The drawings that make up Boccioni’s “unique forms” represent an attempt to create art works that do not merely reproduce aspects of contemporary life but also demonstrate how seemingly solid objects are actually defined by the interplay between solid mass and its environment. In Boccioni’s words: “We proclaim the absolute and complete abolition of definite lines and closed sculpture: We break open the figure and enclose it in environment.” Boccioni’s images may at first glance seem unambitious and overly dependent on Cubist syntax. Precisely because the whole concept of linear dynamics as lines of force that interpenetrate all things, breaking down what was assumed to be solid corporeal mass, is so demanding, especially when confined to 2D, Boccioni was wise to limit his first undertakings in the direction of a Futurist aesthetic to the image of the human body. He was attempting to unite interior and exterior, past with present and future, the actual and the remembered within a single image.
The Census Commission of India recently published the results of a 2010 survey of roughly 246 million households, and it showed that 44.8% own bicycles.
In Uttar Pradesh, where the Samajwadi Party has just returned to power, the figure is higher, with more than 67% of households traveling by bicycle. That’s the highest percentage of all Indian states. Sikkim, in India’s northeast, had the lowest figure, with just 0.9% households owning bicycles.
Legend has it that in mediaeval times, a local count was being attacked by bandits when he saw an apparition of the Virgin Mary, and running towards this vision saved him. Thus, the Madonna del Ghisallo became the patroness of travellers. Then, in 1949 a local priest managed to persuade Pope Pius XII to admit her as the patroness of cyclists. Since then, the small chapel has become a shrine to cycling legends, both living and deceased, and provides a memorial to those who have fallen in our sport.