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University of Wyoming 2009

Art Movements Referenced : from : and Prints from the

Overview . It was an overnight sensation, and Source: www.wikipedia.org/ announced the new artistic and its creator to The following movements are referenced: the citizens of . Initially called the Style Mucha, (Mucha Style), this soon became known as Art Nouveau. The School Art Nouveau’s fifteen-year peak was most strongly felt throughout —from to Dadaism to — but its influence was global. Hence, it Les Fauves is known in various guises with frequent localized tendencies. In France, ’s metro Art Nouveau entrances shaped the of Paris and Emile Gallé was at the center of the school of thought Art Nouveau is an international movement and in Nancy. had a decisive impact on style of art, and applied art—especially architecture in . Magazines like Jugend helped the decorative —that peaked in popularity at the spread the style in , especially as a graphic turn of the (1890–1905). The name ‘Art artform, while the Secessionists influenced art nouveau’ is French for ‘new art’. It is also known as and architecture throughout -. Art , German for ‘youth style’, named after the Nouveau was also a movement of distinct individuals magazine Jugend, which promoted it, and in , such as , Charles Rennie Mackintosh, Stile Liberty from the department store in , , René Lalique, Antoni Gaudí and Liberty & Co., which popularized the style. A reaction , each of whom interpreted it in to of the , it is characterized their own individual manner. by organic, especially floral and other plant-inspired Although Art Nouveau fell out of favor with the motifs, as well as highly-stylized, flowing curvilinear arrival of 20th-century modernist styles, it is seen forms. Art Nouveau is an approach to today as an important bridge between the according to which artists should work on everything of and Modernism. Furthermore, from architecture to , making art part of Art Nouveau monuments are now recognized by everyday life. UNESCO on their World Heritage List as significant The movement was strongly influenced by Czech contributions to cultural heritage. The historic center Alphonse Mucha, when Mucha produced a of , , with “the finest collection of Art lithographed , which appeared on 1 January Nouveau in Europe”, was inscribed on the 1895 in the streets of Paris as an advertisment for list in 1997 in part because of the “quality and the the Gismonda by Victorien Sardou, starring quantity of its Art Nouveau/Jugendstil architecture”, Art Movements and four town houses by Victor Horta Baptiste Camille Corot, Théodore Rousseau, Jean- were included in 2000 as “works of creative François Millet and Charles-François Daubigny; genius” that are “outstanding examples of Art other members included Jules Dupré, Constant Nouveau architecture brilliantly illustrating the Troyon, Charles Jacque, Narcisse Virgilio Diaz, transition from the 19th to the 20th century in art, Charles Olivier de Penne, Henri Harpignies, Gabriel thought, and .” Hippolyte LeBas (1812-1880), Albert Charpin, Félix Ziem, , François-Louis Français and The Alexandre DeFaux. Both Rousseau (1867) and Millet (1875) died at The Barbizon School (circa 1830–1870) of Barbizon. painters is named after the village of Barbizon near Fontainebleau Forest, France, where the artists gathered. Cubism The Barbizon painters were part of a movement Cubism was a 20th century avant-garde art towards in art which arose in the context of movement, pioneered by and Georges the dominant Romantic Movement of the time. Braque, that revolutionized European and In 1824 the de Paris exhibited works of , and inspired related movements in . His rural scenes influenced some and . The first branch of Cubism, known as of the younger artists of the time, moving them to “Analytic Cubism”, was both radical and influential abandon formalism and to inspiration directly as a short but highly significant from nature. Natural scenes became the subjects between 1907 and 1911 in France. In its second of their paintings rather than mere backdrops to phase, Synthetic Cubism, the movement spread dramatic events. and remained vital until around 1919, when the During the Revolutions of 1848 artists gathered at Surrealist movement gained popularity. Barbizon to follow Constable’s ideas, making nature historian Douglas Cooper describes the subject of their paintings. three phases of Cubism in his seminal book “The One of them, Jean-François Millet, extended the Cubist Epoch”. According to Cooper there was idea from landscape to figures — peasant figures, “Early Cubism”, (from 1906 to 1908) when the scenes of peasant life, and work in the fields. In movement was initially developed in the studios of (1857), Millet portrays three peasant Picasso and Braque; the second phase being called women working at the harvest. There is no “High Cubism”, (from 1909 to 1914) during which and no story told, merely three peasant women in a time emerged as an important exponent; field. Gleaners are poor women gathering what’s left and finally Cooper referred to “Late Cubism” (from after the rich owners of the field finished harvesting. 1914 to 1921) as the last phase of Cubism as a The owners and their laborers are seen in the back radical avant-garde movement. of the painting. Millet here shifted the focus, the In cubist artworks, objects are broken up, subject matter, from the rich and prominent to analyzed, and re-assembled in an abstracted form— those at the bottom of the social ladders. Millet also instead of depicting objects from one viewpoint, didn’t their faces to emphasize their anonymity the artist depicts the subject from a multitude of and marginalized position. Their bowed bodies are viewpoints to represent the subject in a greater representative of their every day hard work. context. Often the surfaces intersect at seemingly The leaders of the Barbizon School were Jean- random angles, removing a coherent sense of depth.

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The background and object planes interpenetrate practitioners, , collaborated with Picasso one another to create the shallow ambiguous space, and Cocteau in a mad, scandalous called one of Cubism’s distinct characteristics. Parade. First performed by the Ballet Russes in 1917, it succeeded in creating a scandal but in a different way than Stravinsky’s Le Sacre du Printemps had done almost 5 years earlier. This was a ballet that Dada or Dadaism is a that was clearly parodying itself, something traditional began in , , during World War ballet patrons would obviously have serious issues I and peaked from 1916 to 1922. The movement with. primarily involved , literature—poetry, Dada in Paris surged in 1920 when many of the art manifestoes, art , and graphic originators converged there. Inspired by Tzara, design, and concentrated its anti-war Paris Dada soon issued manifestos, organized through a rejection of the prevailing standards in art demonstrations, staged performances and produced through anti-art cultural works. a number of journals (the final two editions of Dada activities included public gatherings, Dada, Le Cannibale, and Littérature featured Dada demonstrations, and publication of art/literary in several editions.) journals; passionate coverage of art, politics, and The first introduction of Dada artwork to the were topics often discussed in a variety of Parisian public was at the Salon des Indépendants media. The movement influenced later styles like the in 1921. exhibited works associated avant-garde and downtown music movements, and with Dada including a work entitled, Explicatif groups including Surrealism, Nouveau réalisme, bearing the word Tabu. In the same year Tzara , and punk rock. staged his Dadaist play The Gas Heart to howls of Dada is the groundwork to and derision from the audience. When it was re-staged sound poetry, a starting point for , in 1923 in a more professional production, the play a prelude to , an influence on pop provoked a theatre riot (initiated by André Breton) art, a celebration of antiart to be later embraced that heralded the split within the movement that for anarcho-political uses in the 1960s and the was to produce Surrealism. Tzara’s last attempt movement that lay the foundation for Surrealism. at a Dadaist drama was his “ironic ” —Marc Lowenthal, translator’s introduction to Handkerchief of Clouds in 1924. ’s I Am a Beautiful Monster: Poetry, Prose, And Provocation The French avant-garde kept abreast of Dada Les Fauves activities in Zürich with regular communications Les Fauves (French for The Wild Beasts) were a from (whose pseudonym means “sad short-lived and loose grouping of early 20th century in country,” a name chosen to protest the treatment Modern Artists whose works emphasized painterly of Jews in his native ), who exchanged qualities and strong colour over the representational letters, poems, and magazines with Guillaume or realistic values retained by Impressionism. Apollinaire, André Breton, , and other While as a style began around 1900 and French writers, critics and artists. continued beyond 1910, the movement as such Paris had arguably been the lasted only three years, 1905–1907, and had three of the world since the advent of musical exhibitions. The leaders of the movement were Impressionism in the late 19th century. One of its and André Derain.

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Besides Matisse and Derain, other artists included Impressionist literature. , , , the Impressionism also describes art created in this Belgian painter , Maurice Marinot, style, but outside of the late 19th century time period. , , Alfred Maurer, Radicals in their time, early Impressionists , , , Georges broke the rules of academic painting. They began Rouault, the Dutch painter , the by giving colours, freely brushed, primacy over Swiss painter , and line, inspiration from the work of painters (subsequently Picasso’s partner in Cubism). such as Eugène Delacroix. They also took the act The paintings of the Fauves were characterised of painting out of the studio and into the modern by seemingly wild brush work and strident colours, world. Previously, still lifes and portraits as well while their subject matter had a high degree of as had usually been painted indoors. simplification and . Fauvism can be The Impressionists found that they could capture classified as an extreme development of Van Gogh’s the momentary and transient effects of sunlight by Post-Impressionism fused with the Pointillism painting . Painting realistic scenes of of Seurat and other Neo-Impressionist painters, modern life, they emphasized vivid overall effects in particular . Other key influences rather than details. They used short, “broken” brush were Paul Cezanne and , whose strokes of pure and unmixed colour, not smoothly employment of areas of saturated colour—notably in blended, as was customary, in order to achieve the paintings from Tahiti—strongly influenced Derain’s effect of intense colour vibration. work at in 1905. Although the rise of Impressionism in France happened at a time when a number of other Impressionism painters, including the Italian artists known as the , and in the United Impressionism was a 19th-century art movement States, were also exploring plein-air painting, the that began as a loose association of Paris-based Impressionists developed new techniques that were artists whose independent exhibitions brought them specific to the movement. Encompassing what its to prominence in the and 1880s. The name of adherents argued was a different way of seeing, the movement is derived from the title of a Claude it was an art of immediacy and movement, of Monet work, Impression, Sunrise (Impression, soleil candid poses and compositions, of the play of light levant), which provoked the critic to expressed in a bright and varied use of colour. coin the term in a satiric review published in Le The public, at first hostile, gradually came to Charivari. believe that the Impressionists had captured a fresh Characteristics of Impressionist paintings include and original vision, even if it did not receive the visible brush strokes, open composition, emphasis approval of the art critics and establishment. on light in its changing qualities (often accentuating By re-creating the sensation in the eye that views the effects of the passage of time), ordinary subject the subject, rather than recreating the subject, matter, the inclusion of movement as a crucial and by creating a welter of techniques and forms, element of human and experience, Impressionism became a precursor seminal to and unusual visual angles. The emergence of various movements in painting which would Impressionism in the visual arts was soon follow, including Neo-Impressionism, Post- followed by analogous movements in other media Impressionism, Fauvism, and Cubism. which became known as Impressionist music and

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In an atmosphere of change as Emperor routinely accepted by the Salon when featured III rebuilt Paris and waged war, the in historical and allegorical paintings, the jury Académie des Beaux-Arts dominated the French condemned Manet for placing a realistic art scene in the middle of the 19th century. in a contemporary setting. The jury’s sharply The Académie was the upholder of traditional worded rejection of Manet’s painting, as well as the standards for French painting, both in content and unusually large number of rejected works that year, style. Historical subjects, religious themes, and set off a firestorm among French artists. Manet portraits were valued (landscape and were was admired by Monet and his friends, and led the not), and the Académie preferred carefully finished discussions at Café Guerbois where of which mirrored reality when examined artists frequently met. closely. Colour was somber and conservative, After seeing the rejected works in 1863, Emperor and the traces of brush strokes were suppressed, Napoleon III decreed that the public be allowed concealing the artist’s personality, emotions, and to judge the work themselves, and the Salon des working techniques. Refusés (Salon of the Refused) was organized. The Académie held an annual, juried art While many viewers came only to laugh, the Salon show, the Salon de Paris, and artists whose work des Refusés drew attention to the existence of a displayed in the show won prizes, garnered new tendency in art and attracted more visitors commissions, and enhanced their prestige. The than the regular Salon. standards of the juries reflected the values of the Artists’ petitions requesting a new Salon des Académie, represented by the highly polished Refusés in 1867, and again in 1872, were denied. In works of such artists as Jean-Léon Gérôme and the latter part of 1873, Monet, Renoir, Pissarro, and . Some younger artists painted Sisley organized the Société Anonyme Coopérative in a lighter and brighter manner than painters of des Artistes Peintres, Sculpteurs, Graveurs the preceding generation, extending further the (“Cooperative and Anonymous Association realism of and the Barbizon of Painters, Sculptors, and Engravers”) for the School. They were more interested in painting purpose of exhibiting their artworks independently. landscape and contemporary life than in recreating Members of the association, which soon included scenes from . Each year, they submitted Cézanne, , and , were their art to the Salon, only to see the juries reject expected to forswear participation in the Salon. The their best efforts in favour of trivial works by organizers invited a number of other progressive artists working in the approved style. A core group artists to join them in their inaugural exhibition, of young realists, , Pierre-Auguste including the slightly older Eugène Boudin, whose Renoir, , and Frédéric Bazille, who example had first persuaded Monet to take up plein had studied under , became friends air painting years before. Another painter who and often painted together. They soon were joined greatly influenced Monet and his friends, Johan by , Paul Cézanne, and Armand Jongkind, declined to participate, as did Manet. Guillaumin. In total, thirty artists participated in their first In 1863, the jury rejected The Luncheon on the exhibition, held in April 1874 at the studio of the Grass (Le déjeuner sur l’herbe) by Édouard Manet photographer . primarily because it depicted a nude woman with The critical response was mixed, with Monet and two clothed men at a picnic. While nudes were Cézanne bearing the harshest attacks.

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Critic and humorist Louis Leroy wrote a scathing later by Renoir, Sisley, and Monet, abstained review in the Le Charivari newspaper in which, from the group exhibitions in order to submit making wordplay with the title of Claude Monet’s their works to the Salon. Disagreements arose Impression, Sunrise (Impression, soleil levant), from issues such as Guillaumin’s membership in he gave the artists the name by which they would the group, championed by Pissarro and Cézanne become known. Derisively titling his article The against from Monet and Degas, who Exhibition of the Impressionists, Leroy declared that thought him unworthy. Degas invited Monet’s painting was at most, a , and could to display her work in the 1879 exhibition, but he hardly be termed a finished work. also caused dissention by insisting on the inclusion He wrote, in the form of a dialog between viewers, of Jean-François Raffaëlli, Ludovic Lepic, and Impression — I was certain of it. I was just telling other realists who did not represent Impressionist myself that, since I was impressed, there had to be practices, leading Monet in 1880 to accuse the some impression in it … and what freedom, what Impressionists of “opening to first-come ease of workmanship! in its embryonic daubers”. The group divided over the invitation of state is more finished than that . Signac and Seurat to exhibit with them in 1886. The term “Impressionists” quickly gained favour Pissarro was the only artist to show at all eight with the public. It was also accepted by the artists Impressionist exhibitions. themselves, even though they were a diverse group The individual artists saw few financial rewards in style and temperament, unified primarily by their from the Impressionist exhibitions, but their art spirit of independence and rebellion. They exhibited gradually won a degree of public acceptance. Their together—albeit with shifting membership—eight dealer, Durand-Ruel, played a major role in this as times between 1874 and 1886. he kept their work before the public and arranged Monet, Sisley, Morisot, and Pissarro may be shows for them in London and New York. Although considered the “purest” Impressionists, in their Sisley would die in poverty in 1899, Renoir had consistent pursuit of an art of spontaneity, sunlight, a great Salon success in 1879. Financial security and colour. Degas rejected much of this, as he came to Monet in the early 1880s and to Pissarro believed in the primacy of drawing over colour and by the early . By this time the methods of belittled the practice of painting outdoors. Renoir Impressionist painting, in a diluted form, had turned against Impressionism for a time in the become commonplace in Salon art. 1880s, and never entirely regained his commitment to its ideas. Édouard Manet, despite his role as a Impressionist techniques include: leader to the group, never abandoned his liberal use • Short, thick strokes of paint are used to of black as a colour, and never participated in the quickly capture the essence of the subject, Impressionist exhibitions. He continued to submit his rather than its details. The paint is often works to the Salon, where his Spanish Singer had won applied . a 2nd class medal in 1861, and he urged the others to • Colours are applied side-by-side with as little do likewise, arguing that “the Salon is the real field of mixing as possible, creating a vibrant surface. battle” where a reputation could be made. The optical mixing of colours occurs in the Among the artists of the core group (minus eye of the viewer. Bazille, who had died in the Franco-Prussian War • Grays and dark tones are produced by mixing in 1870), defections occurred as Cézanne, followed complementary colours.

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In pure Impressionism the use of black paint allowed artists to work more spontaneously, both is avoided. outdoors and indoors. Previously, painters made • Wet paint is placed into wet paint without their own individually, by grinding and waiting for successive applications to dry, mixing dry powders with linseed oil, which producing softer edges and an intermingling were then stored in animal bladders. of colour. The rise of the impressionist movement can be • Painting in the evening to get - seen in part as a reaction by artists to the newly the shadowy effects of the light in the evening established medium of . The taking or twilight. of fixed or still images challenged painters by • Impressionist paintings do not exploit the providing a new medium with which to capture transparency of thin paint (glazes) reality. Initially photography’s presence seemed to which earlier artists built up carefully undermine the artist’s depiction of nature and their to produce effects. The surface of an ability to mirror reality. Both portrait and landscape Impressionist painting is typically opaque. paintings were deemed somewhat deficient and • The play of natural light is emphasized. Close lacking in truth as photography “produced lifelike attention is paid to the reflection of colours images much more efficiently and reliably”. from object to object. In spite of this, photography actually inspired In paintings made en plein air (outdoors), artists to pursue other means of artistic expression, shadows are boldly painted with the of the and rather than competing with photography to sky as it is reflected onto surfaces, giving a sense of emulate reality, artists focused “on the one thing freshness and openness that was not captured in they could inevitably do better than the painting previously. (Blue shadows on snow inspired – by further developing into an art form its very the technique.) subjectivity in the conception of the , the Painters throughout history had occasionally used very subjectivity that photography eliminated”. The these methods, but Impressionists were the first to Impressionists sought to express their use all of them together, and with such boldness. of nature, rather than create exacting reflections or Earlier artists whose works display these techniques mirror images of the world. This allowed artists to include , Diego Velázquez, Peter Paul subjectively depict what they saw with their “tacit Rubens, John Constable, and J. M. W. Turner. imperatives of and ”. Photography French painters who prepared the way for encouraged painters to exploit aspects of the Impressionism include the Romantic colourist painting medium, like colour, which photography Eugène Delacroix, the leader of the realists Gustave then lacked; “the Impressionists were the first to Courbet, and painters of the Barbizon School such consciously offer a subjective alternative to the as Théodore Rousseau. The Impressionists learned photograph”. much from the work of Jean-Baptiste-Camille Corot Another major influence was prints and Eugène Boudin, who painted from nature in (Japonism), which had originally come into France a style that was close to Impressionism, and who as wrapping for imported goods. The art befriended and advised the younger artists. of these prints contributed significantly to the Impressionists took advantage of the mid- “snapshot” angles and unconventional compositions century introduction of premixed paints in lead which would become characteristic of the tubes (resembling modern toothpaste tubes) which movement.

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Les Nabis century, as Modern Art moved towards abstraction, Les Nabis (pronounced nah bee) were a group , Cubism, etc, the Nabis were viewed of Post-Impressionist avant-garde artists who set as conservatives, and indeed were among the last the pace for fine arts and in France in group of artists to stick to the roots and artistic the 1890s. Initially a group of friends interested ambitions of the impressionists, pursuing these ends in and literature, most of them almost into the middle of the 20th century. In their studied at the private of Rodolphe Julian later years, these painters also largely abandoned (Académie Julian) in Paris in the late 1880s. In 1890, their earlier interests in decorative and . they began to successfully participate in public exhibitions, while most of their artistic output Modernism remained in private hands or in the possession of Modernism, in its broadest definition, is modern the artists themselves. By 1896, the unity of the thought, character, or practice. More specifically, group had already begun to break: The Hommage the term describes both a set of cultural tendencies à Cézanne, painted by in 1900, and an array of associated cultural movements, recollects memories of a time already gone, before originally arising from wide-scale and far-reaching even the term Nabis had been revealed to the public. changes to Western society in the late nineteenth Meanwhile, most members of the group - Maurice and early twentieth centuries. The term encompasses Denis, , Edouard Vuillard - could the activities and output of those who felt the stand, artistically, on their own. Only Paul Sérusier “traditional” forms of art, architecture, literature, had problems to overcome—though it was his religious faith, social organization and daily life Talisman, painted at the advice of Paul Gauguin, were becoming outdated in the new economic, that had revealed to them the way to go. social and political conditions of an emerging fully Les Nabis artists worked in a variety of media, industrialized world. using oils on both canvas and cardboard, distemper Modernism rejected the lingering certainty on canvas and wall decoration, and also produced of Enlightenment thinking, and also that of the , prints, book , and existence of a compassionate, all-powerful Creator. furniture. Considered to be on the cutting edge of This is not to say that all modernists or modernist Modern Art during their early period, their subject movements rejected either religion or all aspects matter was representational (though often symbolist of Enlightenment thought, rather that Modernism in inspiration), but was design oriented along the can be viewed as a questioning of the axioms of the lines of the Japanese prints they so admired, and previous age. Art Nouveau. Unlike those types however, the A salient characteristic of Modernism is self- artists of this circle were highly influenced by the consciousness. This often led to experiments paintings of the impressionists, and thus while with form, and work that draws attention to the sharing the flatness, and space processes and materials used (and to the further of Art Nouveau and other decorative modes, tendency of abstraction). The poet ’s much of Nabis art has a painterly, non-realistic paradigmatic injunction was to “Make it new!” look, with palettes often reminding one of However, the break from the past was not a clean Cézanne and Gauguin. Bonnard’s posters and break. Pound’s phrase identified one modernist lithographs are more firmly in the Art Nouveau, objective, even as T.S. Eliot emphasized the relation or Toulouse-Lautrec manner. After the turn of the of the artist to tradition.

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Eliot wrote: in , but many painters have adopted a “[W]e shall often find that not only the best, but similar approach over the centuries. One example the most individual parts of [a poet’s] work, may be of is the artwork of American artist those in which the dead poets, his ancestors, assert William Bliss Baker, whose landscape paintings their immortality most vigorously.” are considered some of the best examples of the Literary scholar Peter Childs sums up the naturalist movement. Another example is the French complexity: Albert Charpin, from the Barbizon School,with “There were paradoxical if not opposed trends his paintings of sheep in their natural settings. An towards revolutionary and reactionary positions, important part of the naturalist movement was its fear of the new and delight at the disappearance of Darwinian of life and its view of the the old, nihilism and fanatical enthusiasm, futility of man up against the forces of nature. and despair.” Naturalism began in the early , and These oppositions are inherent to Modernism: it developed itself further throughout the Renaissance, is in its broadest cultural sense the assessment of the such as with the Florentine School. past as different to the modern age, the recognition Naturalism is a type of art that pays attention that the world was becoming more complex, and to very accurate and precise details, and portrays that the old “final authorities” (God, government, things as they are. science, and reason) were subject to intense critical scrutiny. Pointillism Current interpretations of Modernism vary. Some Pointillism is a style of painting in which small divide 20th century reaction into Modernism and distinct dots of colour create the impression of a postModernism, whereas others see them as two wide selection of other and blending. Aside aspects of the same movement. from color “mixing” phenomena, there is the simpler Modern Art refers to artistic works produced graphic phenomenon of depicted imagery emerging during the period extending roughly from the 1860s from disparate points. Historically, Pointillism has to the 1970s, and denotes the style and been a figurative mode of executing a painting, as of the art produced during that era. The term is opposed to an abstract modality of expression. usually associated with art in which the traditions The technique relies on the perceptive ability of the past have been thrown aside in a spirit of of the eye and mind of the viewer to mix the experimentation. Modern Artists experimented with color spots into a fuller range of tones and is new ways of seeing and with fresh ideas about the related closely to , a more technical nature of materials and functions of art. A tendency variant of the method. It is a style with few serious toward abstraction is characteristic of much practitioners and is notably seen in the works of Modern Art. More recent artistic production is Seurat, Signac and Cross. The term Pointillism was often called Contemporary art or . first coined by art critics in the late 1880s to ridicule The notion of Modern Art is closely related to the works of these artists and is now used without its Modernism. earlier mocking connotation. Naturalism in art refers to the depiction of realistic The practice of Pointillism is in sharp contrast to objects in a natural setting. The Realism movement the more common methods of blending of the 19th century advocated naturalism in reaction on a palette or using the many commercially to the stylized and idealized depictions of subjects available premixed colors.

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Pointillism is analogous to the four-color CMYK felt that he was the spiritual son of writer and process used by some color printers and pataphysician , and he came to admire large presses, Cyan (blue), (red), the young writer’s anti-social attitude and disdain and Key (black). Televisions and monitors for established artistic tradition. Later Breton wrote, use a pointillist technique to represent images but “In literature, I am successively taken with Rimbaud, with Red, Green, and Blue (RGB) colors. with Jarry, with Apollinaire, with Nouveau, with Lautréamont, but it is Jacques Vaché to whom I owe Surrealism the most.” Back in Paris, Breton joined in the Dada activities Surrealism is a cultural movement that began in and also started the literary journal Littérature the early , and is best known for the visual along with and . artworks and writings of the group members. They began experimenting with automatic Surrealist works feature the element of surprise, writing—spontaneously writing without censoring unexpected juxtapositions and non sequitur; their thoughts—and published the “automatic” however, many Surrealist artists and writers regard writings, as well as accounts of dreams, in their work as an expression of the philosophical Littérature. Breton and Soupault delved deeper into movement first and foremost, with the works automatism and wrote The Magnetic Fields (Les being an artifact. Leader André Breton was explicit Champs Magnétiques) in 1919. They continued in his assertion that Surrealism was above all a the automatic writing, gathering more artists and revolutionary movement. writers into the group, and coming to believe that Surrealism developed out of the Dada activities automatism was a better tactic for societal change of and the most important center of than the Dada attack on prevailing values. the movement was Paris. From the 1920s on, the In addition to Breton, Aragon and Soupault the movement spread around the globe, eventually original Surrealists included , Benjamin affecting the visual arts, literature, , and music Péret, René Crevel, , , of many countries and languages, as well as political , Marcel Noll, , Roger thought and practice, philosophy and social theory. Vitrac, Simone Breton, Gala Éluard, , World War I scattered the writers and artists who Salvador Dalí, , Hans Arp, Georges had been based in Paris, and while away from Paris Malkine, , , Antonin many involved themselves in the Dada movement, Artaud, , André Masson, Joan believing that excessive rational thought and Miró, , Jacques Prévert and Yves bourgeois values had brought the terrifying conflict Tanguy. upon the world. The Dadaists protested with anti- As they developed their philosophy they felt rational anti-art gatherings, performances, writing that while Dada rejected categories and labels, and art works. After the war when they returned to Surrealism would advocate the idea that ordinary Paris the Dada activities continued. and depictive expressions are vital and important, During the war Surrealism’s soon-to-be leader but that the sense of their arrangement must be André Breton, who had trained in and open to the full range of imagination according psychiatry, served in a neurological hospital where to the Hegelian Dialectic. They also looked to the he used the psychoanalytic methods of Sigmund Marxist dialectic and the work of such theorists as Freud with soldiers who were shell-shocked. He Walter Benjamin and Herbert Marcuse. also met the young writer Jacques Vaché and

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Freud’s work with free association, dream in literature, Symbolism in art represents analysis and the hidden unconscious was of the an outgrowth of the darker, gothic side of utmost importance to the Surrealists in developing Romanticism; but where Romanticism was methods to liberate imagination. However, they impetuous and rebellious, symbolist art was static embraced idiosyncrasy, while rejecting the idea of and hieratic. an underlying madness or darkness of the mind. In painting, Symbolism was a continuation of (Later the idiosyncratic Salvador Dalí explained it some mystical tendencies in the Romantic tradition, as: “There is only one difference between a madman which included such artists as Caspar David and me. I am not mad.”) Friedrich, and John The group aimed to revolutionize human and it was even more closely aligned with the self- experience, including its personal, cultural, social, consciously dark and private . and political aspects, by freeing people from what There were several rather dissimilar groups they saw as false rationality, and restrictive customs of symbolist painters and visual artists, which and structures. Breton proclaimed, the true aim of included , Gustav Klimt, Mikalojus Surrealism is “long live the social revolution, and Konstantinas Èiurlionis, , Pierre it alone!” To this goal, at various times surrealists Puvis de Chavannes, Henri Fantin-Latour, Edvard aligned with communism and anarchism. Munch, Félicien Rops, and . Symbolism In 1924 they declared their intents and in painting had an even larger geographical reach philosophy with the issuance of the first Surrealist than Symbolism in poetry, reaching Mikhail Manifesto. That same year they established the Vrubel, , Victor Borisov-Musatov, Bureau of Surrealist Research, and began publishing Martiros Saryan, Mikhail Nesterov, Leon Bakst the journal La Révolution surréaliste. in , as well as in , Elihu Vedder, , Morris Graves, David Symbolism Chetlahe Paladin, and Elle Nicolai in the . is sometimes considered a Symbolism was a late nineteenth-century art symbolist in sculpture. movement of French and Belgian origin in poetry The symbolist painters mined mythology and other arts. In literature, the movement had its and dream imagery for a visual language of the roots in (The Flowers of Evil, soul, seeking evocative paintings that brought 1857) by . The works of Edgar to mind a static world of silence. The symbols Allan Poe, which Baudelaire greatly admired and used in Symbolism are not the familiar emblems translated into French, were a significant influence of mainstream iconography but intensely and of many stock tropes and images. personal, private, obscure and ambiguous The aesthetic was developed by Stephane Mallarmé references. More a philosophy than an actual and during the 1860s and ‘70s. In style of art, Symbolism in painting influenced the the 1880s, the aesthetic was articulated through contemporary Art Nouveau movement and Les a series of manifestoes and attracted a generation Nabis. In their exploration of dreamlike subjects, of writers. The label “symbolist” itself comes from symbolist painters are found across centuries and the critic Jean Moréas, who coined it in order , as they are still today; Bernard Delvaille to distinguish the symbolists from the related has described René Magritte’s Surrealism as decadent movement in literature and art. “Symbolism plus Freud”. Distinct from, but related to, the movement

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