Born in 1871, in Turin, Italy; dies in 1958 in Rome, Italy.
From 1891, Balla attends the Accademia Albertina di Belle Arti in Turin and then, moves to Rome in the mid-1890s. In Rome, Balla finds an entourage particularly sensitive to humanitarian socialism and scientific positivism issues, that leads him to focus on urban landscape or human condition. The pictorial language of this period refers to elements from Verism, Art Nouveau and Neo-Impressionism, as is clearly visible in his series Dei Viventi (1902-1905). In 1910, already well-established and a mature artist by then, Balla signs the Manifesto of Futurist Painters and the Technical Manifesto of Futurist Painting, together with Boccioni and Severini. From 1912, he concentrates his studies on movement – which he reproduces later on, for example with Bambina che corre sul balcone (Milan, Museo del Novecento) or Dinamismo di un cane al guinzaglio (Buffalo, Albright-Knox Gallery) – and his studies on the Iridescent interpenetration in which he breaks down colours in triangular shapes corresponding to the structure of light beam. His interest in pure form and in colour bring him to a rigorous abstraction research. Balla takes part in Futurist events, creating and interpreting stage action, drawing clothes, costumes, furniture and designing plastic complexes. In the early 1930s, he accentuates his critical point of view on the second Futurism, already latent in the mid-1920s, which leads him to fall back to his initial figurative research.