(1871-1958)
Bella was a Futurist artist who signed the Futurist painting manifesto in 1910. In 1914, he produced a series of paintings called "Iridescent Interpenetration' of the movement of light and color which was in form his individual style of strong colors, which was recognized by many other atrists during the development of the Op Art movement, and by other artists who moved into the kinetic expressions.
BELLA'S THOUGHTS ON ART
"With the perfecting of photography, static traditionalist painting has completely fallen from repute; photography kills static contemplation. Watching a cinematographic performance we find ourselves in front of a painting in movement that consecutively transforms itself to reproduce a given action."
" Static traditionalist painting was vanquished because it was obliged to transfix one single point among the infinite variety of aspects of nature. Mechanics have overtaken the traditionalist painter and forced him into becoming a pitiable imitator of static and exterior forms. It is imperative therefore not to halt and contemplate the corpse of tradition, but to renew ourselves by creating an art that no machine can imitate, that only the artistic Creative Genius can conceive. Futurism, predestined force of progress and not of fashion, creates the style of flowing abstract forms that are synthetic and inspired by the dynamic forces of the universe."
[19151"Any store in a modern town, with its elegant windows all displaying useful "and pleasing objects, is much more aesthetically enjoyable than all those passeist exhibitions which have been so lauded everywhere. An electric iron, its white steel gleaming clean as a whistle, delights the eye more than a nude statuette, stuck on a pedestal hideously tinted for the occasion. A typewriter is more architectural than all those building projects which win prizes at academics and competitions. The windows of a perfumer's shop, with little boxes and packets, bottles and futur color triplicate phials, reflected in the extremely elegant mirrors. The clever and gay modeling of ladies' dancing shoes, the bizarre ingenuity of multicolored parasols. Furs, traveling bags, china-these things are all a much more rewarding sight than the grimy little pictures nailed on the gray wall of the passaist painter's studio."
[1918)