Gino Severini. Armored Train in Action. 1915 - MoMA
Here, five faceless figures crouch in a militarized locomotive car, aiming their rifles in unison. Smoke from gun and cannon fire eclipse the natural landscape. Severini celebrated war, which the Futurists believed could generate a new …
Gino Severini. Dynamic Hieroglyphic of the Bal Tabarin.
Gino Severini Dynamic Hieroglyphic of the Bal Tabarin 1912. On view. MoMA, Floor 5, 503 The Alfred H. Barr, Jr. Galleries. Severini was fascinated by the dancehall as a subject for the opportunity it offered for the depiction of …
Gino Severini. Armored Train in Action. 1915 - MoMA
Gino Severini Armored Train in Action 1915. This study for the most famous of the Futurist war paintings, The Armored Train (1915), incorporates an unusual aerial perspective in its depiction of a train filled with armed soldiers.
Gino Severini. Dynamic Hieroglyphic of the Bal Tabarin. 1912
The artist, Gino Severini, made everything here explode or break up into a crazy jumble to give the feeling of movement. But look closely, and you can figure out some of what’s going on. In …
Gino Severini. Dynamic Hieroglyphic of the Bal Tabarin. 1912
Anne Umland: The Italian artist Gino Severini painted Dynamic Hieroglyphic of the Bal Tabarin in 1912, when he was living in Paris. Severini's goal, like that of his fellow Italian Futurists, was to …
Gino Severini. Dancer. 1912 - MoMA
In 2018–19, MoMA collaborated with Google Arts & Culture Lab on a project using machine learning to identify artworks in installation photos. That project has concluded, and works are …
Gino Severini on MOMA Exhibition Spelunker
Gino Severini ♂ Italian, 1883–1966 Gino Severini has been in 25 exhibitions at MoMA, between 1932 and 1989.
Selected works from the exhibition - MoMA
Tempera and pastel on cardboard. 25 13/16 x 18 1/2” (65.5 x 47 cm). Triton Foundation. © 2012 Gino Severini / Artists Rights Society (ARS), New York / ADAGP, Paris.
Gino Severini. Visual Synthesis of the Idea: "War". 1914 …
In August 1914, as World War I broke out, the Futurists planned public demonstrations in support of Italian participation. The group’s aggression plays out in this work, one in Severini’s series of war paintings.
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