Fillìa
Encyclopedia
Fillìa was the name adopted by Luigi Colombo, an Italian artist associated with the second generation of Futurism
.
, Piedmont
.
He established the Futurist movement in Turin in 1923 at the age of 19 with a group which included Nikolay Diulgheroff
, Pippo Oriani, Enrico Alimandi, Franco Costa and the sculptor Mino Rosso. Fillìa quickly became the leader of the group and its principal theorist. He published the art reviews: Futurismo (Futurism) (1924), Ventrina Futurista (1927), La Città Futurista (The Futurist City) (1929), La Città Nuova (The New City) (1930-1934), and Stile Futurista (Futurist Style) (1934-1935) with Enrico Prampolini
. His work in the mid-1920s shows the influence of Prampolini. After 1928, Fillìa's work shows increasing subjectivity.
He became an exponent of L'Aeropittura
(Aeropainting), the dominant Futurist style of the 1930s which applied the experience of flight to the depiction of landscape aerially; the world was no longer seen from the perspective of the person on the ground but as if from an aeroplane. In 1929, he was a co-signatory of the Futurist manifesto L'Aeropittura, with Benedetta Cappa, Depero, Gerardo Dottori
, Marinetti, Somenzi, Tato and Prampolini.
Fillìa was the co-author with Marinetti of the Manifesto of Futurist Cooking
, published in the Turin newspaper, La Gazzetta del Popolo, on 28 December 1930.
Enrico Crispolti says that Fillìa and his colleagues in Turin explored an interior, psychological and subjective world, unlike other Futurists of the period such as Prampolini and Depero. Fillìa had recourse to an "airy body", a “synthesis of movement, of the organic aspect, of the emotions of flight".” The ectoplasmic
forms which appear in Fillìa's paintings of the late twenties and early thirties contrast with the rigidity of his earlier work and were taken up to explore the subconscious. His interest in the spiritual aspects of art turned to specifically religious painting from 1930 to 1933. He had large exhibitions at Padua
(1931), La Spezia
(1932) and Florence
(1933) and in 1932 co-authored the Manifesto of Sacred Futurist Art with Marinetti.
He had an interest in architecture, designing the Futurist Pavilion at the 1928 International Exhibition in Turin.
Fillìa's activities as an organizer and polemicist, which he continued through his contact with the avant-garde in his numerous trips to Paris, ended with his death at Turin
in 1936 at the age of thirty-two.
There are works by Fillìa in the collections of the Galleria d'Arte Moderna in Rome, the Galleria d'Arte Moderna in Turin, and in a number of private collections.
Futurism
Futurism was an artistic and social movement that originated in Italy in the early 20th century.Futurism or futurist may refer to:* Afrofuturism, an African-American and African diaspora subculture* Cubo-Futurism* Ego-Futurism...
.
Biography
Fillìa was born in RevelloRevello
Revello is a comune in the Province of Cuneo in the Italian region Piedmont, located about 50 km southwest of Turin and about 30 km northwest of Cuneo....
, Piedmont
Piedmont
Piedmont is one of the 20 regions of Italy. It has an area of 25,402 square kilometres and a population of about 4.4 million. The capital of Piedmont is Turin. The main local language is Piedmontese. Occitan is also spoken by a minority in the Occitan Valleys situated in the Provinces of...
.
He established the Futurist movement in Turin in 1923 at the age of 19 with a group which included Nikolay Diulgheroff
Nikolay Diulgheroff
Nikolay Diulgheroff was a Bulgarian artist, designer and architect who was active in Italy as a prominent representative of interwar Italian Futurism .-Biography:...
, Pippo Oriani, Enrico Alimandi, Franco Costa and the sculptor Mino Rosso. Fillìa quickly became the leader of the group and its principal theorist. He published the art reviews: Futurismo (Futurism) (1924), Ventrina Futurista (1927), La Città Futurista (The Futurist City) (1929), La Città Nuova (The New City) (1930-1934), and Stile Futurista (Futurist Style) (1934-1935) with Enrico Prampolini
Enrico Prampolini
Enrico Prampolini was an Italian Futurist painter, sculptor and scenographer. He assisted in the design of the Exhibition of the Fascist Revolution and was active in Aeropainting....
. His work in the mid-1920s shows the influence of Prampolini. After 1928, Fillìa's work shows increasing subjectivity.
He became an exponent of L'Aeropittura
Aeropittura
Aeropittura was a major expression of the second generation of Italian Futurism, from 1929 through the early 1940s. The technology and excitement of flight, directly experienced by most aeropainters, offered aeroplanes and aerial landscape as new subject matter.Aeropainting was surprisingly...
(Aeropainting), the dominant Futurist style of the 1930s which applied the experience of flight to the depiction of landscape aerially; the world was no longer seen from the perspective of the person on the ground but as if from an aeroplane. In 1929, he was a co-signatory of the Futurist manifesto L'Aeropittura, with Benedetta Cappa, Depero, Gerardo Dottori
Gerardo Dottori
Gerardo Dottori was an Italian Futurist painter. He signed the Futurist Manifesto of Aeropainting in 1929...
, Marinetti, Somenzi, Tato and Prampolini.
Fillìa was the co-author with Marinetti of the Manifesto of Futurist Cooking
Futurist meals
Futurist meals comprised a cuisine and style of dining advocated by some members of the Futurist movement, particularly in Italy. These meals were first proposed in Filippo Tommaso Marinetti and Fillia's Manifesto of Futurist Cooking, published in the Turin Gazzetta del Popolo on December 28,...
, published in the Turin newspaper, La Gazzetta del Popolo, on 28 December 1930.
Enrico Crispolti says that Fillìa and his colleagues in Turin explored an interior, psychological and subjective world, unlike other Futurists of the period such as Prampolini and Depero. Fillìa had recourse to an "airy body", a “synthesis of movement, of the organic aspect, of the emotions of flight".” The ectoplasmic
Ectoplasm (paranormal)
Ectoplasm is a term coined by Charles Richet to denote a substance or spiritual energy "exteriorized" by physical mediums...
forms which appear in Fillìa's paintings of the late twenties and early thirties contrast with the rigidity of his earlier work and were taken up to explore the subconscious. His interest in the spiritual aspects of art turned to specifically religious painting from 1930 to 1933. He had large exhibitions at Padua
Padua
Padua is a city and comune in the Veneto, northern Italy. It is the capital of the province of Padua and the economic and communications hub of the area. Padua's population is 212,500 . The city is sometimes included, with Venice and Treviso, in the Padua-Treviso-Venice Metropolitan Area, having...
(1931), La Spezia
La Spezia
La Spezia , at the head of the Gulf of La Spezia in the Liguria region of northern Italy, is the capital city of the province of La Spezia. Located between Genoa and Pisa on the Ligurian Sea, it is one of the main Italian military and commercial harbours and hosts one of Italy's biggest military...
(1932) and Florence
Florence
Florence is the capital city of the Italian region of Tuscany and of the province of Florence. It is the most populous city in Tuscany, with approximately 370,000 inhabitants, expanding to over 1.5 million in the metropolitan area....
(1933) and in 1932 co-authored the Manifesto of Sacred Futurist Art with Marinetti.
He had an interest in architecture, designing the Futurist Pavilion at the 1928 International Exhibition in Turin.
Fillìa's activities as an organizer and polemicist, which he continued through his contact with the avant-garde in his numerous trips to Paris, ended with his death at Turin
Turin
Turin is a city and major business and cultural centre in northern Italy, capital of the Piedmont region, located mainly on the left bank of the Po River and surrounded by the Alpine arch. The population of the city proper is 909,193 while the population of the urban area is estimated by Eurostat...
in 1936 at the age of thirty-two.
There are works by Fillìa in the collections of the Galleria d'Arte Moderna in Rome, the Galleria d'Arte Moderna in Turin, and in a number of private collections.