ABSTRACT
Boccioni argued that 'painting fortified, intensified, and enlarged itself thanks to the landscape and the surroundings of the Impressionist painters' which acted 'simultaneously on the human figures and on objects'. Boccioni's relationship with Rosso's form paid justice to it, extending its scope and radicalizing its standing. In his intimations with Rosso's form Boccioni's reading of heroism was radically distant from his youthful Sorelian sympathies with the cause of anarcho-syndicalism. Bergson's tautology came to a complete circle when his system as anti-system propounded an intricately anti-logical method of representation. The absolute lies within, and thus it becomes an ideal. One may argue that the ideal is a condition of Being and Being is a condition of the Ideal. Bergson's idealism was neither rational nor irrational—it was consciously externalized from the schematic approach hitherto adopted by academic philosophy. The articulation of speed as Boccioni's new absolute was a direct result of the invention of cinematography.
