20s futurism

The Tate writes, of early 1900s futurism:

Among modernist movements, futurism was exceptionally vehement in its denunciation of the past. This was because in Italy the weight of past culture was felt as particularly oppressive. In the Manifesto, Marinetti asserted that ‘we will free Italy from her innumerable museums which cover her like countless cemeteries’. What the futurists proposed instead was an art that celebrated the modern world of industry and technology:

We declare…a new beauty, the beauty of speed. A racing motor car…is more beautiful than the Victory of Samothrace. (A celebrated ancient Greek sculpture in the Louvre museum in Paris.)

Futurist painting used elements of neo-impressionism and cubism to create compositions that expressed the idea of the dynamism, the energy and movement, of modern life.

The first world war cooled the ardour of many of these:

After the brutality of the first world war, many artists rejected the avant-garde notions of futurism and other pre-war movements, by using more traditional and reassuring approaches, a phenomenon described as the ‘return to order’.

While there were, obviously, 20s visions of the future, particularly in technology:

... it did not dominate society in the way it did in the 50s.  There was, for example, Metropolis in 1927 but it was not received massively well at that time, its time would come. In a similar way, streamline moderne arose in the 30s, not the 20s, though art-deco had been around for years. 

The split in the second part of the 20s was between futurists who wanted a more dynamic, sleek form vs the traditionalists who went more for hard edge opulence, a more reassuring style.

Thus the 20s was almost a changing of the guard which saw the crash, depression and WW2 in succession.