The time has passed for our sensations in painting to be whispered. We wish them in the future to sing and re-echo upon our canvasses in deafening and triumphant flourishes.

It isnecessary to destroy the pretended nobility, entirely literaryand traditional, of marble and bronze? The sculptor can use twenty different materials, or even more, in a single work, provided that the plastic emotion requires it.

It will be readily admitted that brown tints have never coursed beneath our skin it will be discovered that yellow shines forth in our flesh, that red blazes, and that green, blue and violet dance upon it with untold charms, voluptuous and caressing.

We must now learn to draw inspiration from the tangible miracles that surround us.

These days I am obsessed by sculpture! I believe I have glimpsed a complete renovation of that mummified art.

In the first manifesto that we launched on the 8th of March, 1910, from the stage of the Chiarella Theater in Turin,1 we expressed our deep-rooted disgust with, our proud contempt for, and our happy rebellion against vulgarity, mediocrity, the fanatical and snobbish worship of all that is old, attitudes which are suffocating Art in our Country.

There is neither painting, nor sculpture, nor music, nor poetry. The only truth is creation.

While the impressionists make a table to give one particular moment and subordinate the life of the table to its resemblance to this moment, we synthesize every moment (time, place, form, color-tone) and thus build the table.

To the Young Artists of Italy! The cry of rebellion that we launch, linking our ideals with those of the Futurist poets, does not originate in an aesthetic clique. It expresses the violent desire that stirs in the veins of every creative artist today.

A portrait, to be a work of art, neither must nor may resemble the sitter... one must paint its atmosphere.

A time will come when the eye of man will perceive colors as feelings within itself.

All art critics are useless or harmful.

Art is viable when it finds elements in the surrounding environment. Our ancestors drew their subject matter from the religious attitudes which weighed on their souls. We must now learn to draw inspiration from the tangible miracles around us.

Our bodies penetrate the sofas upon which we sit and the sofas penetrate our bodies. The motorbus rushes into the houses which it passes, and in their turn the houses throw themselves upon the bus and are blended with it.

To paint a human figure you must not paint it you must render the whole of its surrounding atmosphere.