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.

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

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

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.

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.

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

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.

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.

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

All art critics are useless or harmful.