techniques and projected into industrial modernity as an alternative to its marginalisation and pathologising of excessive mourning.
Original language | English |
---|---|
Pages (from-to) | 20-30 |
Number of pages | 11 |
Journal | Ricerche di Storia dell’arte |
Volume | 2016 |
Issue number | 1 |
DOIs | |
Publication status | Published - 2016 |