Dada in Paris / Michel Sanouillet ; Revised and Expanded by Anne Sanouillet ; Translated by Sharmila Ganguly

Total Page:16

File Type:pdf, Size:1020Kb

Dada in Paris / Michel Sanouillet ; Revised and Expanded by Anne Sanouillet ; Translated by Sharmila Ganguly D ADA in Paris MICHEL SANOUILLET revised and expanded by Anne Sanouillet 1 st English-language edition translated by Sharmila Ganguly The MIT Press Cambridge, Massachusetts London, England © 2009 Massachusetts Institute of Technology The latest edition of this work appeared in French under the title Dada à Paris. © CNRS Éditions 2005. Ouvrage publié avec le concours du Ministère français chargé de la culture—Centre national du livre. This work was published with the support of the French Ministry of Culture—National Book Center. The authors would like to give special thanks to their executive editor, Roger Conover, copyeditor, Gillian Beaumont, and editorial consultant, Michèle Humbert. All rights reserved. No part of this book may be reproduced in any form by any electronic or mechan- ical means (including photocopying, recording, or information storage and retrieval) without per- mission in writing from the publisher. MIT Press books may be purchased at special quantity discounts for business or sales promotional use. For information, please email [email protected] .edu or write to Special Sales Depart- ment, The MIT Press, 55 Hayward Street, Cambridge, MA 02142. This book was set in Stone Serif by Graphic Composition, Inc., Bogart, Georgia. Printed and bound in the United States of America. Library of Congress Cataloging- in-Publication Data Sanouillet, Michel [Dada à Paris. English] Dada in Paris / Michel Sanouillet ; revised and expanded by Anne Sanouillet ; translated by Sharmila Ganguly. —New ed. p. cm. Includes bibliographical references and index. ISBN 978-0-262-01303-1 (hardcover : alk. paper) 1. Dadaism—France—Paris. 2. Avant-garde (Aesthetics)—France—Paris—History—20th century. I. Sanouillet, Anne. II. Title. NX456.5.D3S2613 2009 709.04Ј062—dc22 2008044043 10 9 8 7 6 5 4 3 2 1 INDEX OF NAMES The following are excluded from this index: the names of fi ctional persons; the names of Louis Aragon, André Breton, Francis Picabia, Georges Ribemont-Dessaignes, Philippe Soupault, and Tristan Tzara, who appear practically on every page; and the names in the bibliography. Abbott, Berenice, 589 471, 477, 484, 485, 486, 487, 492, 493, 494, Adamov, Arthur, 120, 326 505, 506, 517, 518, 519, 521, 523, 528, 529, 530, Adcock, Craig E., 623 533, 537, 540, 545, 553, 558, 564, 565, 569, Aicard, Jean, 44, 535 603, 609, 618, 619 Aisen, Maurice, 151, 247 Apollinaire, Jacqueline, 517, 529 Alain-Fournier (Henri Alban Fournier, known Archipenko, Alexander, 115, 413, 473, 515, 550, as), 524 566 Albert-Birot, Germaine, 48, 531 Arcos, René, 298 Albert-Birot, Pierre, 9, 11, 35, 47–48, 50, 52, 64, Arensberg, Walter Conrad, 13, 14, 15, 17, 84, 90, 69, 75, 83, 97–98, 103, 105, 163, 302, 335, 339, 111, 247, 572, 604 381, 416, 471, 473, 505, 518, 528, 531, 532, 541, Arezzo, Maria d’, 34 545, 559, 573 Arland, Marcel, 133, 262, 263–264, 265, 559, Albinoni, Tommaso, 130 598, 604 Aleksic´, Dragan, 33 Arman (Armand Fernandez, known as), 327 Allais, Alphonse, 296 Arnaud, Mrs. Raoul. See Oléo Allard, Roger, 50, 55, 65, 142–143, 181, 556, Arnauld, Céline, 111, 115, 150, 151, 152, 155, 564, 606 225, 247, 473, 474, 475, 554, 566, 568, 588, 598 Allégret, Marc, 181 Arnheim, Olénine d’, 589 Amaro, Luigi, 519 Arnheim, Rudolf, 623 Anderson, Margaret, 18, 264–265, 589, 604 Arnoux, Guy, 166 André, Marius, 357 Aron, Raymond, 239 Antheil, Georges, 609 Arp, Jean (Hans), 3, 6, 8, 10, 12, 26–28, 30, 32, Apollinaire, Guillaume, 9, 11, 34, 41, 46–47, 48, 101, 111, 117, 129, 151, 162, 163, 178, 181, 182, 49, 50, 55, 56–57, 61, 62, 63–64, 69–71, 75, 77, 201, 203, 204, 210–212, 218, 225, 231, 248, 79, 86, 94, 96, 97, 104, 130, 132, 134, 144, 145, 249, 265, 269–270, 303, 306, 309, 313, 327, 152, 155, 171, 229, 232, 238, 258, 260, 265, 340, 345, 359, 360, 367, 377, 381, 382, 384, 266, 267, 272, 279, 280, 295, 298, 303, 304, 395, 396, 397, 399, 401–402, 404, 407, 408, 308, 322, 328, 333, 387, 388–389, 459–462, 409, 410, 411, 412, 413, 417, 418, 419, 421, 473, 690 Arp, Jean (Hans) (cont.) Bataille, Henry, 247 475, 503, 515, 550, 559, 572, 575, 584, 585, Bathori, Jane (Jeanne-Marie Berthier, known 586, 612 as), 52, 517 Artaud, Antonin, 548 Baudelaire, Charles, 1, 45, 51, 110, 134, 294, 416 Ashbery, John, 607 Baudouin, Dominique, 547 Aubault de la Haulte Chambre du Lémoléon de Baumann, Fritz, 10 La Gachève, Georges Elzéar Xavier, 132 Bazin, René, 292 Aurel (Mrs. Alfred Mortier, known as), 52 Beach, Sylvia, 264, 589 Auric, Georges, 77, 86, 103, 138, 166, 225, 238, Beauduin, Nicolas, 228, 598 240, 241, 242, 247, 273, 279, 305, 436, 437, Beaumont, Etienne de, 166, 283 450, 481, 545, 571, 573, 588, 597, 609, 610 Beckett, Samuel, 120, 326 Autant, Claude, 522 Bédouin, Jean-Louis, 551, 594, 619 Aymié (for Émié), Louis, 357, 568 Begot, Jean-Pierre, 552, 577 Béhar, Henri, 513, 603, 607, 622 Baader, Johannes, 22, 24, 25, 33, 248, 324, 514, Behrens-Hangeler, Herbert, 32 537–538 Bellecour, Jean-Claude, 579 Baargeld, Johannes Theodor, 27, 28, 182, 204, Belling, Rudolf, 23 211, 559, 572 Ben. See Vautier, Benjamin Babinski, Joseph, 256, 540 Benedict XV (pope), 127 Bailly, Alice, 396 Benét, Stephen Vincent, 166 Bakunin, Mikhail Aleksandrovich, 7 Benjamin, M., 396 Balakian, Anna, 513 Benn, Gottfried, 29 Balkis, 596 Benoit, Pierre, 86, 112, 245, 247, 438 Ball, Hugo, 5, 6–9, 10, 11, 19, 20, 36, 69, 199, Béraud, Léon, 213 249, 500, 513, 555, 597, 617 Berger, Pierre, 559 Balzac, Honoré de, 589 Bergson, Henri, 110, 264 Baraglioule, Julius de, 538 Bernhardt, Sarah, 226, 251 Barbaranges (gallery), 130 Berrichon, Paterne, 77, 553 Barbusse, Henri, 6, 43, 112, 245, 247, 438, 576 Bersaucourt, Albert de, 295 Barclay, Louise, 551, 552 Berswordt-Wallrabe, Kornelia von, 620 Barnes, Djuna, 589 Bertin, Émile, 272 Barney, Natalie Clifford, 69 Bertin, Pierre, 55, 65, 103, 166, 280, 281, 610 Baron, Jacques, 132, 133, 242, 257, 258, 260, Bertini, Francesca, 118 262, 265, 272, 275, 279, 305, 367, 436, 439, Berton, Germaine, 276 453, 478, 597, 601, 610 Bertrand, Aloysius, 562 Barrès, Maurice, 39, 44, 61, 185–193, 195, 204, Beucler, André, 527 225, 234, 235, 236, 247, 252, 292, 307, 314, 317, Beyle, Henri. See Stendhal 345, 348, 576–578 Bidou, Henri, 298, 593 Barthe, Victor, 610 Bief, André du, 553 Bartók, Béla, 288 Bieutenholz, Victor, 32 Baruzzi brothers, 84 Billy, André, 84, 573 Barzun, Henri-Martin, 298, 556 Binet-Valmer (Jean Binet de Valmer, known as), Bastia, Jean, 292 248, 586 Index 691 Birault, Paul, 65 Brosjadam, 118 Bissière, Roger, 617 Brown, Slater, 239, 589 Blaizot, Georges, 93 Bruant, Aristide, 464 Blanche, Jacques-Émile, 131, 144, 252, 287, 298, Brulat, Paul, 616 462–463, 533, 545, 558, 606, 609, 614 Brunschweiller, Dr., 400 Blaukopf, Kurt, 557, 623 Buchet, Gustave, 117, 550 Bloch (bookshop), 342, 344 Budry, Jean, 282, 489 Bloy, Léon, 6, 519 Buffet (Picabia), Gabrielle, 14, 69, 119, 157, 164, Blum, Léon, 618 166, 178, 197, 225, 247, 384, 427, 459–461, 488, Blum, René, 588 530, 534, 541, 573, 574, 588, 602, 605 Boccioni, Umberto, 171 Buffet, Marguerite, 119, 126, 163, 166, 188, 221, Boesner, Carl, 23 247, 551, 554, 578, 588 Boisson, de, General, 13 Bugaud, Mrs. E., 583 Bonnaud, Dominique, 292, 615 Buisson, M., 549 Bonnefon, Jean de, 132 Burchard, Otto, 25, 28 Bonnet, Marguerite, 529, 569, 579 Burchartz, Max, 270 Bonnot, Jules Joseph, 197 Butor, Michel, 622 Bonset, I. K. See Doesburg, Theo van Buzzi, Paolo, 34 Bordeaux, Henry, 292, 294 Borges, Jorge Luis, 36 Cabanel, Alexandre, 453 Borlin, Jean, 207 Cage, John, 327 Börne, Ludwig, 91 Callimachi, Scarlat, 34 Borràs, Maria Lluïsa, 606, 607 Camfi eld, William A., 606 Botrel, Théodore, 162, 292 Canetti, Jacques, 579 Boucher, É.-L., 616 Cangiullo, Francesco, 34 Bouchor, Maurice, 120 Cansinos Assens, Rafael, 36 Boucier, Emmanuel, 292 Cantarelli, Gino, 35, 162, 204, 518, 572 Boulard, Maître, 281 Carassou, Michel, 523 Boulenger, 247 Carco, Francis, 46 Boulez, Pierre, 327 Carpentier, Georges, 120, 181, 292 Bourderon, Albert, 520 Carrà, Carlo, 34 Bourdieu, Pierre, 324 Carré, Louis, 588, 606 Bourget, Paul, 44, 247 Carrier (Carrière), 374 Bragaglia, Anton Giulio, 35 Casabon, Soler, 102 Brañas, Lasala María, 560 Casella, Georges, 166, 200, 287, 435, 436, 588 Brancusi, Constantin, 247, 451, 556, 598 Cassanyès, Magi A., 607 Braque, Georges, 251, 333, 359, 468, 506, 621 Cassou, Jean, 372 Brasseur, Pierre, 613 Cendrars, Blaise, 52, 63, 64, 68, 75, 76, 86, 104, Brauner, Victor, 34 134, 156, 262, 266, 267, 357, 519, 523, 526, Bray, Will, 606 538, 545, 553, 576 Brémond, Henri, 577 Cˇerník, Artuš, 33 Brisset, Pierre, 5 César (César Baldaccini, known as), 321, 327 Broglio, Mario, 34 Cézanne, Paul, 120, 150, 444 692 Chadourne, Marc, 86 Codréano, Lizica, 280, 609–610 Chapka-Bonnière, Pierre, 294 Colette (Gabrielle Colette, known as), 247, 521 Chaplin, Charles, 51, 109–110, 150, 229, 344, Collet, Henri, 522 521, 544, 548 Colline, Paul, 292 Char, René, 231 Confucius, 212, 591 Charchoune, Serge, 23, 135, 163, 191, 204, 220– Copeau, Jacques, 556 221, 243, 265, 305, 560, 578, 581, 583, 590, Coqueley de Chaussepierre, Charles-Georges, 598, 612 616 Charcot, Jean Martin, 540 Coquelin, Ernest (known as Coquelin junior), Chardin, Jean-Siméon, 158 296 Charensol, Georges, 121, 298 Corlin, Germaine. See Everling, Germaine Charles, Gilbert, 600 Corlin, Michel, 406, 408, 588 Charpentier, C. A., 289 Cormon (Fernand Piestre, known as), 122, 164, Chateaubriand, François René de, 92, 100, 313 617 Chaumont, Jacqueline, 610 Corray (Corray-Hossli), Han, 19, 503 Chavanon, Roland, 519 Corsa, Filip, 34 Chenal, Marthe, 42, 128, 166, 209, 219, 434, Costin, Jacques, 34, 325 482, 556, 588 Courteline, Georges, 289, 290, 297 Chevalier, Jean-Claude, 618 Courtois, Stéphane, 622 Christian.
Recommended publications
  • Borderline Research
    Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Adam Douglas Swinton Welch 2019 Borderline Research Histories of Art between Canada and the United States, c. 1965–1975 Adam Douglas Swinton Welch Doctor of Philosophy Department of Art University of Toronto 2019 Abstract Taking General Idea’s “Borderline Research” request, which appeared in the first issue of FILE Megazine (1972), as a model, this dissertation presents a composite set of histories. Through a comparative case approach, I present eight scenes which register and enact larger political, social, and aesthetic tendencies in art between Canada and the United States from 1965 to 1975. These cases include Jack Bush’s relationship with the critic Clement Greenberg; Brydon Smith’s first decade as curator at the National Gallery of Canada (1967–1975); the exhibition New York 13 (1969) at the Vancouver Art Gallery; Greg Curnoe’s debt to New York Neo-dada; Joyce Wieland living in New York and making work for exhibition in Toronto (1962–1972); Barry Lord and Gail Dexter’s involvement with the Canadian Liberation Movement (1970–1975); the use of surrogates and copies at the Nova Scotia College of Art and Design (1967–1972); and the Eternal Network performance event, Decca Dance, in Los Angeles (1974). Relying heavily on my work in institutional archives, artists’ fonds, and research interviews, I establish chronologies and describe events. By the close of my study, in the mid-1970s, the movement of art and ideas was eased between Canada and the United States, anticipating the advent of a globalized art world.
    [Show full text]
  • Dada Bros Man Ray & Picabia
    MAN RAY & PICABIA DADA BROS MAN RAY & PICABIA The Avant-Garde Masters at Vito Schnabel Gallery By Ines Valencia April 26, 2021 Man Ray, The Tortoise, 1944. Oil on canvas, 20 x 24 inches (50.8 x 61 cm) © Man Ray 2015 Trust / Artists Rights Society (ARS), NY / ADAGP, Paris 2021. Vito Schnabel Gallery, in New York, is hosting the historical different media types (including painting, photography, exhibition Man Ray & Picabia. This show brings together collage, and sculpture,) although he considered himself a two of the most legendary artists of the avant-garde and painter. In Paris, he joined the Dadaist group and became essential contributors to the Dada movement. It runs well known for his photography (his subjects included through May 15, 2021. some of the biggest names in the art world, including Pablo Picasso, Salvador Dalí, Peggy Guggenheim, Gertrude Stein, Man Ray & Picabia focuses on nine carefully selected and Jean Cocteau). However, he abandoned the medium for paintings produced between the late 1920s and mid-1950s painting in 1937. (some of which have not been on display to the public for decades.) Both artists did meet briefly in 1915 (Marcel Francis Picabia (1879-1953) was a French artist specializing Duchamp introduced them). Still, the dialogue presented in in painting, poetry, and typography. Like Man Ray, he was the exhibition is an imaginary one between the two, one one of the central figures in the Dada movement. Having that uses juxtaposition to bring their similarities to light. moved on from Impressionism, Pointillism, and Cubism, Both were prominent figures in the Dada and Surrealist Picabia identified with the provocative spirit of Dada and movements, and breaking rules played significant roles was active in both Paris and Zürich but renounced his ties in redefining what can be considered art and what it can to the movement in 1921, the same year Man Ray arrived in contain and do.
    [Show full text]
  • The Artwork Caught by the Tail*
    The Artwork Caught by the Tail* GEORGE BAKER If it were married to logic, art would be living in incest, engulfing, swallowing its own tail. —Tristan Tzara, Manifeste Dada 1918 The only word that is not ephemeral is the word death. To death, to death, to death. The only thing that doesn’t die is money, it just leaves on trips. —Francis Picabia, Manifeste Cannibale Dada, 1920 Je m’appelle Dada He is staring at us, smiling, his face emerging like an exclamation point from the gap separating his first from his last name. “Francis Picabia,” he writes, and the letters are blunt and childish, projecting gaudily off the canvas with the stiff pride of an advertisement, or the incontinence of a finger painting. (The shriek of the commodity and the babble of the infant: Dada always heard these sounds as one and the same.) And so here is Picabia. He is staring at us, smiling, a face with- out a body, or rather, a face that has lost its body, a portrait of the artist under the knife. Decimated. Decapitated. But not quite acephalic, to use a Bataillean term: rather the reverse. Here we don’t have the body without a head, but heads without bodies, for there is more than one. Picabia may be the only face that meets our gaze, but there is also Metzinger, at the top and to the right. And there, just below * This essay was written in the fall of 1999 to serve as a catalog essay for the exhibition Worthless (Invaluable): The Concept of Value in Contemporary Art, curated by Carlos Basualdo at the Moderna Galerija Ljubljana, Slovenia.
    [Show full text]
  • Before Zen: the Nothing of American Dada
    Before Zen The Nothing of American Dada Jacquelynn Baas One of the challenges confronting our modern era has been how to re- solve the subject-object dichotomy proposed by Descartes and refined by Newton—the belief that reality consists of matter and motion, and that all questions can be answered by means of the scientific method of objective observation and measurement. This egocentric perspective has been cast into doubt by evidence from quantum mechanics that matter and motion are interdependent forms of energy and that the observer is always in an experiential relationship with the observed.1 To understand ourselves as in- terconnected beings who experience time and space rather than being sub- ject to them takes a radical shift of perspective, and artists have been at the leading edge of this exploration. From Marcel Duchamp and Dada to John Cage and Fluxus, to William T. Wiley and his West Coast colleagues, to the recent international explosion of participatory artwork, artists have been trying to get us to change how we see. Nor should it be surprising that in our global era Asian perspectives regarding the nature of reality have been a crucial factor in effecting this shift.2 The 2009 Guggenheim exhibition The Third Mind emphasized the im- portance of Asian philosophical and spiritual texts in the development of American modernism.3 Zen Buddhism especially was of great interest to artists and writers in the United States following World War II. The histo- ries of modernism traced by the exhibition reflected the well-documented influence of Zen, but did not include another, earlier link—that of Daoism and American Dada.
    [Show full text]
  • Joan of Arc and Francis Picabia's La Sainte-Vierge." Dada/ Surrealism 22 (2018): N
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Iowa Research Online Dada/Surrealism ISSN 0084-9537 No. 22 DOI: 10.17077/0084-9537.1321 Dada, War and Peace Article 5 The Blood of France: Joan of Arc and Francis Picabia's La Sainte- Vierge Simon Marginson University of York accessible Copyright © 2018 Simon Marginson Recommended Citation Marginson, Simon. "The Blood of France: Joan of Arc and Francis Picabia's La Sainte-Vierge." Dada/ Surrealism 22 (2018): n. pag. Web. Available at: https://doi.org/10.17077/0084-9537.1321 Hosted by Iowa Research Online This Theme Essay is brought to you for free and open access by Iowa Research Online. It has been accepted for inclusion in Dada/Surrealism by an authorized administrator of Iowa Research Online. For more information, please contact [email protected]. The Blood of France: Joan of Arc and Francis Picabia’s La Sainte-Vierge Simon Marginson Francis Picabia’s blasphemously titled drawing La Sainte-Vierge first appeared in the twelfth issue of his journal 391 (fig. 1). Originally published in May 1920, Picabia’s iconoclastic gesture is now canonical. An icon in its own right, La Sainte-Vierge continues to serve as the ubiquitous visual shorthand for Dada’s nihilistic, anti-art tendencies within general accounts of modernism, despite the existence of a large body of specialist literature that expands the significance of the drawing well beyond these persistent clichés. Indeed, La Sainte-Vierge has been subject to such wide- ranging interpretations that George Baker has complained that it is in danger of becoming the Rorschach blot of art history (38).
    [Show full text]
  • Dada and Surrealist Journals in the Mary Reynolds Collection
    Documents of Dada and Surrealism: Dada and Surrealist Journals in the Mary Reynolds Collection... Page 1 of 26 Documents of Dada and Surrealism: Dada and Surrealist Journals in the Mary Reynolds Collection IRENE E. HOFMANN Ryerson and Burnham Libraries, The Art Institute of Chicago Dada 6 (Bulletin The Mary Reynolds Collection, which entered The Art Institute of Dada), Chicago in 1951, contains, in addition to a rich array of books, art, and ed. Tristan Tzara ESSAYS (Paris, February her own extraordinary bindings, a remarkable group of periodicals and 1920), cover. journals. As a member of so many of the artistic and literary circles View Works of Art Book Bindings by publishing periodicals, Reynolds was in a position to receive many Mary Reynolds journals during her life in Paris. The collection in the Art Institute Finding Aid/ includes over four hundred issues, with many complete runs of journals Search Collection represented. From architectural journals to radical literary reviews, this Related Websites selection of periodicals constitutes a revealing document of European Art Institute of artistic and literary life in the years spanning the two world wars. Chicago Home In the early part of the twentieth century, literary and artistic reviews were the primary means by which the creative community exchanged ideas and remained in communication. The journal was a vehicle for promoting emerging styles, establishing new theories, and creating a context for understanding new visual forms. These reviews played a pivotal role in forming the spirit and identity of movements such as Dada and Surrealism and served to spread their messages throughout Europe and the United States.
    [Show full text]
  • 1. Tristan Tzara, 'The Gas Heart'
    Notes Dates of reviews in newspapers are given in brackets as in note 5, chapter 3 (11.11.46). PART 1: DADA, SURREALISM AND THE THEATRE OF CRUELTY 1. Andre Breton, Manifeste du Surrealisme, p. 51. 2. Ibid., p. 11. 3. Louis Aragon, 'Une vague de reves', Commerce, automne, 1924. 4. From Nadeau, Surrealisme, p. 45. 1. Tristan Tzara, 'The Gas Heart' 1. J. H. Matthews, Theatre in Dada and Surrealism, p. 18. 2. Michel Corvin, Revue d'Histoire du Theatre, 1971-73. Le Theatre existe-t-il?', p. 21. 3. Elmer Peterson, Tristan Tzara, p. 43. 4. Ibid., p. 35. 5. Micheline Tison-Braun, Tristran Tzara inventeur de l'homme nouveau, p. 7. 6. Corvin, p. 228. 171 French Theatre 1918-1939 7. Matthews, pp. 19-22. 8. Ibid., pp. 22-30. 9. Corvin, p. 255. 10. Ibid., p. 260. 11. Matthews, pp. 3(}..38. Quotes Henri Behar, Etude sur le Theatre Dada et Surrealiste, p. 159. 12. Ibid., p. 32. 13. Matthews, pp. 3(}..35. 14. Ibid., p. 20. 2. Andre Breton 1. Andre Breton,Manifeste du Surrealisme, p. 37. 2. Ibid., p. 34. 3. Andre Breton, Les Pas perdus, p. 9. 4. J. H. Matthews, Theatre in Dada and Surrealism, p. 88. 5. Ibid., p. 90. 6. Ibid., pp. 97-100. 3. Roger Vitrac, 'Victor' 1. Henri Behar, Roger Vitrac, p. 18; 42-47. 2. Antonin Artaud, Oeuvres completes, II, p. 14. 3. Ibid., II, p. 12. 4. Ibid., II, p. 267. 5. See J. H. Matthews, Theatre in Dada and Surrealism, pp. 109-32. From Le Figaro litteraire (11.11.46).
    [Show full text]
  • Leger and the City Press Release 6-18-13 AV Edits
    EXHIBITION EXAMINES A MASTERPIECE BY FERNAND LÉGER IN CONTEXT Léger: Modern Art and the Metropolis October 14, 2013 - January 5, 2014 Returning to Paris after military service in World War I, the French painter Fernand Léger (1881– 1955) encountered a changed city, infused with a new boisterous energy that would inspire him to create one of his landmark achievements, the monumental painting The City (1919). The creation of this work signaled the beginning of the most experimental period in Léger’s work, lasting through the 1920s, when the artist challenged and redeMined the practice of painting by bringing it into active engagement with the urban popular and commercial arts. Léger: Modern Art and the Metropolis will examine the centrality of this masterpiece in Léger’s career and the European avant- garde in the years immediately after World War I. Comprising approximately 160 works, including loans from public and private collections in Europe and the United States, this multimedia exhibition will unite The City with other important paintings from this period by Léger, and with key works in Milm, theater design, graphic and advertising design, and architecture by the artist and his avant-garde colleagues, including Piet Mondrian, Theo van Doesburg, Cassandre, Amédée Ozenfant, Le Corbusier, Francis Picabia, Alexandra Exter, Gerald Murphy, and others. “Léger’s The City, donated to the Museum by the artist and collector A.E. Gallatin, is one of the greatest works in our collection and a landmark in the history of modern art,” notes Timothy Rub, the George D. Widener Director and Chief Executive OfMicer of the Philadelphia Museum of Art.
    [Show full text]
  • Copyright by Douglas Clifton Cushing 2014
    Copyright by Douglas Clifton Cushing 2014 The Thesis Committee for Douglas Clifton Cushing Certifies that this is the approved version of the following thesis: Resonances: Marcel Duchamp and the Comte de Lautréamont APPROVED BY SUPERVISING COMMITTEE: Supervisor: Linda Dalrymple Henderson Richard Shiff Resonances: Marcel Duchamp and the Comte de Lautréamont by Douglas Clifton Cushing, B.F.A. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin August 2014 Dedication In memory of Roger Cushing Jr., Madeline Cushing and Mary Lou Cavicchi, whose love, support, generosity, and encouragement led me to this place. Acknowledgements For her loving support, inspiration, and the endless conversations on the subject of Duchamp and Lautréamont that she endured, I would first like to thank my fiancée, Nicole Maloof. I would also like to thank my mother, Christine Favaloro, her husband, Joe Favaloro, and my stepfather, Leslie Cavicchi, for their confidence in me. To my advisor, Linda Dalrymple Henderson, I owe an immeasurable wealth of gratitude. Her encouragement, support, patience, and direction have been invaluable, and as a mentor she has been extraordinary. Moreover, it was in her seminar that this project began. I also offer my thanks to Richard Shiff and the other members of my thesis colloquium committee, John R. Clarke, Louis Waldman, and Alexandra Wettlaufer, for their suggestions and criticism. Thanks to Claire Howard for her additions to the research underlying this thesis, and to Willard Bohn for his help with the question of Apollinaire’s knowledge of Lautréamont.
    [Show full text]
  • Open Boerner Thesis.Pdf
    The Pennsylvania State University The Graduate School School of Music INTERMEDIAL AND AESTHETIC INFLUENCES ON ERIK SATIE’S LATE COMPOSITIONAL PRACTICES A Thesis in Music Theory by Michael S. Boerner © 2013 Michael S. Boerner Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts May 2013 The thesis of Michael S. Boerner was reviewed and approved* by the following: Taylor A. Greer Associate Professor of Music Thesis Advisor Maureen A. Carr Distinguished Professor of Music Marica S. Tacconi Professor of Musicology Assistant Director for Research and Graduate Studies *Signatures are on file in the Graduate School. ii ABSTRACT Artistic works involving a variety of mediums tend to be approached and analyzed from a single artistic viewpoint, failing to consider the interactions of the different mediums that define the work as a whole. The creative process is influenced by the types of mediums involved, individuals participating in the collaboration, and the overall aesthetic climate of the period. Erik Satie (1866-1925) created numerous intermedial works in the last decade of his life where the medium impacted the compositional practices contained within his music. Satie was also tangentially involved in a number of artistic and aesthetic movements, such as Cubism, Dadaism, and early Surrealism, which influenced his integration. His personal relations and collaborations with prominent artists of these movements, such as Francis Picabia, André Breton, and Pablo Picasso. The works investigated in this thesis highlight Satie’s consideration of extramusical influences and include Sports et divertissements (1923), Parade (1917), Relâche (1924), and Cinéma: Entr’acte (1924). Two additional pieces composed by the Dada artist Georges Ribemont-Dessaignes (1884-1974) will also be examined as a point of comparison with Satie’s works.
    [Show full text]
  • November/Dec Galley 4/9/15 16:59 Page 1
    Duchamp and the Fountain:November/Dec galley 4/9/15 16:59 Page 1 THE JACKDAW WHO DID IT? NOT DUCHAMP! Duchamp and the Fountain:November/Dec galley 4/9/15 16:59 Page 2 2 A CONCEPTUAL INCONVENIENCE Former museum director Julian Spalding and academic Glyn Thompson published an important article in The Art Newspaper in November 2014 (available online at the paper’s website and also in a longer version on the Scottish Review of Books website) proposing that the object we know as Marcel Duchamp’s Fountain , the urinal, was in fact the work of someone else: dadaist artist and poet Elsa von Freytag-Loringhoven. The original Fountain was famously lost. In 1999 the Tate bought a 1964 copy for $500,000: it is one of 16 replicas made between 1951 and 1964. In 2004 ‘art experts’ declared Fountain the most influential work of art of the 20th century. Spalding and Thompson have asked for Fountain to be reattributed to its true author. What follows is a correspondence between the authors and Sir Nicholas Serota, director of the Tate Gallery. An exhibition, ‘A Lady’s not a Gent’s’, about the history of Fountain will take place at Summerhall, 1 Summerhall, during the Edinburgh Festival from August 5th to October 5th. www.summerhall.co.uk Duchamp and the Fountain:November/Dec galley 4/9/15 16:59 Page 3 3 November 10th, 2014 consultation must be in the public domain. Dear Nick, We would, therefore, be grateful if you A call to reattribute Marcel Duchamp’s Fountain would supply us with a list of these specialists and a summary of the cases e write following our argument made in the November issue of they have made.
    [Show full text]
  • Marcel Duchamp's the Large Glass As Negation of Women
    MARCEL DUCHAMP'S THE LARGE GLASS AS NEGATION OF WOMEN APPROVED: aj or of essor ' lJ <r rofesc6r Chairman of the Department of Art Dean of the Graduate School 3 Q ,Ya$ MARCEL DUCHAMP'S THE LARGE GLASS AS "NEGATION OF WOMEN" THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Karen M. Olvera, B.A., M.S.Ed. Denton, Texas August 1986 Olvera, Karen M., Marcel Duchamp's The Large Glass as "Negation of Women." Master of Arts (Art History), August 1986, 127 pp., 21 illustrations, bibliography, 88 titles. Marcel Duchamp stated in an interview in 1966 that his magnum opus, The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) was, "above all, a negation of women." The purpose of this study was to determine whether The Large Glass was a negation of women for Duchamp. The thesis is composed of five chapters. Chapter I is the introduction to the thesis. Chapter II includes a synopsis of the major interpretations of The Large Glass. Duchamp's statements in regard to The Large Glass are also included in Chapter II. Chapter III explains how The Large Glass works through the use of Duchamp's notes. Chapter IV investigates Duchamp's negation of women statement in several ways. His personal relationships with relatives including his wives and other women, and his early paintings of women were examined. His idea of indifference was seen within the context of the Dandy and his alter ego, Rrose Selavy as a Femme Fatale.
    [Show full text]