Artists, wrote the American poet Ezra Pound not long before the outbreak of the Great War, are the “antennae of the race”: they see or sense what is coming long before the journalists and politicians. Pound’s maxim has often been mocked, but in the case of the early 20th century his contention seems well-founded. As early as 1909, the Italian Futurists – whose visual brilliance has long since outlived their ugly and foolish ideology – not only saw war coming but eagerly welcomed it. “We will glorify war”, their poet leader Marinetti bragged in the Futurist Manifesto, seeing military conflict as a means of purging a decadent Europe of its nostalgia, its democratic levelling and its softness, and of asserting noble masculine values. They would not have long to wait.