Throughout his career, Picasso's superb draftsmanship served many subjects. His father taught him the importance of drawing, which thereafter was the dominant occupation of his life. From his earliest years he filled all available surfaces with instant sketches. There are thousands who posses menus, paper money, cafe napkins, and books of every sort with the special sketches that Picasso made within a matter of seconds especially for them. For Picasso drawing was a natural function that only death could halt. In his later years, after he had moved to the South of France and had fewer div

ersions, he filled hours between painting, sculpting, and pottery-making with drawing. Long series of compositions such as the 180 drawings he did in 1953-54, published as 'Picasso and the Human Comedy,' became an integral part of his life. Almost entirely devoted to his now traditional subjects - the artist at work and play, the circus, the bullfight, and women - Picasso drew with pencil, pen, felt pen, and the tools of the etcher and engrave

The range of Futurist manifestos was simply vast and covered every aspect of the arts - painting, sculpture, literature, architecture, music, photography, cinema, theatre, scenography, costume design, etc - as well as the everyday - love, war, women, and so on. Marinetti set the tone of the Futurist manifestos with his original Founding and Manifesto of Futurism - polemic, argumentative, decrying all that had gone before, before outlining his new ideas. This style of attack the old, established and passé and rebuild with the new Futurist ideal was adopted by most other Futurist manifesto writers.

"If, by 1910, Futurism had already written and shouted its dogma in words, its pictures still lacked an appropriately modern language to articulate their new subjects. The City Rises by Umberto Boccioni is a case in point. Against the Milanese urban background of smoking chimneys, scaffolding, a streetcar, and a locomotive, enormous draft horses tug at their harnesses, while street workers attempt to direct the animals' explosive strength. Yet the pictorial means of realizing this veneration of titanic energies and industrial activity are, in 1910, as anachronistic as the prominent role given to horse power. Basically, Boccioni still works here within a modified Impressionist technique whose atomizing effect on mass permits the forceful, churning symbols of horse and manpower to slip out of their skins in an Impressionist blur of moving light.

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