Page 71 - Expanded Photography

Expanded Photography Bob Cotton 71/146
Artura Bragaglia: The Bow 1911 + Anton Giulio Bragaglia: Photodynamic-Typewriter 1911.
Anton Giulio Bragaglia was the central figure in the Futurist Photography project, which they called
‘Photodynamism’. He was helped by his younger brother Arturo (it is Arturo’s photodynamic portrait
of Anton - ‘The Bow’ above left). In 1911 Anton also published his manifesto/essay entitled Fotodin-
amismo Futurista (Futurist Photodynamism), in which he Photography and the Avant Garde recon-
ciled Marinetti’s Futurist Manifesto of 1909, with the ideas embodied in the work of Etienne-Jules
Marey, and the dynamic impact of the 24 frames-per-second cinematography, so recently invented by
the Lumiere Brothers, and now apparent in viewing theatres and newly invented ‘cinemas’ all over
Paris (both Bernice Rose, and Natasha Staller have separately recorded how Picasso and Braque
would spend two or three evenings a week at the cinema - and they speculated on the impact that
flickering images and rapid cuts and changes in perspective would have on their developing idea of
Cubism. The photo-dynamists knew and photographed Giacomo Balla, who in 1912 painted ‘Dynam-
ism of a Dog’ - probably the best known attempt at visualising and making a still image that implied
movement (certainly the most delightful) besides Marcel Duchamp.
https://www.moma.org/interactives/objectphoto/artists/29160.html
Giacomo Balla: Dynamism of a Dog on a Leash 1912