Throughout the 19th and 20th centuries, the pictorial tradition was strongly affected by different factors and situations that led painting to move towards new forms of expression. One of the most outstanding events was the appearance and development of photography; Until then, painting had been in charge of capturing reality. However, with the arrival of photography and its ability to capture the world around it more faithfully than ever before in history, it did not seem to make much sense for painting to continue being the true reflection of reality.
In this context, a set of changes and technical innovations were also developed in different fields that had a powerful influence on painting. In this way it does not seem difficult to understand that painting sought new forms of expression,forms that would give rise to the artistic avant-garde. Each and every one of the avant-garde took care to take painting to a new terrain that had never been explored before, but perhaps it was the futuristic aesthetic better than any other that found its source of inspiration in modernity, in this way the artists of the The futurist current focused on the movement and transformation of the city, on the arrival of machines and even on the disasters of the great wars to complete their creations.
Thus The city that rises,also known as The Emergence of the City or even Creation of the City, it is one of the first works of futuristic aesthetics made by the painter Umberto Boccioni. Boccioni (18882 – 1916) is one of the most outstanding Italian artists of all time, even today his work has had a great influence on contemporary art. Born in Milan, the artist knew divisionist tendencies at the beginning of his artistic career and at the beginning of the 20th century, around the year 1910, the painter met Tommaso Marinetti and together they proposed the first Manifesto of the futuristic aesthetics.
This is one of those canvases in which the artist's ideals are reflected: we are faced with a large horizontal format canvas -more than three meters wide and two meters high- which is currently Preserved in the Museum of Modern Art in New York. The painting represents the construction of what appears to be a factory in a city, using the power of horses. The construction that in theory should be the main element of the painting has been relegated in favor of the strength and dynamism of the animals. The brushstrokes are quick and short and with them the artist manages to convey the movement and power of the animals. The forms are divided into small elements and highlights the intense palette with which the artist has represented the forms of animals, with complementary colors that counteract each other and capture our attention.