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

The outright veto cast by accredited experts, whorely on theories and conjecture to reject bold attributions, hasbecome a dominant criterion in the authentication and classification ofimportant works of art. Various foundations that reject precious piecesin the artistic evolution of artistic geniuses have become anexecution squad that kills the memory and history of great masters of paintingand sculpture. Yet in the study and search for unknown masterpiecesthat remain scattered, mistreated, and reviled even today, one should act with greaterrespect and caution. Scientific analyses exist today that can studymaterials, compare execution techniques, and evaluate expressions ofirrefutable genius, yet these are not taken into consideration byscholars, for fear of being attacked by the pyramid-like structure ofinternational criticism. Fear, above reason and the artist’s rightto share his genius, posthumously, above all else. Let us gloss over thesignificant economic interests of certain foundations, which ‘manage’ theportfolios of heirs and dominant entrepreneurs. If a foundation owns 200 works by agiven artist, some of which it may even sell, it will not be willing toacknowledge another 500 works in private hands. Private interests inofficial matters? No, because having the right to have the final say on anattribution will be the guillotine for those unwelcome works, even ifthey are authentic masterpieces. It is all structured in such a way as to block anyresurgence or surge of new discoveries, even sensational ones. Here is a bronze thatcannot exist. Umberto Boccioni, it would seem, according to the experts,did not create cast bronzes but only models in stucco and plaster. Yetthere are letters confirming the sale of hundreds of paintings andseveral sculptures through his friend, the art dealer Giuseppe Sprovieri, in Rome. Thecities personally visited by Boccioni where his works were for sale were:Paris, London, Berlin, Milan, Rome, and others. It is absolutely impossiblethat a brilliant and dynamic artist like Umberto Boccioni did not createbronze sculptures during his artistic career and did not sell them.Probably with the financial support of his friend Marinetti. Every possiblediscovery has always been blocked, against all logic. Here is a sculpture thatfully embodies the dynamic Futurism of Boccioni. The work isunequivocally from the early 1900s, created using the lost-wax casting technique. The base,with its undulating steps, in an illusory spiral-like movementascending toward the top, merges the figure seated atop it with the rock. The Man iswrapped in a large cloak, which envelops him as one with the rock onwhich he sits. The sculpture depicts the man with a tapered,dynamic head, as if caressed by the wind, wearing an elegant tie with a striking knot.The idea of a sculpture in eternal motion, based on a pure Futurist concept. The manenveloped by the rock and fused to it through a large cloak. A fittingtitle for the work: 'Fusion of Man, Rock, and Cloak'. The connectionsto the acclaimed sculpture ‘Development of a Bottle in Space’ areevident. The Futurist man exists, even if invisible tomost. He transcends all comparative and logical parameters, as well as beingan expression of a unique and vibrant ‘genius,’ born during the briefFuturist period.