Painting
Severini was less attracted to the subject of the machine than his fellow Futurists and frequently chose the form of the dancer to express Futurist theories of dynamism in art.
His many paintings of this period - especially those of the dancers he painted - show an individualism not uinfluenced by the geometric rhythyms of Cubism and his colourful palette, combined with the gaiety of his Paris nightlife subjects, produced a light, refreshing and personal approach to Futurism. Towards the end of 1912 and into 1913 Severini's paintings began moving ever closer to abstraction while still retaining a strong perception of color combined with plastic rhythms seen.
Painting
His highly original experimental paintings of this period are primarily concerned with reproducing on canvas the essence of dynamism and simultaneity postulated in the manifestos. At this time Boccioni was, perhaps, the truest Futurist of the group and it was he who tried to achieve most convincingly the theoretical postulations of the Futurist manifestos in his paintings. In 1910 Boccioni had his first solo exhibition at Ca' Pesaro in Venice.
During the period 1912 to 1913 Boccioni's work entered a period of change.
He was less interested in dynamism as an optical principle of retinal retention
but as persistence within the consciousness of memory.
Painting
Boccioni was heavily influenced by Cubism but in his painting and sculpture he used the Futurist approach to express dynamism of the human or animal form. However there is a marked difference between his work prior to his acquaintance with Cubism and that which came after. Cubism gave him not only a wider painting vocabulary but his concept of pictorial language changed and appears to be on an entirely different level of experience. His later works tended to break up the subject figure and shifting the parts within the painting rather than repeating them whole. In his works before Cubism, simultaneity was created in his art along the precepts of the Technical Manifesto of Painting which inferred the subject "coming and going" and "appearing and disappearing" with the subject presented in multiple visions of time and space.