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Tullio Crali Nose-Diving on the City, 1939

Tullio Crali Nose-Diving on the City, 1939

“Painting, he declares in his “Manifesto of Aeropainting”, is best done from an aeroplane: that way, the contraints of perspective are overcome, sky and landscape superimposed and jolted into motion, their elastic crescendos and diminuendos engendering new progressioxtns of forms and colours. Half-way through that particular manifesto, he more of less leaves off considering what painting from a plane might look like, realising that the very fact of being in a plane itself contitutes a radical, dynamic form of art, an “aerosculpture” formed through a “harmonious and signifying composition of coloured smokes offered to the brushes of dawn and dusk, and long vibrant beams of electric light”.

Ghosts in the Machine
Tom McCarthy
Guardian 24.07.10

review of Futurist Skies: Italian Aeropainting at Estorick  http://www.guardian.co.uk/culture/2005/jan/05/1

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