FUTURISM, a movement in 20^th century art that represented the revolutionary effort of a group of young Italian artist to overthrow academic tradition and create a national art capable of EXPRESSING the “tangible miracles” of contemporary life. The futurists sought to present an object in dynamic interaction with its surroundings. “We firmly believe,” they declared, “that only by means of motion does the object enact its drama.” To accomplish this they tried to unite the divisionist technique of broken color introduced by the neoimpressionists with portrayal of simultaneous views as practiced by the cubists.

未来主义，20世纪艺术的一场运动，代表着一群年轻的意大利艺术家摒弃学术传统，创造一种能够表达当代生活“可触摸奇迹”的民族艺术的革命性努力。这些未来主义者试图在其周围环境的动态相互作用中来呈现物体。他们宣称，“我们坚信，物体只有借助于运动才能实现其戏剧性场面”。为了现实这点，他们尝试将新印象主义者采用的分割主义破碎的色彩技巧与立体主义实践的同时视角的绘画结合起来。

   Whereas the cubists portrayed an object as seen from many positions simultaneously, the futurists announced that they would “put the spectator into the center of the picture” with the object in violent motion around him. To the cubist device of simultaneity they added their own dynamic lines—“lines of force” and “lines of movement”—and “compenetration of planes” between the object and space. In sculpture, they sought to achieve the same goal through destruction of the closed contour, which isolates the figure in space.

鉴于立体主义同时从多个视点描绘一个物体，而未来主义者宣称，他们会“将观看者带入绘画的中心”，而他周围的物体会剧烈运动。对立体主义的同时性装置来说，那是他们在物体和空间之间增加了他们自己的动态线条---“力量线”和“运动线”---以及“平面渗透”。在雕塑中，他们试图通过破坏闭合的轮廓，在空间中隔离图形来实现同样的目标。

History of the Movement.  Futurism was inspired by the poet Filippo Tommaso Marinetti, who launched the idea in his Manifesto, which was published in a leading Paris newspaper, Le Figaro, in 1909. In 1910 he published his novel Mafarka le futuriste and, in 1911, Le Futurisme, his second article on the movement. Mean while, a program was being propounded in Milan by the artists Giacomo Balla, Umberto Boccioni, Carlo Carra, Luigi Russolo, and Gino Severini, who published the first futurist manifesto in 1910, followed by a technical treatise.

该运动的历史。未来主义受到诗人菲利波·托马索·马里内蒂于1909年在巴黎的主要报纸《费加罗报》上发表其《宣言》中提出观点的启发。1910年，他出版了小说《未来主义者马法卡》和1911年发表的关于该运动的第二篇文章《未来主义》。与此同时，由艺术家贾科莫·巴拉、翁贝托·博乔尼、卡洛·卡拉、路易吉·鲁索洛和基诺·塞维里尼在米兰提出了一项计划，于1910年发表了第一篇未来主义者宣言，接着是一篇技术性论述。

Aggressive, bombastic, iconoclastic, and nationalistic as a movement, futurism succeeded in awakening in Italy a sense of the vigor and variety of modern art. In 1912, Boccioni organized a sensational show in Paris, which subsequently toured European capitals. It stimulated violent controversy because of its militant propaganda and startling concepts. The show influenced several of the Paris cubists, as well as such groups as the Russian constructivists, the British vorticists, and the French and German Dadaists.

咄咄逼人，夸夸其谈，打破传统，以及民族主义作为一项运动，未来主义在意大利成功唤醒了对现代艺术活力和多样性的感觉。1912年，博乔尼在巴黎组织了轰动一时的展览，随后在欧洲各国的首都巡回展出。由于因激进的宣传和令人吃惊的概念，它引发了激烈争论。该展览影响了巴黎的几位立体主义者，并影响了俄罗斯建构主义者，英国旋涡派画家，以及法国和德国达达主义者这样的团体。

By 1916 the first wave of futurism had subsided, although the movement continued in Italy through the 1930’s. However, the second generation of artists was less talented.

到1916年，未来主义的第一波浪潮已经消退，尽管该运动在意大利一直持续到整个20世纪30年代。然而，第二代艺术家们却没那么有天赋。

                                          MARIE ALEXANDER

                              Museum of Modern Art, New York

                                               玛丽·亚历山大

                                            纽约现代艺术博物馆

                                              2023年9月1日译

（译者注：该词条位列《大美百科全书》1985年版，第12卷，第209页210页）