Renato Di Bosso - Untitled

The work is a beautiful example of Futurist art. Born and developed in Italy in the early decades of the 20th century and inspired by Filippo Tommaso Marinetti's manifesto, Futurism extolled progress, technology, the speed of machines, and the dynamism of cities. These programmatic lines, in addition to shaping the Futurists' artistic language, also absolutely determined their themes. Recurring subjects of Futurist art are machines, emphasizing their speed, or the frenetic pace of modern, industrial cities. Simply put, everything related to technological and mechanical progress was of interest to the Futurists and reflected their celebration of modernity and progress.

In the case of this woodcut by Renato Di Bosso, the historical-political theme characterizes the work as a precious testimony to the moment when Futurist art was still linked to the Fascist movement. Stylistically, Renato Di Bosso's Futurism leans toward a mechanomorphic reconstruction of reality. Whereas artists like Balla and Boccioni favored the exaltation of movement and speed through dynamic lines, Di Bosso prefers a Cubist-like static quality, in an elegant mechanical structure reminiscent of Gris and Legèr.

Renato Righetti (Verona, 1905 – Negrar, 1982) was an Italian sculptor and painter, known by the pen name Renato Di Bosso. In 1931, he founded the Veronese Futurist Group. It was around this time that, following Marinetti's advice, he adopted the pseudonym Di Bosso, referring to the quality of the wood he preferred for his sculptures. In 1932, he participated in the First Triveneto Futurist Exhibition in Padua and, with Marinetti and other artists, signed the Futurist Manifesto for the scenography of the open-air opera house at the Verona Arena. In 1933, with Ignazio Scurto, he signed the Futurist Manifesto on the Italian Tie, ultimately creating his famous Anticravatte (Anticraves) in aluminum. He exhibited in Futurist exhibitions in Mantua, Rome, and at the Galleria Pesaro in Milan. From the mid-1930s, thanks to repeated flight experiences, he began to dedicate himself to aeropainting. In 1934, he participated in the 18th Venice Biennale and the 1st National Exhibition of Mural Plastic Art in Genoa. He exhibited at the Rome Quadrennials in 1935 and 1939. In 1941, at the Casa d'Artisti in Milan, he presented the manifesto L'aereosilografia. In the second half of the 1960s, thanks to the critical rediscovery of Futurism, like many other painters who were protagonists of the so-called Second Futurism, he returned to painting its subjects, with new works inspired by aeronautics.

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