Abstract
In this contribution, I consider three models of articulation between still image and speed during the 20th century. I first propose to return to the futurist approach, because it is, in the history of modernity, the first to identify a new aesthetic challenge in speed and in the transformation of reality into a simple vanishing plane for the gaze. I then consider two later formulations of the aesthetics of speed, informal painting and op’art, for their intention to renew the whole vision by extending and intensifying its capabilities.