DOCSLIB.ORG

EXPRESSIONISM- NEO-PLASTICISM (De Stijl)- SURREALISM

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
EXPRESSIONISM- NEO-PLASTICISM (De Stijl)- SURREALISM 04.12.2012 ART IN THE FIRST HALF OF THE TWENTIETH CENTURY: EXPRESSIONISM- NEO-PLASTICISM (De Stijl)- SURREALISM Week 9 Expressionism In Germany, a group known as Expressionists insisted art should express the artists feelings rather than images of the real world. The belief that the artist could directly convey some kind of inner feeling- - emotional or spiritual- - through art was a fashionable idea in German artistic and intellectual circles at the beginning of the twentieth century. Artists had been encouraged to ‘break free’ from civilized constraints and Academic conventions and somehow express themselves more freely; these ideas are fundamental to what we call German ‘Expressionist’ art. From 1905 to 1930, Expressionism the use of distorted, exaggerated forms and colors for emotional impact dominated German art. This subjective trend, which is the foundation of much twentieth century art, began with Van Gogh, Gauguin and Munch in the late nineteenth century, and continued with Belgian painter James Ensor (1860-1849), and Austrian painters Gustav Klimt (1862-1918), Egon Schiele (1890- 1918), and Oscar Kokoschka (1886-1980). But it was in Germany, with two separate groups Die Brücke and Der Blaue Reiter, the Expressionism reached maturity. Die Brücke: Founded in 1905 by Ernst Ludwig Kirchner (1880- 1938) Der Blaue Reiter: Founded in Munich around 1911 by Wassily Kandinsky (1866-1944). 1 04.12.2012 DIE BRÜCKE (BRIDGE): BRIDGING THE GAP • Die Brücke founded by Ernst Ludwig Kirchner (1880- 1938) • Members include Ernst Ludwig in 1905. Kirchner (1880–1938), Erich • The aim was to sieze avantgarde spirit. Heckel (1883–1970), and Emil • Members believed their work would be a “bridge” to the Nolde (1867–1956). future. • Its credo is: “to attract all revolutionary and fermenting • Unlike the French avant-garde, elements is the purpose implied in the name Brücke.” Expressionists privilege the • Dissolved in 1913 artist's inner emotional state, • Artists lived and worked communally, first in Dresden then in focusing on the anxieties of Berlin, producing intense anguished pictures with harshly modern life and taboo subjects distorted forms and clashing colors. such as sexuality, expressed in bright, unnatural colors and • Their major contribution was a revival to the graphic arts, distorted forms. especially woodcut. • Their major subject was the sickness of the soul. • The means to express this sickness were dramatic arrangement of black and white contrasts, crude forms, and jagged lines in woodcuts. Die Brücke artists attempt to challenge or rework the constrictions of the culture in which they lived: Influence of Friedrich Nietzsche: Existentialist philosopher who challenged bourgeois norms of aesthetics, religion, etc., urged the creative power of the individual in forms of expression and meaning (writings span c. 1870 and 1880s). For Nietzsche ‘modernity’ (the modern world) was decadent and needed to be overcome by the creative individual. Notion of the ‘Obermensch’ (‘Superman’) who has overcome the powers of decadence. Note: Nietzsche addresses his remarks solely to men, whom he sees as agents of cultural change. Die Brücke probably took their name from Nietzsche’s Also Sprach Zarathustra (Thus Spoke Zarathustra) in which he writes of man’s spirit as the bridge to freedom. The Brücke associated rebellion against bourgeois commercial values with the ‘primitive’. ‘Expressionist’ meant: crude unfinished brushwork, distorted colors and forms, sense of the artist’s genuine physical and emotional involvement with both the subject and the medium , rejection of sophistication in favor of achieving a ‘direct’ expression. 2 04.12.2012 Ernst Ludwig Kirchner Street, Berlin (1913), one of a series on this theme, depicting prostitutes In 1905, Kirchner, along with Bleyl and two other architecture students, Commentary on contemporary urban life Karl Schmidt-Rottluff and Erich Heckel, founded the artists group Die and its institutions as decadent, Berlin Brücke ("The Bridge"). From then on, he committed himself to art. The street scenes with their dandies and group aimed to eschew the prevalent traditional academic style and find prostitutes, images of the modern city as the source of the consumption of human a new mode of artistic expression, which would form a bridge (hence the souls and fermentation of anxiety name) between the past and the present. They responded both to past artists, as well as contemporary international avant-garde movements. As part of the affirmation of their national heritage, they revived older media, particularly woodcut prints. Their group was one of the seminal ones, which in due course had a major impact on the evolution of modern art in the 20th century and created the style of Expressionism. The group met initially in Kirchner's first studio. Bleyl described it as: “that of a real bohemian, full of paintings lying all over the place, drawings, books and artist’s materials — much more like an artist’s romantic lodgings than the home of a well- organised architecture student.” Marzella (1909–10) The group composed a manifesto (mostly Kirchner's work) in 1906, which was carved on wood and asserted a new generation, "who want freedom in our work and in our lives, independence from older, established forces.” They continued: ‘With faith in progress and in a new generation of creators and spectators we call together all youth. As youth, we carry the future, and want to create for ourselves freedom of life and of movement against the long-established older forces. We claim as our own everyone who reproduces that which drives him to creation with directness and authenticity.’ Self-Portrait as a Soldier (1915) Kirchner. Self-Portrait with Model. 1910 3 04.12.2012 The ‘modernity’ of Kirchner’s paintings also defined by their overt sexuality, which was seen as part of free self- expression. Bourgeois culture viewed the open sexuality of prostitutes, dancers, etc. as deviant and decadent. This was compounded by Kirchner’s (and others) association of ‘natural’ sexuality with African culture ie. Kirchner used African models in his studio. The affinity between ideas of : nature/female versus culture/male Kirchner. Nude. c. 1910 Kirchner. Bathers at Moritzburg. 1909 THE ‘PRIMITIVE’: • the idea of the ‘barbarian’ or the ‘primitive’ • an idea which would have a lasting presence in modernist discourse • connotations of untamed, direct expression, as opposed to a ‘civilized’ Westernism. CRITICISM OF MODERN LIFE, RETURN BACK TO ‘PRIMITIVE’ Kirchner. Self-Portrait as Soldier. 1915 •general disillusionment with the war common amongst avant-garde groups as a direct result of the decadence of bourgeois society Erich Heckel Erich Heckel was one of the charter members of Die Brücke. Their meetings took place in a former butcher shop and Heckel served as Treasurer and Secretary responsible for its organization. He was a close friend of Karl Schmidt- Rottluff who he met in high school in 1901. Both studied architecture at the Technical Academy in Dresden but left their studies after founding Die Brucke. In 1909, he took a long sojourn to Italy. In the Fall of 1911, Die Brucke moved to Berlin where they met most of the painters of the avant-garde but in 1913, the group disbanded. Girl with High Hat (Mädchen mit hohem Hut) Erich Heckel (German, 1883-1970) 1913. Drypoint, plate: (25 x 20.2 cm); sheet: (38.9 x 32.4 cm). 4 04.12.2012 After seeing the Futurist exhibition in April 1912, Heckel's style became Prismatic, organized in a series of triangular planes. His specialty was interior scenes that express melancholy and loneliness. His subjects are usually outsiders like circus performers and madmen in anxious or fearful situations. •The idea that the true Expressionist artist was spontaneous (unhampered by the weight of tradition and propriety); then he could access his true inner feelings and responses. •German Expressionism often associated with the idea of the ‘primitive’, in the sense that the ‘primitive’ was considered to be closer to unmediated expression and more ‘authentic’ than the civilized. •Also the idea of ‘nature/culture’, with ‘nature’ being direct, unfettered, instinctual, non-intellectual, anti-civilized, and ‘culture’ being civilization, rationality, repression. •The primitive was particularly worked out in representations of the ‘other’ ie. Africans, Polynesians etc. and in ‘Woman’. Portrait of a Man (Männerbildnis) (1919). Erich Heckel (German, 1883-1970) Woodcut, composition: (46.2 x 32.4 cm); sheet (irreg.): (61.6 x 50.8 cm). Emil Nolde Die Brücke artists invited Nolde to join their group in 1906. Although he remained an active member for only one year, Nolde stayed in close touch with Die Brücke. These younger Expressionists encouraged Nolde’s preference for bright colors and free brushwork, and his boldly carved woodcuts date from his contact with the group. However, Nolde’s first series of intensely original and technically experimental etchings, Fantasies (1905, e.g. Joy of Living) exerted a strong counter- influence on Die Brücke’s graphic art. In his paintings such urban subjects as bars and theatre scenes alternate with brooding seascapes and landscapes. In 1909–13 he completed a series of religious paintings, including the Last Supper (1909), Pentecost (1909) and a nine-part polyptych entitled the Life of Christ (1912). Head with Pipe (Self Portrait) (1907) Lithograph 5 04.12.2012 In 1910 Nolde’s Pentecost , which depicts the mask-like faces of Christ and the Apostles crowned by the flame of the Holy Spirit, became the centre of a row that split the Berlin Secession—one of the most advanced exhibiting societies in Pentecost, Emil Nolde, 1910. Germany up until that time, which Nolde had joined in 1908. Nolde’s primitivist treatment of this religious subject, rendered in glowing colors and bold, Expressionist brushwork, found little favor among the older members of the society, who had grown up in the Impressionist school. When Pentecost and the works of most other younger artists were rejected, Nolde attacked the leadership and principles of the Secession in an open letter to its President, Max Liebermann, whereupon he was expelled from the association.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Papers of Surrealism, Issue 8, Spring 2010 1
    © Lizzie Thynne, 2010 Indirect Action: Politics and the Subversion of Identity in Claude Cahun and Marcel Moore’s Resistance to the Occupation of Jersey Lizzie Thynne Abstract This article explores how Claude Cahun and Marcel Moore translated the strategies of their artistic practice and pre-war involvement with the Surrealists and revolutionary politics into an ingenious counter-propaganda campaign against the German Occupation. Unlike some of their contemporaries such as Tristan Tzara and Louis Aragon who embraced Communist orthodoxy, the women refused to relinquish the radical relativism of their approach to gender, meaning and identity in resisting totalitarianism. Their campaign built on Cahun’s theorization of the concept of ‘indirect action’ in her 1934 essay, Place your Bets (Les paris sont ouvert), which defended surrealism in opposition to both the instrumentalization of art and myths of transcendence. An examination of Cahun’s post-war letters and the extant leaflets the women distributed in Jersey reveal how they appropriated and inverted Nazi discourse to promote defeatism through carnivalesque montage, black humour and the ludic voice of their adopted persona, the ‘Soldier without a Name.’ It is far from my intention to reproach those who left France at the time of the Occupation. But one must point out that Surrealism was entirely absent from the preoccupations of those who remained because it was no help whatsoever on an emotional or practical level in their struggles against the Nazis.1 Former dadaist and surrealist and close collaborator of André Breton, Tristan Tzara thus dismisses the idea that surrealism had any value in opposing Nazi domination.
    [Show full text]
  • History of a Natural History: Max Ernst's Histoire Naturelle
    HISTORY OF A NATURAL HISTORY: MAX ERNST'S HISTOIRE NATURELLE, FROTTAGE, AND SURREALIST AUTOMATISM by TOBIAS PERCIVAL ZUR LOYE A THESIS Presented to the Department of Art History and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2010 --------------_._--- 11 "History of a Natural History: Max Ernst's Histoire Naturelle, Frottage, and Surrealist Automatism," a thesis prepared by Tobias Percival zur Loye in partial fulfillment of the requirements for the Master of Arts degree in the Department of Art History. This thesis has been approved and accepted by: Date Committee in Charge: Dr. Sherwin Simmons, Chair Dr. Joyce Cheng .Dr. Charles Lachman Accepted by: Dean of the Graduate School III An Abstract of the Thesis of Tobias Percival zur Loye for the degree of Master of Arts in the Department of Art History to be taken June 2010 Title: HISTORY OF A NATURAL HISTORY: MAX ERNST'S HISTOIRE NATURELLE, FROTTAGE, AND SURREALIST AUTOMATISM Approved: When Andre BreJon released his Manifesto ofSurrealism in 1924, he established the pursuit of psychic automatism as Surrealism's principle objective, and a debate concerning the legitimacy or possibility of Surrealist visual art ensued. In response to this skepticism, Max Ernst embraced automatism and developed a new technique, which he called frottage , in an attempt to satisfy Breton's call for automatic activity, and in 1926, a collection of thirty-four frottages was published under the title Histoire Naturelle. This thesis provides a comprehensive analysis of Histoire Naturelle by situating it in the theoretical context of Surrealist automatism and addresses the means by which Ernst incorporated found objects from the natural world into the semi-automatic production of his frottages.
    [Show full text]
  • 12 Surrealism Angela Zornetsky Pace University
    Pace University DigitalCommons@Pace Art High School 1-1-2010 Grades 9 - 12 Surrealism Angela Zornetsky Pace University Follow this and additional works at: http://digitalcommons.pace.edu/high_art Part of the Art Practice Commons Recommended Citation Zornetsky, Angela,"Grades 9-12 Surrealism" (2010). Art. Paper 1. http://digitalcommons.pace.edu/high_art/1 This Article is brought to you for free and open access by the High School at DigitalCommons@Pace. It has been accepted for inclusion in Art by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. Lesson Plan Your Name: Angela Zornetsky Unit Name: Surrealism Course Name: Studio in Art (grades 9-12) Lesson Number: 6: Introduction to and completion of the final project for the unit Length of Lesson: 8 days State Standards 1: Creating and performing in the arts; 2: Addressed: Knowing and using materials and resources; 3: Responding to and analyzing works of art; 4: Understanding the cultural dimensions & contributions of the arts Essential Question(s) for this lesson: 1. How did the Surrealists use the elements and principles of art to communicate their ideas? 2. To what degree can chance and accident dictate art? 3. In what ways can an artist express his or her ideas without literal representation? 4. Is there a relationship amongst dreams, the subconscious, and automatic activities (e.g. freewriting or exquisite corpse)? 5. Does art often have one, correct interpretation? Evidence of Student Understanding (Assessment) in this Lesson: Students produce a work of art that uses Surrealist techniques. Artwork and reflections demonstrate an understanding of the concepts discussed (abandoning traditional methods in favor of chance, dreams, collaboration, or other Surrealist methods).
    [Show full text]
  • Talented Art 1-4 - Ms
    Talented Art 1-4 - Ms. Jensen - Grace King High School Assignment #1 - Surreal Circumstances | Size: 8x10 | Media: Any | Sketch & Final ​ READ: SURREALISM Source: https://www.metmuseum.org/toah/hd/surr/hd_surr.htm ​ Surrealism originated in the late 1910s and early ’20s as a literary movement that experimented with a new mode of ​ ​ ​ expression called automatic writing, or automatism, which sought to release the unbridled imagination of the ​ ​ ​ subconscious. ​ Officially consecrated in Paris in 1924 with the publication of the Manifesto of Surrealism by the poet and ​ ​ critic André Breton (1896–1966), Surrealism became an international intellectual and political movement. Breton, a trained psychiatrist, along with French poets Louis Aragon (1897–1982), Paul Éluard (1895–1952), and Philippe Soupault (1897–1990), were influenced by the psychological theories and dream studies of Sigmund Freud ​ (1856–1939) and the political ideas of Karl Marx (1818–1883). Using Freudian methods of free association, their poetry and prose drew upon the private world of the mind, traditionally restricted by reason and societal limitations, to produce surprising, unexpected imagery. The cerebral and irrational tenets of Surrealism find their ancestry in the clever and whimsical disregard for tradition fostered by Dadaism a decade earlier. Surrealist poets were at first reluctant to align themselves with visual artists because they believed that the ​ laborious processes of painting, drawing, and sculpting were at odds with the spontaneity of uninhibited
    [Show full text]
  • DADA, SURREALISM, and THEIR HERITAGE, Directed by William S
    n? he Museum of Modern Art Vest 53 Street, New York, N.Y. 10019 Tel. 245-3200 Cable: Modernart Ko, 26 FOR RELEASE: Wednesday, March 2J, I968 PRESS PREVIEW: Monday, March 25^ 19^8 11 a.m. - h p,m. Dada, the early 20th century moveinent that reacted against the materialism of the time and the horrors of World War I, and Surrealistiv which developed in the early 2C»8 out of the nihilistic ferment of Dada inspired by Freudian explor­ ations of the unconscious, are surveyed in an exhibition of more than 3»00 works at The Museum of Modem Art from March 2? through June 9. A sampling of objects, paintings and sculpture created since World War II indicates the artistic herit­ age of these movements, both in the continuing work of older artists and in the work of later generations. DADA, SURREALISM, AND THEIR HERITAGE, directed by William S. Rubin, Curator of Painting and Sculpture at The Museum of Modem Art, is the first comprehensive exhibition anywhere of these movements since trhe Museum presented its now classic show in 1936-37^ a generation ago. Dada, appearing almost simultaneously among artists and intellectuals in New York, Zurich, Berlin, Cologne, Hanover and Paris during the second decade of the century, was described by its leaders as an anti-art movement, an intell­ ectually oriented nihilism toward art, primarily anti-Cubism. But, as Mr. Rubin points out in the book* accompanying the exhibition, while "the anti-art created by Dada pioneers such as Marcel Duchamp and Francis Picabia seemed to reject out*of.hand the premises of modem painting as they stood on the eve of World War I,...»aiit4.art» depended from the first on the very presence of the »pure painting' against which it reacted, and it incorporated more of that 'art-art« than its authors knew," •DADA, SURREALISM, AND THEIR HERITAGE by William S.
    [Show full text]
  • Max Ernst a Retrospective Metropolitan Museum of Art Publications By: Werner Spies Sabine Rewald ISBN: 0300107188 See Detail of This Book on Amazon.Com
    Max Ernst A Retrospective Metropolitan Museum of Art Publications By: Werner Spies Sabine Rewald ISBN: 0300107188 See detail of this book on Amazon.com Book served by AMAZON NOIR (www.amazon-noir.com) project by: PAOLO CIRIO paolocirio.net UBERMORGEN.COM ubermorgen.com ALESSANDRO LUDOVICO neural.it Page 1 Retrospective 0Retrospective 0Retrospective 0 Page 2 Page 3 Nightmare and Deliverance OVERVIEW Werner Spies This retrospective exhibition of Max Ernst's work, the first held in the United States in thirty years, provides a glimpse of the artist's tremendous productivity. In it we sec pictures that represent what historical painting of the twentieth century, filled with signs of terror and destruction, has to offer. Pictures Ernst produced shortly after Hitler's seizure of power, reminiscent of Goya's Capriehos and Desastres de /a guerra, are clear references to that event. But mixed in with them again and again we find more harmonious, lighter works in which melancholy and horror give way to an almost cosmic serenity. The two moods are intimately related in this pictorial world, so inti- mately in fact that at any moment night can turn to day, paralysis to exhilaration: Ernst gives us both nightmare and deliverance. Encountering Max Ernst's work, we soon realize that it is impossible to catego- rize his extremely diverse oeuvre in terms of style. Yet we find in everything he did a single overriding artistic concept: that of the collage. Ernst took inspiration from the bewildering glut of available images in reproduction. Illustrations of objects and processes that he discovered in publications from the late nineteenth and early twentieth centuries provided material he could recycle in the form of collages.
    [Show full text]
  • MAX ERNST Press Highlights
    MAX ERNST Press Highlights 509 West 27th Street New York NY 10001 + 1 212 563 4474 kasmingallery.com Loplop Persists: Max Ernst’s Collages Reviewed by Elina Alter The imaginary as real ELINA ALTER FEBRUARY 26, 2020 Max Ernst, Loplop présente, 1931, pencil, ink, and collage on paper, 25.5 × 19.5 inches. © 2020 Artists Rights Society (ARS), New York/ADAGP, Paris, France. Courtesy of Kasmin Gallery. Photo by Diego Flores. Max Ernst, an artist whose career spanned nearly three quarters of the twentieth century, liked to say that he took orders from a bird. The bird is called Loplop and appears in several of the forty-five works currently on display in Collages at Kasmin Gallery in Manhattan. In two of these, the large Loplop présente (1931) and smaller Loplop présente la mouton mystérieux (1960), the bird is implied by free-floating heads and feet. In an untitled piece from 1972, a whole and oval bird strides along with a little companion at its side. Part drawing and part pasted cut-out, the bird’s companion is almost—but not quite—an egg. Ernst sometimes said he was Loplop. And why shouldn’t he be? Born in 1891 in Germany, Ernst was famous in his lifetime: first as the Dada insurrectionist “Dadamax” in Cologne, and then in France as a Surrealist. The earliest of the collages at Kasmin dates to 1920, the most recent to 1975. In 509 West 27th Street New York NY 10001 + 1 212 563 4474 kasmingallery.com addition to collages, Ernst made paintings, drawings, frottages, sculptures, and three collage novels.
    [Show full text]
  • Artknows Transforming Yourself and the World You Live in Through Art
    CTA/Durland Alternatives Library Non-Profit Organization 127 Anabel Taylor Hall U.S. Postage Paid Ithaca, NY 14853 Permit 448 www.prisonerexpress.org Ithaca, NY 14850 Change Service Requested ArtKnows Transforming yourself and the world you live in through art. A Prisoner Express publication exploring the world of art. Diary of Discoveries by Vladimir Kush, famous Surrealist artist www.prisonerexpress.com Dear Art Program Participants, I hope you enjoy this newest edition of Treacy’s ArtKnows column. Her exploration of figurative sculpture is a great introduction into the mind of an artist. I encourage you to read it more than once as, I found many of the ideas she shares deep and require much thought and attention for me to grasp. There is a second section to this art packet put together by Danielle, a new PE volunteer. She explores the world of Surrealism, and offers a number of drawing instruction in this genre. Please note Danielle is asking for your art submissions using some of the drawing techniques she shares. We will be having a public art show in Spring 17 and your art submissions will be considered for exhibition for the PE Art Show on the Cornell Campus. Please send us feedback on the packets— both Treacy and Danielle are interested in hearing your reactions to their contribution to this mailing. We at PE wish you a happy holiday. Even though you may be isolated, you are not alone and we wish you the very best. Figurative Sculpture Whenever an artist starts something new – either a new particular work of art or an entirely new medium, it’s not uncommon to want to talk about it.
    [Show full text]
  • 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.
    [Show full text]
  • Marvelous Monsters
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 7-8-2021 10:00 AM Marvelous Monsters Thomas Bourque, The University of Western Ontario Supervisor: Migone, Christof, The University of Western Ontario A thesis submitted in partial fulfillment of the equirr ements for the Master of Fine Arts degree in Visual Arts © Thomas Bourque 2021 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Fine Arts Commons Recommended Citation Bourque, Thomas, "Marvelous Monsters" (2021). Electronic Thesis and Dissertation Repository. 7914. https://ir.lib.uwo.ca/etd/7914 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This Master of Fine Arts (MFA) Thesis Dossier, together with the MFA Thesis Exhibition Marvelous Monsters (2021), presents: a Comprehensive Artist Statement; Practice Documentation; a Case Study on Canadian artist David Altmejd; a Bibliography; and my curriculum vitae. The Practice Documentation section of this dossier highlights key pieces of my creative explorations over my time in the Visual Arts Department at Western University as well as photographic documentation of Marvelous Monsters. Taken as a whole, this MFA Thesis Dossier explores and situates immersive digital installation studio practice with research into beauty, abjection, monstrosity, hybridity, Surrealism, and speculative worlding as guided by key thinkers and artists (including Edmund Burke, William Hogarth, Mary Shelley, André Breton, Max Ernst, Julia Kristeva, David Altmejd, Rona Pondick, and Kelly Richardson).
    [Show full text]
  • Ernst Diapow.Pdf
    la Naissance de Vénus, Le Jardin de la France, 1863, Paris, hst, 130 x 225 cm. 1962, Paris, hst, 114 x 168 cm Musée d’Orsay Centre Pompidou, MNAM/CCI. S’inspirant du tableau la Naissance de Vénus, qui est achetée par Napoléon III en 1863, du peintre «Pompier» Alexandre Cabanel (1823 - 1889) Max Ernst réalise le tableau qu’il nomme le Jardin de la France. L’élégance des formes de la Vénus de Cabanel va lui inspirer cet hom- mage à la Touraine et à ses paysages. MAX ERNST 1891-1976 Max Ernst est un peintre et sculpteur dada puis sur- réaliste. Il est né en 1891 à Brühl, en Allemagne dans une famille de la bourgeoisie catholique. Son père l’initie à la peinture, Max Ernst apprend le dessin lors de promena- des dans la forêt, une source d’inspiration pour les paysages fantastiques qu’il peindra ensuite. Il abandonne ses études en philosophie et his- toire de l’art, pour se consacrer à la peinture. Il participe aux réunions du Der Blaue Reiter et rédige des critiques d’art pour un journal de Bonn. En 1913, il expose ses premières œuvres à Berlin. Les toiles présentées révèlent des influences cubiste, futuriste et expressionniste. Durant la Première Guerre mondiale, il sert dans l’armée allemande. Après la guerre, Max Ernst souhaite se consa- crer à la critique d’art et établit des contacts avec des groupes d’avant-garde. Son sentiment de désillusion provoqué par la guerre, son esprit de révolte contre les conventions le font s’intéres- ser au mouvement Dada.
    [Show full text]