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States of Mind (Stati d'animo) triptych of oil on canvas paintings created by Umberto Boccioni in 1911. Comprising The Farewells (Gli addii), Those Who Go (Quelli che vanno), and Those Who Stay (Quelli che restano), the paintings are some of the most defining images of the genre of Futurism, particularly with regards to Boccioni's own ideas on the push towards more Cubist expression within the movement. Two versions of each of the paintings were created, an earlier set in an Impressionist style, and a later set which shows more Cubist influences. All six pieces are owned by the Museum of Modern Art in New York City, United States, though only the later set are currently on display.

Background
Umberto Boccioni was one of the central figures in the Futurist movement. He studied Neo-Impressionism alongside Gino Severini in Paris during the first decade of the twentieth century, before moving to Italy and striking up a friendship with Filippo Tommaso Marinetti. Together, the pair wrote a series of manifestoes outlaying the philosophical and artistic foundations of what was to become the Futurist movement. Later joined by Carlo Carrà, Giacomo Balla, and Severini, Boccioni's initial explorations of this "Futurist style" examined the idea of representing internal stimuli such as emotion through a Neoimpressionist lens into colours and shapes within visual media such as painting and sculpture. However, after receiving second-hand descriptions of the work of Cubist artists such as Pablo Picasso and Georges Braque, Boccioni and his compatriots began to emulate their techniques, including the use of angular lines and shapes to collapse multiple planes into a single viewpoint.

Boccioni conceived of States of Mind in 1911, and described his idea to a journalist working for the Mercure de France, a French literary magazine. In the article, Boccioni was reported to have said "I have painted two pictures, one of which expresses departure and the other arrival. To bring out the differences in feelings, I have not put into my picture of arrival a single line found in the picture of departure." This quotation referred to his original set of paintings, created early in the year. However, after his introduction to Cubism, Boccioni went back to the easel and created a second set, drawing on these new techniques to reimagine the pieces in a different form. It is this second set which has been displayed most prominently in museums and galleries as an example of Futurist work.


 * Note: Boccioni credits Bergson for inspiration for images: Tisdall, p. 43the author describes an encounter with Boccioni while he was setting up an exhibition in Paris.

Analysis
Initial critical reaction: Coen p.120 Later reaction: Coen 121

Provenance
- Filippo Tommaso Marinetti (1876-1944), Milan and Rome, by 1912 - [1944] - From whom inherited by Donna Benedetta Marinetti, Rome (Marinetti's widow). [1944] - 1949 - From whom acquired by Nelson A. Rockefeller, New York. Acquired from Donna Benedetta Marinetti, October 1949 - 1979 - The Museum of Modern Art, New York. Gift of Nelson A. Rockefeller, 1979 From Maurizio Calvesi and Ester Coen, Boccioni: L'opera completa, Milan 1983, pp.397-9, nos.723-5 - Boccioni stated that he refused to sell this triptych from the 1912 exhibition when Borchart acquired most of the other works in Berlin (letter, to Severini, end of May 1912 in Maria Drudi Gambillo and Teresa Fiori, Archivi del Futurismo, Vol 1 1948, p.244). Marinetti organised the posthumous salute to Boccioni in Milan in 1916.