Boccioni reconstructed sculptures

WHAT WAS LOST?

One of the world’s most iconic modern sculptures is Unique Forms of Continuity in Space (1913) by the Italian Futurist painter and sculptor Umberto Boccioni. Today, casts of it are held in major art museum collections around the world. What is less widely known is that this work was preceded by three other striding figures: Synthesis of Human Dynamism, Speeding Muscles, and Spiral Expansion of Muscles in Motion. Boccioni died in 1916 following a tragic accident, and eleven years later these three sculptures were destroyed. All that remains today are approximately 30 photographs taken in Boccioni’s studio and during exhibitions in Paris, Milan, and San Francisco. Yet by carefully analyzing and cross-referencing these images, highly accurate 3D reconstructions have proven to be achievable.

HOW ACCURATE ARE THE RECREATIONS?

The intent of this project is using modern digital tools to reconstruct Boccioni’s lost masterpieces as precisely as possible. Many of the historical photographs — when studied in high resolution — reveal more sculptural detail than previously recognised. Boccioni’s works are marked by angular, sharply defined planes and contours, which cast dramatic shadows and highlights. These characteristics provide strong visual clues, even in areas hidden from direct view. With careful observation, the photographs allow for the recreation of volumes, connections, and transitions with surprising accuracy. Additionally, Boccioni’s surviving sculptures and his theoretical writings on Futurist sculpture help inform areas where visual evidence is lacking. This significantly reduces the need for speculative interpretation. For example, in the case of Synthesis of Human Dynamism, our analysis suggests that over 91% of the sculpture can be reconstructed with a high degree of certainty.

HOW IS IT DONE?

The digital sculpting was done using Pixologic ZBrush, a leading 3D software widely used in the film and visual effects industry. This software enables precise digital sculpting using a pen and tablet, with tools that mimic real-world techniques such as additive clay modeling and subtractive carving. Due to the limited number of photographs and the interpretive decisions required, AI or machine learning approaches were not suitable for this project.

The reconstruction process began by loading all available photographs of each sculpture into 3D image planes within the software, serving as reference guides from different angles. A semi-transparent digital clay form was then shaped to match the silhouettes, highlights, and contours shown in the images. This method allowed the creation of a digital model closely aligned with Boccioni’s original intent.

Sculpture sizes were estimated by analyzing photographs in which the sculptures appear next to paintings of known dimensions. In at least six such images, a vanishing-point grid was applied to accurately determine scale. Details of how this technique was used are discussed in this documentary).

FULL-SIZE 3D PRINTING

Once complete, each digital sculpture is transferred into physical form through 3D printing. Two methods were used: Fused Deposition Modeling (FDM), in which a heated extruder deposits melted thermoplastic layer by layer, and CNC milling, where a computer-controlled rotary cutter carves the sculpture from dense polystyrene blocks.

The recreated Boccioni sculptures were exhibited at the Estorick Collection of Modern Italian Art in London from 25 September to 22 December 2019. This was the first opportunity in over a century for audiences to experience these long-lost works. Further exhibitions are planned and will be announced under the “News” section. The sculptures also appeared in the 2022 documentary Formidable Boccioni.