The Stati d'animo aesthetic: Gaetano Previati, Umberto Boccioni and the development of early Futurist painting in Italy

This thesis examines the role of Gaetano Previati (1852-1920), Divisionist artist and theorist, in the development of avant-garde painting in Italy and, in particular, his influence on Umberto Boccioni (1882-1916) and the Futurist painting aesthetic. Previati, though credited with introducing Symbolist painting in Italy, has not received book-length attention since Nino Barbantini wrote the biography of his career in 1915.;The discussion begins in Chapter 1 with an overview of avant-garde painting in 19th century Italy that highlights the Florentine Macchiaioli circle and the Milanese Scapigliatura group. Previati inherited the tradition of Hayez through his formal studies at the Brera Academy and the radicalism of the Scapigliati through his artistic friendships.;Previati's pivotal painting, Maternita. 1890-1, closely examined in chapter 2, not only announced both Symbolist art and advanced Divisionist technique but also argued for a radical view of motherhood. The painting, seen in its day as nearly abstract, set off a debate about the validity of the antireale in painting.;Umberto Boccioni, familiar with Divisionist technique through his studies with Giacomo Balla, first encountered Previati's art in 1907. As examined in chapter 4, Boccioni's growing involvement with Previati, including regular visits with the artist, provided intellectual inspiration, the guidance of a mentor and an influential model for making technically and conceptually ambitious art.;Previati's mostra personale of early 1910, analyzed in chapter 5, generated a critical discussion of dynamism, motion, light and states of mind which the Futurist artists incorporated into their first manifestoes. Previati's influence on Boccioni's art, examined further in chapter 6, inspired Boccioni's Futurist painting. Boccioni and the Futurists also looked to Previati and his 1906 book I principii scientifici del divisionismo for the aesthetic ideas published in their texts, read at their lectures and presented in their early paintings. The discussion concludes in chapter 7 with an analysis of Boccioni's three Stati d'animo paintings, the last which derive directly from paintings by Previati.