Abstract
This chapter explores how the early work of the Italian futurist painters, particularly by Boccioni and Giacomo Balla, does indeed present visual parallels with impressionism and builds off the French movement’s explorations of light and substance. Initially, the futurists refused to accept that they were influenced by any previous art movements and, when pressed on this, took pains to credit only Italian artists as worthwhile predecessors. Balla’s focus on three specific times of day and his attention to the building façade recalls the work of impressionist artists such as Claude Monet, whose images of Rouen Cathedral in the 1890s seek to capture a specific moment. The importance of Italian divisionism for the development of futurism was certainly important, but by claiming this as the only precedent for futurism, the Italian artists denied the international art world of which they were a part.
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