Umberto Boccioni's 'futurist Man' Is An Invisible Sculpture. Lost-wax Bronze, 58 X 45 Cm.

The outright veto imposed by so-called “accredited experts”—who rely on theories and conjecture to reject definitive attributions—has become a dominant criterion in the authentication and classification of important works of art. Various foundations that dismiss precious pieces of the artistic evolution of artistic geniuses have become an execution squad that kills the memory and history of great masters of painting and sculpture. Yet in the study and search for masterpieces that remain unknown, scattered, mistreated, and reviled to this day, one should act with greater respect and caution. Scientific analyses exist today that can study materials, compare execution techniques, and evaluate irrefutable expressions of genius, yet these are not taken into consideration by scholars for fear of being attacked by the hierarchical structure of international criticism. Fear trumps reason and the artist’s right to share their genius, posthumously, above all else. Let us gloss over the significant financial interests of certain foundations that ‘manage’ the portfolios of heirs and dominant entrepreneurs. If a foundation owns 200 works by a given artist, some of which it can sell, it will not be willing to acknowledge another 500 works in private hands. Private interests in official acts? No, because having the right to have the final say on an attribution will be the guillotine for those unwelcome works, even if they are authentic masterpieces. Everything is structured to block any resurgence or surge of new discoveries, even sensational ones. Here is a bronze that cannot exist. Even though the sculptor, Umberto Boccioni, apparently, according to experts, did not create cast bronzes but only stucco and plaster models. Yet there are letters confirming the sale of hundreds of paintings and several sculptures through his friend, the art dealer Giuseppe Sprovieri, in Rome. The cities personally visited by Boccioni where his works were for sale included Paris, London, Berlin, Milan, Rome, and many others. It is absolutely impossible that a brilliant and dynamic artist like Umberto Boccioni did not create bronze sculptures during his artistic career and did not sell them. Probably with the financial support of his friend Marinetti. Every possible discovery has always been blocked, against all logic. Here is a sculpture that embodies the full character of Boccioni’s dynamic Futurism. The work is unequivocally from the early 1900s, created using the lost-wax casting technique. The base, with its floating steps in a spiral-like upward motion, merges with the figure seated atop it, as if propelled from below. A sculpture depicting a man with a tapered, dynamic head caressed by the wind, wearing an elegant tie with a striking knot. A sculpture in perpetual motion. A pure Futurist concept. The man wrapped around the rock and fused to it by a large cloak. The connections to the renowned sculpture ‘Development of a Bottle in Space’ are evident. The Futurist man exists, even if invisible to most. He transcends all comparative and logical parameters, as well as being an expression of a unique ‘genius,’ a vibrant fruit of the brief Futurist period.