THE ATTITUDE ADOPTED by Marinetti in the Foundation Manifesto was a poet's attitude, adopted for the benefit of other poets. Their response was direct and before three years had elapsed a characteristic type of Futurist lyric had appeared, written in short-lined vers libre revealing an overall debt to late nineteenth-century French poetry, and taking as its subjectmatter l'Elettricità ( Luciano Fulgore) A un Aviatore ( Libero Altomare), Il Canto della Cittd di Mannheim ( Paolo Buzzi), etc. The magazine Poesia, and Marinetti's associated publishing activities, became the main instruments of Futurist literary activity.
As early as 1909, however, there is a poem of Buzzi's dedicated to Umberto Boccioni, beginning
Érige les constructions massives pour la ville future Qu'elle s'élève dans le ciel libre des aviateurs
which indicates that the Poesia circle were already in contact with practitioners of the plastic arts, and that at least one of the great Futurist themes, the City of Tomorrow,1 was already in circulation. The memoirs of Signora Benedetta Marinetti state that in the same month as the publication of the Foundation Manifesto, Marinetti met Umberto Boccioni, Carlo Carrà, and Luigi Russolo, and later in the year Giacomo Balla. These four, with the addition of Gino Severini, constitute the main body of Futurist painters, and together they signed the Manifesto of the Futurist Painters ( 11 February 1910) and the Technical Manifesto of Futurist Painting, published in April of the same year, on the 'canonical' eleventh day (no fewer than eight of the Manifestoes were published on the eleventh of the month).
These two Manifestoes concerned with painting, and the later one on sculpture, are basic points of departure for all Futurist activity in the plastic arts. But they need to be taken in a complicated context which must include the continuing literary activity of Marinetti (some of which was not published in permanent form until after the two painting Manifestoes) and must also include developments in the painting of the School of Paris.____________________