Our bodies penetrate the sofas upon which we sit and the sofas penetra — Umberto Boccioni

"Abito a Corso di Porta Romana da più di trentanni, e ancora oggi, se mi spingo fuori dai soliti percorsi, mi succede di fare qualche scoperta, come la casa dove risiedeva Boccioni ai primi del Novecento, quando il grande pittore futurista Boccioni si stabilì a Milano con la madre, in via Adige in un modesto stabile tardo-liberty. In via Isonzo cera solo lo scalo ferroviario, dopo il cavalcavia di Corso Lodi soltanto prati e marcite, e in via Mantova non esisteva ancora il vecchio mulino della Saiwa."

"Let us explain again by examples. In painting a person on a balcony, seen from inside the room do not limit the scene to what the square of the window renders visible; we try to render the sum total of visual sensations which the person on the balcony has experienced; the sun-baked throng in the street, the double row of houses which stretch to right and left, the beflowered balconies etc. This implies the simultaneity of the ambient, and, therefore, the dislocation and the dislocation and dismemberment of objects, the scattering and fusion of details, freed from accepted logic and independent from one another. In order to make the spectator live in the center of the picture, as we express it in our manifesto the picture must be the synthesis of what one remembers and what one sees. You must render the invisible which stirs lives beyond intervening obstacles, what we have on the right, or the left, or behind us, and not merely the small square of life artificially compressed, as it were, by the wings of a stage set. We have declared in our manifesto that what must be rendered is the dynamic sensation, that is to say, the particular rhythm of each object, its inclination, its movement, or more exactly, its interior force."

"The simultaneousness of states of mind in the work of art: that is the intoxicating aim of our art.. .In the pictorial description of the various states of mind of a leave-taking, perpendicular lines, undulating lines and as it were worn out, clinging here and there to silhouettes of empty bodies, may well express languidness and discouragement. Confused and trepidating lines, either straight or curved, mingled with the outlined hurried gestures of people calling to one another will express a sensation of chaotic excitement. On the other hand, horizontal lines, fleeting, rapid and jerky, brutally cutting in half lost profiles of faces or crumbling and rebounding fragments of landscape, will give the tumultuous feelings of the person going away."

"In the first Manifesto that we launched on the 8th of March, 1910, from the stage of the Chiarella Theater in Turin, we expressed our deep-rooted disgust with, our proud contempt for, and our happy rebellion against vulgarity, mediocrity, the fanatical and snobbish worship of all that is old, attitudes which are suffocating Art in our Country."

"A time will come when the picture will no longer be enough. Its immobility will become an archaism with the vertiginous movement of human life. The eye of man will perceive colours as feelings within itself. Multiplied colours will not need form to be understood and paintings will be swirling musical compositions of great coloured gases, which, on the scene of a free horizon, will move and electrify the complex soul of a crowd that we cannot yet conceive of."

"Not only have we radically abandoned the motive fully developed according to its determined and, therefore, artificial equilibrium, but we suddenly and purposely intersect each motif with one or more other motifs of which we never give the full development but merely the initial, central, of final notes.. .We thus arrived at what we call the painting of states of mind."