Umberto Boccioni

“All things move, all things run, all things are rapidly changing. A profile is never motionless before our eyes, but it constantly appears and disappears. On account of the persistency of an image upon the retina, moving objects constantly multiply themselves; their form changes like rapid vibrations, in their mad career. Thus a running horse has not four legs, but twenty, and their movements are triangular.”
– Umberto Boccioni, ‘Futurist Painting: Technical Manifesto’ (1910)

Umberto Boccioni, Charge of the lancers, 1915.

Umberto Boccioni, Unique Forms of Continuity in Space, 1913

Sculpture should give life to objects by rendering their extension into space palpable, systematic, and plastic, because no one can deny any longer that one object continues at the point another begins, and that everything surrounding our body (bottle, automobile, house, tree, street) intersects it and divides it into sections by forming an arabesque of curves and straight lines.......

Sculpture cannot make its goal the episodic reconstruction of reality. It should use absolutely all realities in order to reconquer the essential elements of plastic feeling. Consequently, the Futurist sculptor perceives the body and its parts as plastic zones, and will introduce into the sculptural composition planes of wood or metal, immobile or made to move, to embody an object; spherical and hairy forms for heads of hair; half-circles of glass, if it is a question of a vase; iron wires or trellises, to indicate an atmospheric plane, etc., etc.

Technical Manifesto of Futurist Sculpture, Umberto Boccioni