The center was a piece called Line of Force + Noise, and the left hand side was Line of force + Landscape. In 1891, he studied for two months at the Academia Albertina di Bella Arte and the Liceo Artistico in Turin. Giacomo Balla was born on July 18, 1871, in Turin, Italy, son of a chemist and an amateur photographer. Balla was a leading figure in the Italian Futurist group. For Balla, his depiction of speed, or dynamism, represents the struggle for visual art to assert its validity in the wake of new photographic technology.
He was inspired by ancient sculpture and spent time studying it at the Louvre. As we can see in his notebook sketches, this process would begin with a picture of a single stationary car, that would then be distorted to a degree that both creates an illusion of motion and obscures the original focal object, and it is the result of this that we can see in this work; although, as the title suggests, the car has just passed through this scene, leaving us not with an image of a moving car, but an image of speed itself. Copyright law may differ based on where you live - it is your responsibility to understand and abide by the law of your local jurisdiction, even if The Athenaeum lists an artwork as public domain in the United States. He is considered a futurist painter, sculptor, and designer. The titular car has just past through the scene from right to left, as movement in this direction is seemingly the most effective way of conveying speed.
The work uses a geometric perspective, evident by the road fading into the distance. This site is a labour of love produced over many years by a couple of people. The three paintings share indications of a single landscape, and each painting is continued onto its frame. This painting was designed to be a centerpiece with Abstract Speed and Abstract Speed and Sound — The Car Has Passed, flanking it. Balla was a leading figure in the Italian Futurist group. So we can see then that in this painting, the wider work of Balla and of the Futurist movement as whole, there is an expression of the necessity of abstraction in order to achieve the sublime.
If you would like to support The Athenaeum, you can donate directly through Paypal below, or shop using any of the links on this page. However, Balla also seems to use an ambiguous perspective because of how the viewer can sense movement in the painting. The painting is said to have captured the ideals of Italian Futurism. It is only through viewing the work that we are able to generate a mental feeling of the sublime, and so all that we observe in the painting acts as a catalyst for this mental picture that we synthesise. However, even with this illuminating information in mind, it is still insufficient in allowing us to fully comprehend what the picture is actually a representation of, for although we are aware of the subject of the painting, namely a car passing on a road, the construction of this is presented in a wholly abstract fashion, taking the focus away from the object and moving towards the potential effect the painting may have on the viewer.
Since late 2000 when we started the site, we have invested thousands of dollars of our personal money to keep it going. Time and Space dies yesterday. It is through this process of abstraction and the engagement of that which cannot be fully comprehended that Balla is enabled to present us with feelings of the sublime. So if this painting cannot be inherently sublime, and the sublimity is achieved — or at the very least instigated — within the mind of the viewer, then one cannot possibly achieve any sublime feeling from the work without completely relying upon the senses first. This painting was originally the right-hand part of a triptych. Copyright at The Athenaeum The Athenaeum is hosted in the United States, so we apply United States copyright law.
We can comprehend, due to the presence of discernable shapes and colours, some elements of the painting; for example, we can hazard a guess that we have a blue sky, a green landscape and a white road. Actual lines are placed abstractly giving the picture definition, shape, and also adding to the movement of the work. . It is, however, the ultimate and inevitable failure to satisfyingly address these ideas that leads the work of artists such as Balla to enter the realm of the sublime. These lines are meant to represent sound.
Abstract Speed and Sound was a painting done by Giacomo Balla around 1913 to 1914. As we can see in his notebook sketches, this process would begin with a picture of a single stationary car, that would then be distorted to a degree that both creates an illusion of motion and obscures the original focal object, and it is the result of this that we can see in this work; although, as the title suggests, the car has just passed through this scene, leaving us not with an image of a moving car, but an image of speed itself. On a trip to Paris in 1900 to visit the Exposition Universelle, Balla became very interested in aspects of modern industrial life. These lines are meant to represent sound. We already live in the absolute, because we have created eternal, omnipresent speed. If you would like to support The Athenaeum, you can donate directly through Paypal below, or shop using any of the links on this page. As we can derive from the title of the work, the focus here is on abstract speed, and as such an intangible concept that evades adequate representation.
Cubism and other forms of abstract art spread to America from this one show. He wanted to add a new suggestion of motion by using means proper to static painting. The idea of motion is depicted within this painting through the progressive lines advancing across the surface of the painting. There were two groups of followers for this trend: the Bridge die Brucke headed by Ernst Ludwig Kirchner, and the Blue Rider der blaue Reiter headed by Wassily Kandinsky. In this sense we can see the work as a reflection on the inability of the mind to fully comprehend what it is being faced with.