On 3 September 1948, at the School of Art “Amedeo Modigliani”, VOLTOLINI FOUNTAINS, SIRIO ANGELO PELLEGRINI, ALDO and BLACKS (painting), and MARCELLO GUIDO LANDI Favati (poetry), laid the foundations of the movement EAISTA.
The EAISMO riattingere wants to bring art to its supreme values, that is, to express simplicity and intimacy of our presence in the world. It therefore proposes to free artistic expression by the brain in which we have caught up in the last fifty years and bring it to the necessary natural intended to express with greater humanity of commitment and consistency of expression issues that we as men are urgently needed in the first and as artists.
It’s called EAISMO, ie moving the Atomic Age (E, A, ism) because the discovery of atomic energy is concerned by EAISTI as the acquisition of a principle that can revolutionize our conception of the universe, and then alter that ‘sentimental moral balance that it was his support and his justification, and therefore able to put us in the face of incalculable problems, such as those that exist today sconcordanza inadequacy and between truth and freedom achieved by scientific thought and backward and traditional tone of our love life and moral.
So Conviction all movements which, not feeling the urgency to test with sincerity of purpose and depth of introspection human values able to resist firmly (as the only certain reference points) in the new conception of the universe and receiving new ones that you announce, conceive of art as a refuge and began as an oasis in which humanity shut himself far from the complex labor, and condemns in particular:
I. The future, because the reality is to illustrate only the visual appearance, suggesting a trivial superposition of planes as a result of a mechanical succession of optical images in the retina and the inner problematic nature of reality.
II. Cubism, the reality that intends only to celebrate the physical or, in special cases, to express an opinion on it subjective and partial, without understanding it in its wealth of tips, tore from his deep sense of divinity.
III. Fauvism, because it expresses only the splendor of the real outside, in a game of abstract funambolesco candor, without bothering to penetrate human motives.
IV. SURREALISM, because it sees artistic expression as an experiment in automatic nature of sub-conscious rather than use the means of expression as a conscious tool to translate into words and figure dominated a feeling of the soul.
V. Existentialism, because it means the presence of man to conceive the world as a result of a cruel game of forces outside of him, without bothering to affirm the true value and essence, only by pursuing them but you can subtract the loss, to dizziness, nausea.
VI. – The Hermes, because it reduces the word to a sound engineer and music pure fact, denying its natural function of meaning of a concrete reality, which alone gives it substance and value.
VII. The abstract, because, as it does with the word Hermeticism, uses the sign and color as elements of an arbitrary pure play, no longer able to signify humanity’s vision, nor communicate to the viewer.
VIII. THE Lettrism and its closest ancestor, Dadaism, which, in the desired sound elementary only childish expression of the modern look of bewilderment and babbling instead of looking for such fundamental values of it are able to save itself in the disintegration, also spiritual, which threatens us.
The survey EAISMO therefore proposes a new artistic content, inviting artists to test the consistency and robustness of the myths of our imperiled humanity, it is believed that the art of the need to resume contact with the reality of life and his feelings with commitment and sincerity, and also offers, on a technical level, to express the results of that survey with figurative and lyrical simplicity, conciseness and intuitive.
The above is more fully expressed in the answers to the following questions:
Aspects can be universally acceptable dell’EAISMO? They will not have points of contact with other recent movements? EAISMO is the only controversial stance in opposition to other isms, or is the result of a conviction resulted from spontaneous special needs of our time? Responds to latent need in our century, new ideas are forged or isolated and ahistorical? The true face dell’EAISMO is a form of propositions established deliberately in order to distinguish it from already, or is derived from a logic clear? Finally: the creation of painting and poetry eaiste will be linked to the enunciation of a particular technical process and dialectical, or will be implemented in freedom of expression?
The movement eaista (EAISMO) who wants to affirm the need for the art is consistent with the spiritual needs and with the fundamental problems of the age in which it flourishes, announces the need for artistic expression is adequate to aspects of human thought and human sensitivity resulting from the dynamic evolution of technical and philosophical humanity. The mechanical progress, the great scientific discoveries and especially the atomic disintegration, are the final points of arrival of human thought at the end of the second millennium AD, but has not yet binding and consistent with them any art, which also feels commonly the need to be progressive and it is compliant at the time.
As for the painting, Picasso, Braque, Matisse, Chagall, Modigliani, and in some respects, Campigli and Sironi, in part, they did not need to understand and comprehensive effort to express the sense of humanity evolving complex and The more times you have taken refuge in the refined taste of the earliest forms of man: Egyptian, early Christian, Negroid, etc.., regardless of the spiritual travail of the age in which we live, this symptom, which warns us that there is more because those who can act driven by the needs and snobbish middle-class, weighted for the effect of reflections, which are the only ones that can enable us to find irrefutable truth and necessity of our humanity suffered, and not understanding its meaning in terms of art: that it is illogical immoral as well as from a artistic point of view.
The age of the world is in the air and in all things: our old age we carry blood from children, and a grown man can never be a child.
Against such and such positions are placed art EAISTA, which asserts the urgent need to express the sense of character that even in our age it does not allow more of a calm and thoughtful mental processing of sensitive data, and is therefore not in contrast to the realization of today’s sprint mechanics, physics, chemistry, and also denies aberrations and deformities literary fashion rirportare art to its universal values.
The EAISMO will not have points of contact with the artistic movements of today, because, contrary to what they do, will give more, and demanding, in essence and intimacy, the presence of man in the world, while using, to express it, of all cultural and technical contributions, that this age can make available to him. We no longer have to paint and to write, the calm of a worldview or a Titian Ariosto: the restlessness determined by the progress, gaps and even physiological effect of the biological changes of the species, there are several. Nevertheless the movement EAISTA want to reaffirm the universality of artistic expression, while asserting that art must adapt to the particular needs of our current age, and this without soaking the polemical meanings of work produced.
In this sense, the EAISMO itself as a movement historically valuable because he wants to express the reality of our time and wanted to fight all the abstract ideas and artistic oddities, which are not art, but cerebral.
The EAISMO is not a form of Volutio: it argues for a more sincere and free expression that the artist put in a position to seize and secure the fleeting emotion and energy to painting or poetry. Emotions pictorial, which will not be distorted or contain formulas or technical impediments, why the alleged need for candor and directness of construction work will facilitate the task of the artist.
The emotion will be made brief pictorial or poetic as virgin and essential that the idea will still look energetic. If the painter EAISTA, to make the necessary simplicity and directness that has illuminated the idea, feel useless to dwell on painting certain anatomical details of a figure to dwell on them because it distracted by the realization of what it really has added more will not be necessary to picture them, because what the figure will realize, however, will be able to suggest the existence itself of what was not painted.
Who cares if the painter EAISTA abolish some lines or even a face, or to express a naked linear trace only the harmony of a basin or one shoulder? The layman, in the face of it, may be puzzled or lost, you can also think that the painting missing three quarters of a run, but will never condemn the EAISTA, because its easy to judge, will this time genuine ignorance: EAISTA the fact that it is truly such, must, through what is expressed, suggesting the presence of what has not stopped to realize and the visitor can not fail to perceive, that presence.
It follows that the EAISTA should abolish any form of complacency for any rhetorical trappings and superstructures. Always seek the painting and written the bare essentials, which will allow him to express his intention in accordance with universal values of painting and poetry with grip and consistency, the result of education and sensitivity. To do this, the man of today, thanks to technical progress and publishing, has at its disposal a lot of material cultural publications, monographs, etc. color reproductions. It may well reach for the education of his taste and sensibility with a full understanding of what has been done in art, and this will facilitate the enrichment of its cultural and what is right, because the EAISTA must also be able to master the technique and to fully express his vision and exhaustively.
The painter and the poet EAISTI does not delight in abstract worlds and difficult language, much less impenetrable. Since, moreover, the artist, before such a man should be more troubling in the sense of the word, comes the need to speak with complex wealth.
Looms, as mentioned above, the answer to the alleged need to make the art consistent with the dynamism of the world, the need for coherence EAISTA.
And ‘well clear, however, that the movement does not exalt the atomic age, awful, evil, or is inspired by the tragic phenomenon of human progress that has generated in its external aspects and mechanics. The EAISMO express the tragedy of the twentieth century, inspired by the sense of that tragedy, that the sense of man as a dove to live in it, fed it, trying to find a new man, and translating it into deeds, ‘s balance equation broken man-world. And what will happen necessarily: not only, but more because the EAISMO programmatically intends to capture and express the sense of the century in which flowers, elevation of spirit.
VOLTOLINI FOUNTAINS SIRIO ANGELO PELLEGRINI ALDO BLACKS MARCELLO LANDI GUIDO Favati
Livorno in October 1948