I noted that: "Hard-core Futurism and other 1900-1914 modernist movements had lost much of their fizz by 1920, and Balla's style drifted back towards conventional representation by the 1930s."
Since then, thanks to a publication related to this exhibit, I discovered that Balla formally broke his ties with Futurism in the mid-1930s. Some digging around the Internet revealed that he had been painting representational images in the early 1920s along with his Futurist output. It seems that he justified his 1930s work as being inspired by cinema, fashion photography, and other ways of depicting the modern age, analogous to what Futurism initially had done. More likely, he simply might have seen Futurism as something of a dead-end, finding representation more interesting, and came up with an excuse.
Below are examples of his post-1920 representational work.
This image, "Chatting," was in my post cited above. The subject is Balla's daughter Luce. Many of his representational paintings were of Luce and her sister Elica.
Luce would have been about 18 years old at the time, if the date is correct.
Sketchy portrait of an unidentified woman.
Self-portrait similar to the one he had submitted to the Uffizi gallery in Florence.
Fanciulla was the subject of several Balla paintings, but I don't know if she was a hired model or held some other status.
"Daughter of the Sun" -- in this case, Balla's daughter Luce.
Luce again.
"Let's go, it's late" is a rough translation. That might be Luce at the left.
"The Four Seasons in Red (Autumn)." One of a series of four paintings.
Balla's younger daughter at about age 33. Both became artists.
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