Futurism Dada Surrealism

Transcription

1 Futurism Dada Surrealism week eight Read chapters 21 and 22

2 Futurism What is Futurism? Primarily Italian artists Style peaked just before WWI ( ) Inspired by Cubism, with its multiple views of objects, introducing the element of time into painting The Futurists built on these developments to add a sense of speed and motion; depicting shapes in motion was an essential principal of Futurism The Futurists celebrated modernity and the machine Filippo Tommaso Marinetti wrote the Initial Manifesto of Futurism: the world s splendor has been enriched by a new beauty; the beauty of speed...a roaring motorcar...is more beautiful than the Nike of Samothrace. Nike of Samothrace, Hellenistic Greece, Late 3rd c. b.c.

3 Futurism Subject: The Nude represents a figure walking through space and also downward, responding to gravity. Artist: Duchamp was not necessarily a Futurist, but this work anticipates Futurism in both style and intent. This work was not recieved well by the art establishment at the 1913 Armory Show in New York City, where it was first seen by the public. Style: Inspired by the simultaneous views of Cubism, the Nude depicts the added dimension of motion. adopts the limited palette of Analytic Cubism Also inspired by sequential photography, incremental movements are recorded in sucession on the same canvas. Lasting impact: This painting was revolutionary in that it introduced repetition and rhythm as a principle in painting Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912

4 Futurism Unique Forms of Continuity in Space embodies the chief Futurist principle depicting objects in motion. This principle had been sucessfully introduced in painting, and with Unique Forms, now also to sculpture. Not necessarily, about the figure, but about the motion of the figure. The figure disappears behind its movement. Muscles flare in space to create a sense of velocity and forward motion. Umberto Boccioni, Unique Forms of Continuity in Space, bronze Futurist, 1913

5 Futurism Subject: Easily decoded scene of a figure walking a dog on a leash. Style: Repeated stacked shapes describe movement in the dogs s feet, tail and leash. Stacked style is a common device to describe motion in cartoons. Giacomo Balla, Dynamism of a Dog on a Leash 1912

6 Futurism Subject: A vibrant, crowded dance hall in Paris. Bal Tabarin records the great variety of glimpses and mental impressions that comprise a single event. Style: Kaleidoscopic impressions of different points in space and time not a single, static view. no fixed locations or objects; only fleeting glimpses of colors and impressions of motion. Severini called these abbreviated notations of visual impressions hieroglyphs. Gino Severini, Hieroglyph of the Bal Tabarin, Futurism, 1912

7 Futurism Sonia Delaunay-Terk, Le Bal Bullier, 1913 size: 12 across Subject: Le Bal Bullier is a dance hall in Paris. Dancers glide across a ballroom floor across a 12 wide canvas. Style: Flattened shapes are rendered in shallow space Repetition gives impression of sequential movement of couples dancing horizontally across the picture plane. Sonia Delaunay-Terk also designed clothes and textiles with a similar sensibility to repeated shapes and blocks of color.

8 Dada What is Dada? Dada is a nonsense word picked at random, reflecting Dada principles often guided by automatism and the element of chance. Dada originated in Zurich by a group of artists and intellectuals that opposed WWI. They met at the Cabaret Voltaire, hosting boisterous performance art. Jean Arp: While the thunder of guns rolled in the distance, we sang, painted, glued and composed for all our worth. We were seeking an art that would heal mankind from the madness of the age. Dada is not a specific style, but works created by individuals that held a similar worldview. Dada peaked in the years before and during WWI ( ), and dissipated by Altered objects: Dada works are often found objects rendered ironic or useless through alterations Dada tends toward the absurd; an art reflects the irrational values of a world driven by senseless wars Dada was an important force in Graphic Design, introducing experimental elements in typography

9 Dada The Fountain is a urinal which was signed R.Mutt and submitted for the exhibition of the Society of Independent Artists in 1917 in New York City. The Fountain was rejected by the committee, even though the rules stated that all works would be accepted by artists who paid the fee. Duchamp knew it would be rejected, so he staged a mock parade in protest. Marcel Duchamp, The Fountain, 1917 Further reading on The Fountain: Duchamps-Fountain-The-practical-joke-thatlaunched-an-artistic-revolution.html Style: found object, which Duchamp called Readymades Intent: mocks the art establishment reflects a belief art that had lost its way Man Ray, Cadeau, replica of lost 1921 original, painted flat iron with row of tacks glued to bottom. This utilaritarian object is rendered useless and absurd, even dangerous. Marcel Duchamp, L.H.O.O.Q. ( she has a hot backside ), altered postcard, Swipes at traditional standards of beauty in art. Irreverence toward an iconic work of art questions why we consider certain works to be great to begin with.

10 What is Surrealism? Peaked in the 1920s, though continued for several decades Subject matter is often fantasy and dreams Subjects with meanings that are often disconnected from the natural world Inspired by Carl Jung, Sigmund Freud, marked by a fascination with the subconscious and the unconscious worlds Andre Breton wrote the Surrealist Mainfesto in 1924 in Paris, defining the movement s purpose. The great achievement of Surrealism was its radical choices for artistic subject matter artists were free paint any subject

11 DeChirico pioneered metaphysical painting. Hidden realities were revealed by strange juxtapositions. Giorgio De Chirico, Mystery and Melancholoy of a Street, 1914 An Italian from Turin, De Chirico s paintings contain numerous references to classical art and architecture, but these classical references are rendered ambiguous and mysterious. Characteristics: classical references, peppered by anachronisms (clock, train in SoothSayers Recompense) silent monuments occupy vast open spaces piazzas empty of people otherworldly, strange and silent reality long eerie shadows fall across silent spaces Giorgio De Chirico, The Soothsayer s Recompense, 1913

12 Dali s style is characterized by such precisely rendered objects that they betray the viewer s sense that the scene is a fantasy. Dali paints his nightmares, rendered in a highly illusionistic and academic style. Working in a style known as Representational Surrealism, Dali s illusionistic style makes the unreal seem real. The Persistence of Memory evokes the point at which time ends. Limp watches drape across unnatural elements while a lonely tree sprouts from solid rock. Ants swarm while a humanoid creature has expired dead on the ground. A disconnected plane hovers near a shoreline leading to a barren island that interrupts an interminable horizon. The meaning of this collection of disconnected elements is open to interpretation. Salvador Dali, The Persistence of Memory, 1931 hyperlink: Salvador Dali documentary, 1986 (1 hour, 15 min.)

13 Magritte s work is characterized by visul puns and surprising juxtapositions of objects rendered in an illusionistic style. René Magritte discouraged the temptation to psychoanalyze his work. He discouraged those who tried to ascribe meanings that were not there. Magritte held a dim existential worldview and he saw his paintings as relief from the drab melancholoy of existence. Though his images are surprising and refreshing, his colors often remain drab. René Magritte, Le Portrait, 1935 René Magritte, Treachery of Images, 1928 This is not a pipe. If this is not a pipe, then what is it? It is a painting, of course! In the treachery of images, images compete with words and the images always win.

14 Joan Miro was a practitioner of Abstract Surrealism. He embraced automatic drawing and the element of chance to guide his work. Joan Miro, Woman Haunted by the Passage of the Bird-Dragonfly Oman of Bad News, 1938 Miro often cut shapes and randomly scattered them to begin a composition, then connected the shapes with outlines. As objects suggested themselves as he worked, he infilled these shapes with color. Birds, figures and other creatures materialized as biomorphic, amoeba-like shapes. The meaning of these shapes is not always explained, not even to the artist. Joan Miro, Painting, 1933

15 Max Ernst, during his Surrealist period, often employed found objects and cut images in his work, making for paintings with sculptural aspects. The confusion between painting and sculpture create space that is both irrational and ambiguous. In Two Children, Ernst challenges the western tradition since the Renaissance that paintings are a window on to a deeper three dimensional space. The illusionistic space established by the perspective of the fence is hijacked by the actual three dimensions of the building with the overhanging roof. The gate and the purple button violate the boundaries of the picture and its frame as well as the boundaries between real and illusionistic space. The poetic text at the bottom further dislocates meaning from mage the viewer can t decipher the connection between word and image. Max Ernst, Two Children are Threatened by a Nightengale, 1924 hyperlink: Max Ernst and the Surrealist Revolution, part 1 (8 min.), BBC

16 Influenced by his childhood as a Jew from a small Russian village, Chagall s work is characterized by strong spiritual overtones as well as memories of peasant life and simple pleasures. Chagall s style is often kaleidoscopic, with figures and images that occupy the picture plane in the manner of a collage, floating in space independent of gravity and perspective. The Birthday, 1915 Chagall and his first wife Bella What counts is art, painting, a kind of painting that is quite different from what everyone makes it out to be. But what kind? Will God or someone else give me the strength to breathe the breath of prayer and mourning into my paintings, the breath of prayer for redemption and resurrection? MARC CHAGALL further reading: com/culture/2/art/history_and_theory/jewish_ Painters/Marc_Chagall.shtml The White Crucifixion, 1938 I and the Village, 1911

17 Themes in Chagall s work often include the persecution of the Jews, the central theme of The Fallen Angel. A workman falls from the sky, a man holding a Torah flees, a mother and child are caught in the falling angel s red wing, a small man at the bottom is driven from his village. Appearing in many of Chagall s works, the crucifix represented the persecution of the Jews (Jesus was Jewish) and signified a universal emblem for the suffering of his time. At times the crucifix may have also functioned as a symbol for hope and redemption. Marc Chagall, The Falling Angel, 1923, 1933, 1947 (it took Chagall 25 years to complete this painting) further reading: holocaust/pack/ pdf When he began it in 1922, with memories of the Russian revolution still fresh, the picture was to have included only the figures of the Jew and the angel and was meant as a representation of the Old Testament vindication of the presence of Evil in the world. Yet, in the years up to the painting s completion in 1947 the artist increasingly incorporated motifs reminiscent of his little Russian world, in the end even adding the Christian images of the Madonna and of Christ on the Cross. His Jewish vision, his personal life-story, and motifs of Christian redemption are incorporated into a programmatic statement that sums up Chagall s entire oeuvre. The images have been added one to another; in their totality, and in the diversity of their associations, they represent Chagall s unceasing endeavour to locate one single, truthful, universally valid visual formula. Its very history, its long journey halfway round the world, the whole generation required for its completion make this picture typical of twentieth century art, of the displacement and jeopardy that beset a work in its newly autonomous condition. Its very history gave this picture that authority which Chagall had always aimed at and which was commensurate with the Jewish awe of images. His own odyssey, which ended happily with his final return to France in summer 1948, had from avery early stage, ever since Walden s Berlin exhibition, also been the odyssey of his work. (

18 Klee was a Swiss-German painter who taught at the Bauhaus and lectured extensively on form and design theory. Klee believed that painting was analogous to music; touching the viewer in a similar emotional and non-verbal way. The sound of the birds in this painting links to music as well. Subject: Nature and machines join in a destructive vision of modernity. The crank forces the birds to twitter. Each bird is trapped, and it responds to the crank in an individual way. The birds are us. A trough at the bottom lures more birds into the trap. The small scale of the painting forces the viewer to come up close to view (or listen). Paul Klee, The Twittering Machine, 1922

19 Frida Khalo s life was marked by suffering from physical infirmaties and a turbulent marriage to Diego Rivera. Though embraced by the Surrealists, Frida Kahlo did not consider herself a Surrealist because she did not paint her dreams, only her own reality and psychological pain. Subject: Painted after her first divorce from Diego, representing two sides of Frida s identity, joined by holding hands. Left side represents Frida s European heritage (her father was German), and dressed in a fancy wedding type dress. Right side represents Frida s Mexican heritage (her mother was Mexican), dressed in a Mexican peasant style, which Frida often wore in everyday life. According to Frida, Diego loved her European side, not her Mexican side. Frida Kahlo, The Two Fridas, 1939 The pair is also joined by a bleeding blood vessel which Frida tries to stop with surgical forceps. The vein originates from a tiny portrait of Diego in the right figure s hand. hyperlink: Frida Kahlo documentary, 1 hour