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Max Ernst Was a German-Born Surrealist Who Helped Shape the Emergence of Abstract Expressionism in America Post-World War II
QUICK VIEW: Synopsis Max Ernst was a German-born Surrealist who helped shape the emergence of Abstract Expressionism in America post-World War II. Armed with an academic understanding of Freud, Ernst often turned to his work-whether sculpture, painting, or collage-as a means of processing his experience in World War I and unpacking his feelings of dispossession in its wake. Key Ideas / Information • Ernst's work relied on spontaneity (juxtapositions of materials and imagery) and subjectivity (inspired by his personal experiences), two creative ideals that came to define Abstract Expressionism. • Although Ernst's works are predominantly figurative, his unique artistic techniques inject a measure of abstractness into the texture of his work. • The work of Max Ernst was very important in the nascent Abstract Expressionist movement in New York, particularly for Jackson Pollock. DETAILED VIEW: Childhood © The Art Story Foundation – All rights Reserved For more movements, artists and ideas on Modern Art visit www.TheArtStory.org Max Ernst was born into a middle-class family of nine children on April 2, 1891 in Brühl, Germany, near Cologne. Ernst first learned painting from his father, a teacher with an avid interest in academic painting. Other than this introduction to amateur painting at home, Ernst never received any formal training in the arts and forged his own artistic techniques in a self-taught manner instead. After completing his studies in philosophy and psychology at the University of Bonn in 1914, Ernst spent four years in the German army, serving on both the Western and Eastern fronts. Early Training The horrors of World War I had a profound and lasting impact on both the subject matter and visual texture of the burgeoning artist, who mined his personal experiences to depict absurd and apocalyptic scenes. -
'Biographical Notes'
Originalveröffentlichung in: Spies, Werner (Hrsg.): Max Ernst : life and work, Köln 2005, S. 17-31 ‘BIOGRAPHICAL NOTES’ How Max Ernst Plays with a Literary Genre Julia Drost Self-assessments and Influences ‘Max Ernst is a liar, gold-digger, schemer, swindler, slanderer andboxer. ’ The words of a character assessment which Max Ernst drafted for an exhibition poster in T92T. They can be seen as the accompanying text alongside a photograph of the artist below a few important works and collages dating from his Dadaist period. Provocative and mocking self-assessments such as these are typical of Max Ernst, the ‘agent provocateur ’ and ‘most highly intellectual artist of the Surrealist movement ’, who mostly spoke of himself in the third person, and yet wrote more about his own oeuvre than almost any other artist.1 This constant reflection on his own work is characteristic of Max Ernst’s entire artistic career: he had already begun to comment on his curriculum vitae and his artistic creative process at an early date. His self- assessments in writing were continually revised and added to, and were finally published for the first time for the Cologne/Zurich exhibition cata logue in 1962 as Biographical Notes. Tissue of Truth - Tissue of Lies.1 This first detailed description of his entire life was preceded by various other writ ings, of which I shall briefly mention some here. In November 1921 the 17 JULIA DROST journal Das Junge Rheinland published a short article written by the artist himself, entitled simply Max Ernst ? In a special edition of Cahiers d ’Art devoted to the artist in Z936, Max Ernst reflected on his own creative process in the essay Au deld de la peinture (Beyond Painting).4 In 1942 the American magazine View brought out a special edition on Max Ernst, in which a first self-description by the artist was printed under the title Some data on the youth ofM. -
Paintings by Streeter Blair (January 12–February 7)
1960 Paintings by Streeter Blair (January 12–February 7) A publisher and an antique dealer for most of his life, Streeter Blair (1888–1966) began painting at the age of 61 in 1949. Blair became quite successful in a short amount of time with numerous exhibitions across the United States and Europe, including several one-man shows as early as 1951. He sought to recapture “those social and business customs which ended when motor cars became common in 1912, changing the life of America’s activities” in his artwork. He believed future generations should have a chance to visually examine a period in the United States before drastic technological change. This exhibition displayed twenty-one of his paintings and was well received by the public. Three of his paintings, the Eisenhower Farm loaned by Mr. & Mrs. George Walker, Bread Basket loaned by Mr. Peter Walker, and Highland Farm loaned by Miss Helen Moore, were sold during the exhibition. [Newsletter, memo, various letters] The Private World of Pablo Picasso (January 15–February 7) A notable exhibition of paintings, drawings, and graphics by Pablo Picasso (1881–1973), accompanied by photographs of Picasso by Life photographer David Douglas Duncan (1916– 2018). Over thirty pieces were exhibited dating from 1900 to 1956 representing Picasso’s Lautrec, Cubist, Classic, and Guernica periods. These pieces supplemented the 181 Duncan photographs, shown through the arrangement of the American Federation of Art. The selected photographs were from the book of the same title by Duncan and were the first ever taken of Picasso in his home and studio. -
Walker Art Center Exhibition Chronology Living Minnesota
Walker Art Center Exhibition Chronology Title Opening date Closing date Living Minnesota Artists 7/15/1938 8/31/1938 Stanford Fenelle 1/1/1940 ?/?/1940 Grandma’s Dolls 1/1/1940 ?/?/1940 Parallels in Art 1/4/1940 ?/?/1940 Trends in Contemporary Painting 1/4/1940 ?/?/1940 Time-Off 1/4/1940 1/1/1940 Ways to Art: toward an intelligent understanding 1/4/1940 ?/?/1940 Letters, Words and Books 2/28/1940 4/25/1940 Elof Wedin 3/1/1940 ?/?/1940 Frontiers of American Art 3/16/1940 4/16/1940 Artistry in Glass from Dynastic Egypt to the Twentieth Century 3/27/1940 6/2/1940 Syd Fossum 4/9/1940 5/12/1940 Answers to Questions 5/8/1940 7/1/1940 Edwin Holm 5/14/1940 6/18/1940 Josephine Lutz 6/1/1940 ?/?/1940 Exhibition of Student Work 6/1/1940 ?/?/1940 Käthe Kollwitz 6/1/1940 ?/?/1940 Walker Art Center Exhibition Chronology Title Opening date Closing date Paintings by Greek Children 6/1/1940 ?/?/1940 Jewelry from 1940 B.C. to 1940 A.D. 6/27/1940 7/15/1940 Cameron Booth 7/1/1940 ?/?/1940 George Constant 7/1/1940 7/30/1940 Robert Brown 7/1/1940 ?/?/1940 Portraits of Indians and their Arts 7/15/1940 8/15/1940 Mac Le Sueur 9/1/1940 ?/?/1940 Paintings and their X-Rays 9/1/1940 10/15/1940 Paintings by Vincent Van Gogh 9/24/1940 10/14/1940 Walter Kuhlman 10/1/1940 ?/?/1940 Marsden Hartley 11/1/1940 11/30/1940 Clara Mairs 11/1/1940 ?/?/1940 Meet the Artist 11/1/1940 ?/?/1940 Unpopular Art 11/7/1940 12/29/1940 National Art Week 11/25/1940 12/5/1940 Art of the Nation 12/1/1940 12/31/1940 Anne Wright 1/1/1941 ?/?/1941 Walker Art Center Exhibition Chronology Title -
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CAMILLE COTTRELL The Mainstreaming of Modern Art in America (Under the direction of WILLIAM T. SQUIRES) This interdisciplinary research project investigates the individual and collective efforts of a four-pronged advocacy coalition which promoted Modernism in America between 1930 and 1950. The study documents the activities of the commercial art dealers, the patrons and collectors, the museums and the educators who mainstreamed modern art into the cultural psyche of the United States. Through their interactions and collective power, they were instrumental in the grafting of fledgling American art sensibilities to vanguard European practices, the establishment of valid educational mechanisms to promote an appreciation of Modernism, the recognition of New York as the international capital of art and culture, and the formation of aesthetic theories which were uniquely representational of America. Through the analysis of unpublished archival material, journals, memoirs, artists’ statements, relevant critical writings and educational publications, the individual and concomitant activities of these advocacy groups are examined. The research documents the congruent exhibitions, theoretical discussions, and didactic programs devoted to Modernism and draws correlations between the modern art movement and the catalytic shifts in educational practices. Findings from the research suggest the conscious formation of a cultural coalition which proselytized modern art, created a system of patronage for the art and disseminated its philosophical and iconographical principles throughout the United States. The research indicates that it was the unfaltering efforts of a powerful art collective which included the dealers, the patrons, the museums and the educational systems, who used their aegis to transform the aesthetic identity of the United States and poise America to become the new center of the artistic world. -
Glowing Like Phosphorus: Dorothea Tanning and the Sedona Western
Journal of Surrealism and the Americas 10:1 (2019), 84-105 84 Glowing Like Phosphorus: Dorothea Tanning and the Sedona Western Catriona McAra Leeds Arts University I like the work of Dorothea Tanning because the domain of the marvelous is her native country… —Max Ernst, 1944 People often speak of being profoundly affected by Sedona, the Arizonian red rock country where Dorothea Tanning and Max Ernst decamped in 1946. Following the skyscraper urbanity of the claustrophobic New York art scene, Sedona offered restorative possibilities for the surrealist imagination as a faraway sanctuary. Patrick Waldberg described their rudimentary desert retreat as “a pioneer’s cabin such as one sees in westerns.”1 Ernst was also fascinated by Native American artefacts, and in Sedona his penchant was well catered for in the collectable shape of colorful Hopi and Katsina figures and other ritual objects which decorated his living quarters with Tanning. After frequenting curio dealers during his time in New York, as well as purchasing souvenirs at a trading post near the Grand Canyon, he had built up a sizeable collection of indigenous art forms, such as Northern Pacific Kwakiutl totems.2 Indeed, Ernst first came across the red rock country of the Southwest in 1941, on a return journey to the West Coast with his son Jimmy Ernst and third wife Peggy Guggenheim. As is now well-known, he coveted Sedona due to the landscape’s prophetic likeness to his earlier paintings such as La ville entière (The Entire City) (1934-37). Roland Penrose tells us: “the surroundings were astonishingly like the most fantastic landscapes Max had painted before ever seeing the Wild West. -
Max Ernst and Dorothea Tanning: When Surrealism Met the Red Rocks
Calendar of Events for Max Ernst and Dorothea Tanning: When Surrealism Met the Red Rocks MONDAY, MARCH 9 - SUNDAY, MARCH 15 MONDAY , March 9 Surrealism and Dada Art Techniques Workshop ................... 10 AM-NOON Featuring: Fun Art Workshop led by Sedona artist and Sedona Arts Center Member, Darleene Nelson. Students will learn about and try their hand at signature "Max" techniques, such as collage, frottage, grattage, decalcomania, and oscillation. All ages encouraged! Location: Sedona Heritage Museum Apple Packing Shed Fee: $20 includes supplies. Reserve your spot early: Call Darleene at 928-254-1914 Opening Reception ........................................................................ 4-6 PM Featuring: Photographic displays of the lives and art of Max Ernst, Dorothea Tanning, and Max' son, Jimmy Ernst; Readings of Dorothea Tanning's poetry and prose by Shondra Jepperson; Period music (recorded by our own Verde Valley Sinfonietta with Russell Fox conducting); Slide Show of Max, Dorothea and their Art edited by Mark Rownd. "Surrealisme" Art Exhibition by Sedona Art Center Artists in the SHM Apple Packing Shed, courtesy of The Sedona Arts Center, curated by Vince Fazio and Shirley Eichten-Albrecht. Location: Sedona Heritage Museum Main House and Apple Packing Shed FREE TUESDAY , March 10 Exhibition Continues Through April at The Sedona Heritage Museum Hours: Daily......................................................................... 11 AM - 3 PM Featuring: Photographic displays of the lives and art of Max Ernst, Dorothea Tanning, and Max' son, Jimmy Ernst; Period music; Slide Show of Max, Dorothea and their Art edited by Mark Rownd."Surrealisme" Art Exhibition by Sedona Art Center Artists in the SHM Apple Packing Shed, courtesy of The Sedona Arts Center, curated by Vince Fazio and Shirley Eichten-Albrecht. -
Abstract Expressionism
California State University, San Bernardino CSUSB ScholarWorks Curricula Curriculum Archive Summer 6-5-2015 Abstract Expressionism Community-based Art Follow this and additional works at: https://scholarworks.lib.csusb.edu/cap-curr Part of the Art Education Commons Recommended Citation Community-based Art, "Abstract Expressionism" (2015). Curricula. 2. https://scholarworks.lib.csusb.edu/cap-curr/2 This Presentation is brought to you for free and open access by the Curriculum Archive at CSUSB ScholarWorks. It has been accepted for inclusion in Curricula by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. Abstract Expressionism is a post–World War II art movement in American painting, developed in New York in the 1940s. It was the first specifically American movement to achieve international influence and put New York City at the center of the western art world, a role formerly filled by Paris. • Abstract Expressionism is a type of art in which the artist expresses himself purely through the use of form and color. It non-representational, or non-objective, art, which means that there are no actual objects represented. • Now considered to be the first American artistic movement of international importance, the term was originally used to describe the work of Willem de Kooning, Jackson Pollock and Arshile Gorky. • The movement can be more or less divided into two groups: Action Painting, typified by artists such as Pollock, de Kooning, Franz Kline, and Philip Guston, stressed the physical action involved in painting; Color Field Painting, practiced by Mark Rothko and Kenneth Noland, among others, was primarily concerned with exploring the effects of pure color on a canvas Abstract Scene, Jay Mueser. -
The Irascibles: Painters Against the Museum (New York, 1950) [Book Review]
The Irascibles: Painters Against the Museum (New York, 1950) [book review] By: Maggie Murphy Murphy, M. The Irascibles: Painters Against the Museum (New York, 1950), by Daniel Belasco, Bradford Collins, Beatriz Cordero, et al. [book review]. ARLIS/NA Reviews. May 2021. https://www.arlisna.org/publications/reviews/2270-the-irascibles-painters-against-the-museum- new-york-1950 ***Made available courtesy of the Art Libraries Society of North America. Reprinted with permission. No further reproduction is authorized without written permission from ARLIS/NA.*** Abstract: “Dear Sir: The undersigned painters reject the monster national exhibition to be held at the Metropolitan Museum of Art next December, and will not submit work to its jury.” So begins the open letter signed by eighteen American abstract artists at the heart of The Irascibles: Painters Against the Museum (New York, 1950), an exhibition catalog published by Fundación Juan March. Keywords: book review | Metropolitan Museum of Art | abstract painting | New York School Article: ***Note: Full text of article below The Irascibles: Painters Against the Museum (New York, 1950) arlisna.org/publications/reviews/2270-the-irascibles-painters-against-the-museum-new-york-1950 by Daniel Belasco, Bradford Collins, Beatriz Cordero, et al. Fundación Juan March, July 2020. 304 p. ill. ISBN 9788470756658 (h/c), $55.00. Reviewed May 2021 Maggie Murphy, Visual Art & Humanities Librarian, UNC Greensboro, [email protected] “Dear Sir: The undersigned painters reject the monster national exhibition to be held at the Metropolitan Museum of Art next December, and will not submit work to its jury.” So begins the open letter signed by eighteen American abstract artists at the heart of The Irascibles: Painters Against the Museum (New York, 1950), an exhibition catalog published by Fundación Juan March. -
Abstracts (PDF)
Networks, Museums and Collections Surrealism in the United States International Conference, 27-29 November 2017 German Center for Art History, Paris ABSTRACTS 1 The conference “Networks, Museums and Collections. Surrealism in the United States” will bring the complex networks that fostered and sustained Surrealism in North America into academic focus. Who – collectors, critics, dealers, galleries, and other types of mediating agents – supported the artists in the Surrealist orbit, in what ways and why? What more can be learned about high profile collectors such as the de Menils in Houston or Peggy Guggenheim in New York? Compared to their peers in Eu- rope, did artists in the United States use similarly spectacular strategies of publicity and mediation? In what networks did the commercial galleries operate, domestically and internationally, and how did they dialogue with museums? Were American artists in- cluded in the musealization of Surrealism in American museums as had occurred with the Parisian circle, or were they, on the contrary, excluded from this development? Di- vided into five sections (I. Private / Public; II. The Making of Surrealism in the US; III. Agents / Artists; IV. Galleries / Dealers; V. American Surrealism), the conference will offer an innovative and lasting contribution to research and scholarship on the history of art in America while focusing specifically on the expansion and reception of Surrealism in the United States. The conference is a key component of the research project “Le surréalisme et l’argent. Galeries, collectionneurs et médiateurs” in cooperation with the labex arts H2H, which explores to what extent the global success of Surrealism in the 20 th cen- tury was due to the roles and factors played by private collectors, museums, exhibitions, art collectors as well as the commercial strategies of artists. -
ARTISTS' RECORDS in the ARCHIVES
ARTISTS’ RECORDS in the ARCHIVES: Symposium Proceedings October 11-12, 2011 at the New York Public Library and Fashion Institute of Techonology Sponsored by the Archivists Round Table of Metropolitan New York, Inc. TABLE OF CONTENTS Introduction 3 Program Schedule 4 Welcoming Remarks 8 Session 1. Artwork or Documentation: Artists’ Records as an Extension of the Artwork: Ann Butler, Marvin Taylor, Chrissie Iles 9 Session 2. Mediating Art Historical Research: Finding a Path Between the Forest and the Trees: Joy Weiner, Francine Snyder, Jeannette Redensek, Thomaï Serdari 14 Session 3. Digital Solutions: Initiating Digital Projects to Document Arists’ Work, Records, and Processes: Jenny Swadosh, Susan Craig, Elizabeth Kowalchuk, Ryan Evans 22 Session 4. Art, Artifact, Artist’s Record: Processing and Managing Collections: Rachel Jirka, Sally Brazil, Julia Pelta Feldman, Erin Murphy, Denis Lessard 26 Session 5. Collaborating to Document the Past: Artists and Archivists Working Together: Farris Wahbeh, Heather Gendron, Eumie Imm-Stroukoff, Andra Darlington, Marilyn Nazar, Mark Vajcner 41 Session 6. Artists’ Papers in the Age of Electronic Reproduction: Charles Duncan, Erin Kinhart, Megan McShea 56 Session 7. Managing Artists’ Legacies: Stewardship of Artists’ Records: Gretchen Opie, Andrew Martinez, Jackie Esposito, Ann Holt, Allison Hemler 67 Session 8. Born Digital: Ensuring Access to Artists’ Records Created by Emerging Technologies: Ben Fino-Radin, Heather Saunders, Dennis Moser 80 2 Artists’ Records in the Archives: Symposium Proceedings | Archivists Round Table of Metropolitan New York, Inc. INTRODUCTION In October 2011, the Archivists Round Table of Metropolitan New York invited the archives com- munity to explore the topic of artists’ records through panels, presentations, and discussion at the symposium, “Artists’ Records in the Archives.” I would like to thank all of the moderators and speakers for their insights into the rewards and challenges of working with artists’ records. -
EXILIC Pleasures
EXILIC pleasures EXILIC PLEASURES SURREALISM REFUGED IN AMERICA William Baziotes Victor Brauner André Breton Leonora Carrington Federico Castellon Salvador Dali Oscar Dominguez Enrico Donati Marcel Duchamp Jimmy Ernst Max Ernst Leonor Fini Gordon Onslow Ford David Hare Marcel Jean Gerome Kamrowski Andre Masson Roberto Matta Wolfgang Paalen Man Ray Kay Sage Kurt Seligmann Yves Tanguy Essay Martica Sawin Curated by Rowland Weinstein Brooke L McGowan-Herzog TABLE OF CONTENTS FOREWORD Brooke Lynn McGowan-Herzog Rowland Weinstein 11 SURREAL ENCOUNTERS Martica Sawin 15 A-Z APRÈS LE DICTIONNNAIRE ABREGRÉ DU SURRÉALISME In the traidition of the abridged dictionary of Surrealism 19 WORKS CITED AND CONSULTED 100 ACKNOWLEDGMENTS 104 FOREWORD ‘Cache-toi, guerre.’ ‘Go hide, war’ (Dictionnaire Abrégé du Surréalisme, 1938) Published in 1938, following upon and in response to the first major exhibition of Surrealism in America at the Museum of Modern Art in New York curated by Alfred Barr, the Abridged Dictionary of Surrealism, edited by André Breton, was a shot across the pond by the movement’s founder, to maintain editorial control over a movement that already reached far beyond its native Parisian milieu. In the same year, the group would mount one of the last exhibitions of Surrealism in Europe, the Exposition Internationale du Surréalisme, before the specter of war came to once more haunt the continent. By the twilight of 1939, Max Ernst would be temporarily interned as a degenerate artist by the Nazis; Andre Breton would begin considering to flee Paris (arriving in New York in 1941 with the help of David Hare); Kurt Seligmann, Yves Tanguy, and Wolfgang Paalen were all on their way to America, a country once not even present on the Surrealist Map of the World (1929).