SUMMARY. During all history a certain relation between science (mathematical existed, physical, dynamic, optical)... and the art. From "1900/1945", World War I "1914-1918", other dates like Russian revolution "1917", and the theory of relativity like modern physics, with their slight knowledge of Cuatridimensional, Space time "1901", would mark three important landmarks in historical happening of the mechanist industrial iconography. The sprouting of the Psychoanalysis, the cinema, the speed, the communications and new physical and philosophical theories, motivated to that intellectual artists lived in a constant cuestionamiento and an atmosphere of great necessity of new knowledge. 

The concept of the mecanicismo obtained its Maxima expression with the vanguards that had origin in the impresionists, Cubistas, Dadaístas and Futuristas. One treated, therefore, to establish one narrow relation between, science in general and the art, in search of other new forms of expression and other concepts. The phenomenon of the artistic attention by the mecanicismo and the use of the mechanical object (the Machine), arises like an attitude generalized between the different tendencies from vanguard. As much the futurist ones as the dadaístas and cubistas, Boccioni, Duchamp and Léger confronted the value of the machine not like a new system, but like an inexhaustible source where they remove the ideas to represent the mecanicismo and the dynamism in his pictures. Also like critic of the subjects and the traditional artistic object. 

This Thesis has been subtitled indeed "Mecanicismo and dynamism in works of Marcel Duchamp, Fernand Léger and Umberto Boccioni, Three styles different", to make specific that the relation with the art, science and the industry (the maquinismo) has not been taken in its habitual meaning, but taking care of the use that the artist has done of the own formal elements of the industry, applied in his work to obtain many objectives, among them, the movement and the dynamism iconographic. 

The structure of the thesis has been organized in seven chapters: In chapter one is to define the mecanicismo, how its relation with many scientific and philosophical theories arose and. In two chapter speech of Léger like example in comparison with Duchamp and Boccioni. In the third chapter one is to show the mecanicismo in the work of Léger. Chapter 4 is dedicated to the new visual languages, X-rayses and the photography, taking to Duchamp like example. In chapter five it will be spoken of the mechanist conception in the work of Boccioni. In chapter six we found the concepts of the futurist movement with a scheme detailed of the same one. In chapter seven a chronology will be made on the mecanicismo in other movements. 

The thesis finally gathers the relation of the artists and the art with science and the maquinismo throughout the century.
  




     Mecanicismo y dinamismo en las obras de Duchamp, Léger y Boccioni. Tres estilos Diferentes




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