In his seminal Manifesto das Sete Artes, Ricciotto Canudo elevated cinema to the "Seventh Art" by defining it as a synthesis of spatial arts (architecture, sculpture, painting) and temporal arts (music, poetry, dance). This 1923 work established cinema as a "Total Art" that blends the plastic and rhythmic arts to create a new form of aesthetic expression. Further insights on the manifesto can be explored on Wikipedia.
"A fábrica de imagens": o cinema como arte plástica e rítmica
Ricciotto Canudo's 1911 "Manifesto of the Seven Arts" established cinema as a "total art" that synthesizes the spatial arts (architecture, sculpture, painting) and temporal arts (music, poetry, dance) into a new, cohesive form of expression. Canudo’s theory positions cinema as the "Seventh Art," bridging technical innovation with aesthetic emotion and elevating it beyond mere entertainment. Read more in the document on Scribd. Understanding the Seven Arts Manifesto | PDF - Scribd
Ricciotto Canudo’s "Manifesto of the Seven Arts," published in 1923, defines cinema as the synthesis of all previous art forms, uniting the spatial arts (architecture, sculpture, painting) with the temporal arts (music, poetry, dance). The text conceptualizes cinema as a "plastic art in motion," viewing it as the definitive art of the modern age that marries scientific mechanics with aesthetic experience. To explore the original document, you can view the text on Manifesto das Sete Artes de Canudo | PDF | Arte - Scribd
The Manifesto das Sete Artes (Manifesto of the Seven Arts) is a seminal theoretical text written by Ricciotto Canudo in 1911 (though significantly revised and published in 1923). It is most famous for officially establishing cinema as the "Seventh Art". Summary of Key Concepts
Canudo argued that cinema is a "total art" that synthesizes the two main categories of human expression:
Plastic Arts (Space): Architecture, Sculpture, and Painting. Rhythmic Arts (Time): Music, Poetry/Literature, and Dance.
He viewed cinema as a "fabulous newborn of the Machine and Sentiment," combining technical scientific progress with artistic ideal to capture and fix the rhythms of light. The Classification of Arts
The manifesto established the following order, which is still widely referenced today: Music (Sound) Dance (Movement) Painting (Color) Sculpture (Volume)
Architecture (Space - sometimes listed earlier in the hierarchy) Poetry/Literature (Word) Cinema (The synthesis of all the above) PDF Resources
You can find full versions of the manifesto in various languages through these academic and archival sources:
Portuguese: A digital version is available on Scribd - Manifesto das Sete Artes. Manifesto Das Sete Artes Ricciotto Canudo.pdf
Spanish: A widely cited PDF hosted by U-Cursos (University of Chile) or Susana Clavero's Educational Archive.
French (Original Context): The text in its 1923 form can be read on Filosofia.org. Manifesto Das Sete Artes (Canudo) | PDF - Scribd
Key Points of Canudo’s Manifesto (c. 1912–1923):
The Seven Arts: Canudo argued that cinema is the “Seventh Art.” He listed the arts in this order: Architecture, Sculpture, Painting, Music, Poetry, Dance, and Cinema.
Cinema as a Synthesis: He claimed cinema uniquely synthesizes the other six arts. It combines:
Rhythm and Light: Cinema’s essence is the rhythm of light and movement on screen, which he saw as the purest expression of modern life.
Beyond Reproduction: Canudo rejected the idea that cinema is merely recorded theater or photography. Instead, he called it a new, independent artistic language.
The Ideal Spectator: He believed cinema speaks to a mass audience but elevates them through rhythmic, emotional, and visual storytelling—not just spectacle.
If you need a PDF of the original text, I recommend searching in:
Ricciotto Canudo's 1911 "Manifesto of the Seven Arts" established cinema as a "total art," synthesized from the plastic arts (space) and rhythmic arts (time). This foundational text elevated film to the seventh art, bridging visual composition with temporal movement to create a new form of aesthetic expression. For a detailed breakdown of these concepts, visit Art Madrid. seventh art - Wiktionary, the free dictionary
Ricciotto Canudo’s Manifesto of the Seven Arts (1923) established cinema as a legitimate art form by defining it as a synthesis of the spatial and temporal arts. The text argues that cinema operates as a "total art," fusing classical arts like architecture, music, and painting through modern motion and light. Access the text on Scribd or U-Cursos. Manifesto das Sete Artes de Canudo | PDF | Arte - Scribd In his seminal Manifesto das Sete Artes ,
Manifesto of the Seven Arts Manifesto das Sete Artes ), published in its final version in 1923 by Italian film theorist Ricciotto Canudo
, is the foundational text that established cinema as the "Seventh Art." Canudo argued that cinema was a "plastic art in motion," a synthesis of the spatial and temporal arts that preceded it. Core Philosophy: Cinema as Synthesis
Canudo's primary contribution was the classification of the arts into a hierarchical system, positioning cinema as the ultimate fusion of two distinct groups: Spatial Arts (Plastic Arts): Architecture, Sculpture, and Painting. Temporal Arts (Rhythmic Arts): Music, Poetry/Literature, and Dance.
He believed cinema combined the visual composition of the plastic arts with the rhythmic movement of the temporal arts, creating a "total art" that reconciled science and aesthetics. Art Madrid'26 The Classification of the Seven Arts
In his 1911 treatise (later refined in the 1923 manifesto), Canudo fixed the order of the arts as follows: Architecture Historical Context and Impact
At the time of Canudo's writing, cinema was often dismissed as a mere fairground attraction or a technical novelty. The manifesto served as a crucial defense of film's legitimacy, arguing that it was not just a recording tool but a profound medium for human expression. Canudo founded the Club des Amis du Septième Art
(CASA) in Paris, which became a hub for early film theorists and avant-garde filmmakers who sought to explore the unique language of the screen. Digital Resources
While the original 1923 text is often cited, researchers frequently look for PDF versions to study Canudo's specific terminology regarding "ritmo" (rhythm) and "plasticidade" (plasticity). You can find scholarly analyses and translated excerpts on academic platforms:
: A resource for avant-garde manifestos and historical film theory. Internet Archive
: Often hosts scans of early 20th-century film journals where these ideas were first circulated. Canudo's theories influenced specific film movements, like French Impressionism ART WITHIN THE 7TH ART - Art Madrid'26
Ricciotto Canudo's "Manifesto of the Seven Arts" (1923) established cinema as a "Total Art" that synthesizes the plastic arts (space) and rhythmic arts (time). Canudo, who founded the first cinema club, defined film as "plastic art in motion" and coined the term "seventh art" to describe it. A full copy of the document can be accessed at The Seven Arts: Canudo argued that cinema is
The Birth of a New Era
It was the year 1912, and the world of art was ripe for a revolution. Ricciotto Canudo, a passionate and visionary Italian artist, had grown tired of the conventional boundaries between art forms. He believed that the arts had become stagnant, confined to their respective silos, and that it was time to break free.
Canudo gathered his closest friends and fellow artists in a small café in Paris, the city of artistic innovation. As they sipped their coffee and engaged in heated discussions, Canudo pulled out a piece of paper and began to scribble furiously. The Manifesto das Sete Artes was born.
The manifesto called for the unification of seven distinct art forms: music, poetry, painting, sculpture, dance, theater, and cinema. Canudo argued that these art forms were not mutually exclusive, but rather interconnected and interdependent. He envisioned a new era where artists would no longer be confined to a single medium, but would instead be free to experiment and combine different forms to create something entirely new.
As Canudo read aloud his manifesto, his friends were electrified by his words. They saw the potential for a new kind of artistic expression, one that would transcend borders and challenge traditional notions of beauty and creativity.
One of Canudo's friends, a young poet named Guillaume Apollinaire, was particularly inspired by the manifesto. He saw the possibilities for a new kind of poetry, one that would incorporate visual and musical elements. Together, Canudo and Apollinaire began to experiment with multimedia performances, combining poetry, music, and dance.
Their collaboration sparked a chain reaction, as other artists began to join the movement. Painters started to incorporate film and theater into their work, while musicians began to experiment with visual and poetic elements. The boundaries between art forms began to blur, and a new era of innovation and creativity was born.
The Manifesto das Sete Artes had ignited a fire that would burn brightly for decades to come, influencing generations of artists and shaping the course of modern art. Canudo's vision had unlocked a new kind of artistic expression, one that would continue to evolve and adapt, pushing the boundaries of what was possible.
And so, the seven arts, once separate and distinct, began to dance together, united in their quest for creative expression and innovation. The manifesto had given them a voice, a call to arms, and a vision for a brighter, more artistic future.
The manifesto had a significant impact on how art was theorized and discussed in the early 20th century. Canudo's efforts contributed to the recognition of cinema as an art form, influencing both artistic practice and critical discourse. His ideas about the interconnectedness of the arts and the importance of cinema paved the way for later developments in film theory and the study of multimedia art forms.
Once you locate the PDF, pay close attention to these core arguments. They are not just historical artifacts; they are living theories used in modern film criticism.