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波丘尼往往先提出各种理论,然后再努力把理论变为视觉形象。《城市的兴起》正是其理论在绘画上的反映。在这幅画中,他追求“劳动、光线和运动的伟大综合”。画面前景是一匹巨大的红色奔马,它充满活力,扬蹄前进。在它前面,扭曲的人物如纸牌般纷纷倒下。背景是正在兴起的工业建设。在这里,象征的寓意非常明确:巨马暗指了未来主义者所迷恋的现代工业文明,它正以势不可挡之态迅猛发展,而人群则暗示了劳动的活力。画面以鲜艳的高纯度颜色、闪烁刺目的光线、强烈夸张的动态以及旋转跳跃的笔触表达了未来主义者的信条:对速度、运动、强力和工业的崇拜。从画面渗透出的动感和节奏中,我们感受到了波丘尼的发明--“线条一力量,也就是指一切物体借以对光线和阴影作出反应,并产生出外形力量和色彩力量的能量。”
Bochini often put forward a variety of theories, and then strive to turn the theory into a visual image. The rise of the city is the reflection of its theory in painting. In this picture, he pursues “great synthesis of labor, light and movement ”. The picture is a huge red horse in the foreground, it is full of vitality, Yang hooves forward. In front of it, distorted characters fall like cards. The background is the rise of industrial construction. Here, the symbolic meaning is very clear: Giant implies the modern industrial civilization obsessed by futurists, which is growing in an overwhelming state, while the crowd implies the vitality of labor. The screen expresses futurist credo with bright, pure colors, sparkling light, intense exaggerated dynamics, and brush strokes: the speed, the sport, the power and the industry’s cult. From the dynamic and rhythm infiltrated by the picture, we have sensed the invention of Pneuney - the power of lines, that is, the energy that all objects use to react to light and shade and produce the power of form and color. "