umberto boccioni sculpture
Though Boccioni apparently reviled traditional sculpture, Unique Forms of Continuity in Space does resemble more realist works.  It is reminiscent of the classical Winged Victory of Samothrace, which Filippo Marinetti, founder of Futurism, declared was inferior in beauty to a roaring car.  The lack of arms also pays homage to Auguste Rodin’s Walking Man. 
Unique Forms of Continuity in Space (Italian: Forme uniche della continuità nello spazio) is a 1913 bronze Futurist sculpture by Umberto Boccioni. It is seen as an expression of movement and fluidity.  The sculpture is depicted on the obverse of the Italian-issue 20 cent euro coin.
The destruction, in 1927, of a number of plaster and mixed-media sculptures by the Futurist artist Umberto Boccioni (1882-1916) was a tragic loss for avant-garde art. Of the many ground-breaking sculptures he created between c.1913 and 1915, only a handful remain in existence today. Now, using a combination of vintage photographic material and cutting-edge 3D printing techniques, digital artists Matt Smith and Anders Rådén have recreated four of Boccioni’s destroyed works: a volumetric study of a human face titled Empty and Full Abstracts of a Head, and three of the artist’s iconic striding figures. This ground-breaking display enables modern audiences to ‘see’ these lost masterpieces for the very first time.
In addition to the full-size 3D prints, the exhibition featured smaller maquettes highlighting those areas where Rådén and Smith had to compensate for a lack of photographic documentation, drawing on the insights they had gained into Boccioni’s stylistic vocabulary in order to complete their reconstructions of the works. Time-lapse recordings of the printing and digital sculpting processes were also included, as well as a number of sketches and working drawings for the final prints.
Umberto Boccioni, (born October 19, 1882, Reggio di Calabria, Italy—died August 16, 1916, Verona), Italian painter, sculptor, and theorist of the Futurist movement in art.
Boccioni’s first major Futurist painting, Riot in the Gallery (1909), remained close to pointillism and showed an affiliation with Futurism mainly in its violent subject matter and dynamic composition. The City Rises (1910–11), however, is an exemplary Futurist painting in its representation of dynamism, motion, and speed. The swirling human figures in its crowd scenes are repetitively fragmented according to the Futurist style, but the rhythmic muscular energy they generate is unrelated to the Futurist cult of the machine.
Note About Sculpture Appreciation
To learn how to evaluate modernist Futurist sculptors like Umberto Boccioni, see: How to Appreciate Modern Sculpture. For earlier works, please see: How to Appreciate Sculpture.
EVOLUTION OF SCULPTURE
For details of the origins and
development of the plastic arts
see: History of Sculpture.
Umberto Boccioni was born on 19 October 1882 in Reggio Calabria. His father was a minor government employee, originally from the Romagna region in the north, and his job included frequent reassignments throughout Italy. The family soon relocated further north, and Umberto and his older sister Amelia grew up in Forlì (Emilia-Romagna), Genoa and finally Padua. At the age of 15, in 1897, Umberto and his father moved to Catania, Sicily, where he would finish school. Some time after 1898, he moved to Rome and studied art at the Scuola Libera del Nudo of the Accademia di Belle Arti di Roma. 
As he travelled from one city to the other, in parallel with his most ground-breaking artistic endeavours, he worked as a commercial illustrator. Between 1904 and 1909 he provided lithographs and gouache paintings to internationally renowned publishing houses, such as Berlin-based Stiefbold & Co. Boccioni’s production in this field shows his awareness of contemporary European illustration, such as the work of Cecil Aldin, Harry Eliott, Henri Cassiers and Albert Beerts, and attests to his information of contemporary trends in the visual arts more in general.