DOCSLIB.ORG

Dida De Majo (1906-1964) Biografija

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dida De Majo (1906-1964) Biografija Jcvrcjski istorijski muzej - Beograd • Jevvish Historical Museum - Belgrade ZBORNIK, knj. 9, 2009. Milan Radanović DIDA DE MAJO (1906-1964) BIOGRAFIJA Apstrakt: Rad obrađuje biografske podatke o beogradskom slikaru - Jevreji- nu Davidu - Didi de Maju, pri čemu je težište stavljeno na njegovo političko angažovanje kao istaknutog levičara - komuniste. Kao takav de Majo je bio proganjan između dva svetska rata, za vreme rata učestvovao je u francu- skom pokretu otpora, da bi nakon rata takođe bio zatvaran od strane svojih nekadašnjih političkih istomišljenika i saboraca. Ključne reči: Glavnjača, Pijade, Đilas, Malro, Beograd, Pariz, Jugoslavija, Francuska. Uvod Kada potonji istraživači budu pokušali da rekonstruišu obim umet- ničkog rada beogradskog slikara Dide de Majo, da bi upotpunili i korigo- vali biografiju koja je pred čitaocima, suočiće se sa činjenicom da život nijednog beogradskog likovnog umetnika nije toliko obeležen paskom policijskog esnafa. Dida je u nekoliko višegodišnjih navrata živeo u inostranstvu; u dva navrata, nakon povratka u rodni grad - usledilo je hapšenje. Hapšen je i zatvaran, kako pre, tako i posle Drugog svetskog rata. Beogradski za- tvori, napose zloglasna Glavnjača - čvorište ili pupak „podzemne istori- je" Beograda, mesta su gde je Dida de Majo mučen i ponižavan (slikar kome su policajci lomili prste), gde je štrajkovao glađu i gde je pokušao samoubistvo. 0 njegovom robijanju u beogradskim zatvorima, kao i u žici i jednoj rupi na pustom, bezvodnom i golom jadranskom ostrvu, znamo tek po nešto. 403 MILAN RADANOVIĆ Rad na biografiji (pogled na jednu anonimnost), započeo je preka- sno - četrdeset godina nakon Didine smrti, i desetak godina nakon smrti osoba koje su dobro poznavale njegov život. Sem toga, Dida kao da se potrudio da o svom životu ostavi što manje podataka. (Ne znamo da li bi se on, da je doživeo ibeovsku plimu sećanja tokom osamdesetih, pri- hvatio „arheološkog istraživanja vlastitog Mrtvog doma"). Ma kolika bila dragocenost otkriča svakog novog podatka, uvek neočekivanog i iznena- đujućeg, tokom pisanja biografije stalno smo suočavani sa činjenicom da je nemoguće posve rekonstruisati ovaj „zatureni životopis", i da će nam zauvek ostati nepoznati mnogi bitni događaji njegovog života. Najveća mana ovog biografskog rada jeste nedovoljno osvetljen umetnički rad Dide de Majo. Vredi napomenuti da na našem jeziku o Didi kao umetniku nije gotovo ništa pisano. Njegovo ime nije prisutno na strani- cama Likovne enciklopedije Jugoslavije, niti u radovima istoričara moderne jugoslovenske umetnosti. Dida de Majo, učenik Andre Lota, prijatelj i savre- menik pariskih avangardista, odlično je poznavao kanon moderne umetno- sti, ali i pored toga on je ostao neostvaren umetnik, ostavši osujećen koliko istorijskim i političkim prilikama u kojima je živeo, toliko i vlastitom nestal- nošću. Ističemo da je ogromna većina njegovih likovnih radova (crteži, gra- fike, poneka slika na platnu) uništena ili zagubljena tokom vremena, kao i da je reprodukovano vrlo malo njegovih likovnih ostvarenja. Imaginarni katalog radova grafičara i slikara Dide de Majo sadržao bi i takve kuriozite- te kao što su: desetine besprekorno falsifikovanih pasoša namenjenih revo- lucionarnoj internacionali („tako da ih nije mogla otkriti ni jedna granična fašistička policija"); imaginarni Staljinovi brkovi („Staljinov nadrealistički portret", u policijskoj interpretaciji) navodno naslikani u logoru na Golom otoku; zoomorfhe figurine sačinjene od sažvakanog hleba u zatvorskoj sa- mici, viđene na„privatnoj izložbi" okom kažnjenika kroz jednu rupu na zidu susedne samice; Titov portret naslikan od boja načinjenih od trave i ciglene strugotine u logoru „Petrova rupa" na Golom otoku („Banda De Majo nije dostojan ni dapogleda Titovportret, a kamoli da ga skrnavi"). U krnjim sećanjima koje su u pisanom obliku ostavili neki Didini savremenici i prijatelji, sačuvano je ponešto podataka o „neuporedivoj ličnosti Dide de Majo". Izuzetno zanimljiva Didina ličnost, jedan izrazi- ti unikum, bila je privlačna i nezaboravna svima koji su imali priliku da ga bolje upoznaju. Mnoga od ovih poznanstava ostvarena su u najtežim uslovima, u logoru na Golom otoku. Upravo sećanja njegovih drugova iz logora svedoče ponajviše o veličini Didine Ijudskosti. 404 DIDA DE MAJO (1906-1964) BIOGRAFIJA Biografija koja je pred čitaocima napisana je, pored ostalog, i da na simboličan način komemoriše stogodišnjicu Didinog rođenja. Navešćemo jednu rečenicu Ljiljane Ševaljević, koja je kao sestra Didinog druga iz logora, uživala njegovu naklonost, rečenicu koja pred- stavlja odgovor na naivnu opservaciju autora biografije („Dida je naivno ušao u komunistički pokret..."): „Nije to bila naivnost, bio je to rulet." 1. „Porodica za njega nije znala nekoliko godina." David-Dida de Majo1 * rođen je u Beogradu 29. marta 1906. (16. marta 1906, po julijanskom kalendaru), kao četvrto, najmlađe dete, tr- govca Solomona de Majo i njegove supruge, učiteljice Jelene-Lenke de Majo, rođene Alkalaj. Solomon de Majo i njegova mlađa braća, Šemaja i Maks, rođeni su u beogradskoj sefardskoj mahali, na dunavskoj Jaliji, u kući Moše de Majo, trgovca i uglednog člana beogradske sefardske zajednice (predsednika jevrejskog komunitarnog pogrebnog društva Hevra kadiša, vekovima naj- značajnijeg udruženja među članovima jevrejske zajednice, koje se stara- lo o čuvanju specifičnih pogrebnih tradicija). Dom Moše de Majo (1837- 1893), krajem devetnaestog stoleća, kada njegovi sinovi napuštaju ma- halu španskih Jevreja, i poslom se sele u središnji deo beogradske varoši, nalazio se u jalijskoj ulici (zapravo sokaku) Đerdap, u neposrednoj blizini nekadašnje Stare sinagoge? Ovaj uski, bezimeni sokak je i nakon prve ur- banističke regulacije Beograda, sedamdesetih godina devetnaestog veka, ostao onakav kakav je bio u osamnaestom veku, pa su ga građani prozvali „Jevrejski Đerdap", ili „Jevrejski Dardaneli".3 Kuće u ovom sokaku, među 'Koristimo predratnu transkripciju prezimena ove beogradske sefardske poro- dice; prezime pišemo onako kako su ga najčešće pisali članovi porodice. Nakon Drugog svetskog rata koristi se najčešće sledeća transkripcija: „Demajo". Dida de Majo je najče- šće koristio dve transkripcije prezimena: ,,De Majo", ili ređe, „DeMajo". Napominjemo da smo prilikom navođenja izvora iz literature ili arhivskih dokumenata, ostavljali onu tran- skripciju prezimena kakva je u originalu. Takođe, ističemo da je Dida vrlo retko koristio svoje pravo ime (David), tako da u svim njegovim posleratnim službenim dokumentima čitamo nadimak umesto imena. Nadimak je Dida sam sebi nadenuo, u detinjstvu. ^Solomon L. Mošić, „Stanovnici jevrejske mahale u Beogradu u 19. veku"; rukopis nastao u međuratnom periodu, objavljen u knjizi Ženi Lebl, Do„konačnog rešenja". Jevreji uBeogradu 1521-1942, Beograd, 2001, str. 391-395. ^Divna Đurić-Zamolo, „Stara jevrejska četvrt i Jevrejska ulica u Beogradu", Jevrej- skialmanah za 1965-1967, Beograd, 1968. 405 MILAN RADANOVIĆ kojima i kuća Didinog dede Moše, kao i kuća u kojoj je rođen slikar Leon Koen, porušene su u prvoj deceniji dvadesetog veka. Kuća Moše de Majo nalazila se na današnjem uglu Jevrejske i Dušanove ulice. Na njenom me- stu, oko 1910, podignuta je današnja kuća.4 (Napominjemo da se krajem devetnaestog veka nekadašnji ugao Jevrejske i Dušanove ulice nalazio na sredini kolovoza današnje Dušanove ulice, tj. da je Jevrejska ulica bila ne- što duža nego danas). Deca Solomona de Majo pripadala su poslednjoj generaciji beo- gradskih Jevreja koja je upamtila folklornu jalijsku mahalu, iako su Dida, njegova starija braća i sestra odrasli, kazano u beogradskom ladino idi- omu, kao los de arriba (oni od gore, tj. oni koji žive u varoši, na bregu), jer je njihov otac zasnovavši porodicu preselio, kao i mnogobrojni jalijski Jevreji njegovog pokolenja, ,,uz Zerek", prema središtu varoši, započevši život na hrbatu beogradskog brega. Porodica Solomona de Majo živela je, najkasnije od kraja prve de- cenije dvadesetog veka, na Terazijama 9. Kuća u kojoj su živeli (reprezen- tativna trospratna zgrada, poslovno-stambene namene, sagrađena 1902. u stilu poznog akademizma) pripadala je trgovcu i rentijeru, Joci Jovano- viću Šapčaninu. U ovoj kući, u kojoj verujemo da je rođen Dida de Majo, nalazila se trgovačko-tekstilna radnja Solomona de Majo i advokatska kancelarija njegovog brata Šemaje, koji je živeo na istoj adresi.4 5 (Šemaja de Majo će pred Prvi svetski rat privremeno preseliti u Beč). Kuća na Te- razijama 9 srušena je u proleće 1944, prilikom američkog bombardova- nja Beograda. U porodici Didine sestre Vojke, zapravo u porodici njenog unuka Vojkana Maslačka, sačuvana je jedna fotografija porodice Solomona de Majo, nastala krajem prve decenije dvadesetog veka, verovatno 1908. Na slici vidimo Didinog oca i majku, kao i Didinu stariju braću, Samuila i Mošu, i sestru Vojku. Dida, dvogodišnji dečak duge kose, u rukama drži kolut, odeven kao devojčica u sestrinu haljinicu. 4Lokaciju kuće porodice De Majo, na Jaliji, potvrđuje porodično predanje koje nam je kazivala Vesna Demajo, kćerka Dide de Majo (Beograd, 12.11.2004). ^Aleksej Suvorin, Ceo Beograd- adresno informaciona knjiga, Beograd, 1922, str. 36. Suvorinova adresna knjiga daje podatke o vlasniku kuće na Terazijama 9, odn. na tadaš- njem Prestolonaslednikovom trgu, kako su zvanično nazivane Terazije od 1913. do 1940. Krajem dvadesetih godina došlo je do izvesne izmene u numeraciji ulice (koja važi do danas), tako da adresa porodice De Majo glasi: Prestolonaslednikov trg 7 (Terazije 7); videti: Milutin Stevanović, Potpun
Load more

Recommended publications
  • Es Probable, De Hecho, Que La Invencible Tristeza En La Que Se
    Surrealismo y saberes mágicos en la obra de Remedios Varo María José González Madrid Aquesta tesi doctoral està subjecta a la llicència Reconeixement- NoComercial – CompartirIgual 3.0. Espanya de Creative Commons. Esta tesis doctoral está sujeta a la licencia Reconocimiento - NoComercial – CompartirIgual 3.0. España de Creative Commons. This doctoral thesis is licensed under the Creative Commons Attribution-NonCommercial- ShareAlike 3.0. Spain License. 2 María José González Madrid SURREALISMO Y SABERES MÁGICOS EN LA OBRA DE REMEDIOS VARO Tesis doctoral Universitat de Barcelona Departament d’Història de l’Art Programa de doctorado Història de l’Art (Història i Teoria de les Arts) Septiembre 2013 Codirección: Dr. Martí Peran Rafart y Dra. Rosa Rius Gatell Tutoría: Dr. José Enrique Monterde Lozoya 3 4 A María, mi madre A Teodoro, mi padre 5 6 Solo se goza consciente y puramente de aquello que se ha obtenido por los caminos transversales de la magia. Giorgio Agamben, «Magia y felicidad» Solo la contemplación, mirar una imagen y participar de su hechizo, de lo revelado por su magia invisible, me ha sido suficiente. María Zambrano, Algunos lugares de la pintura 7 8 ÍNDICE INTRODUCCIÓN 13 A. LUGARES DEL SURREALISMO Y «LO MÁGICO» 27 PRELUDIO. Arte moderno, ocultismo, espiritismo 27 I. PARÍS. La «ocultación del surrealismo»: surrealismo, magia 37 y ocultismo El surrealismo y la fascinación por lo oculto: una relación polémica 37 Remedios Varo entre los surrealistas 50 «El giro ocultista sobre todo»: Prácticas surrealistas, magia, 59 videncia y ocultismo 1. «El mundo del sueño y el mundo real no hacen más que 60 uno» 2.
    [Show full text]
  • Surrealist Manifesto Surrealist Manifesto <Written By> André
    Surrealist Manifesto Surrealist Manifesto <written by> André Breton This virtual version of the Surrealist Manifesto was created in 1999. Feel free to copy this virtual document and distribute it as you wish. You may contact the transcriber at any time by writing to: [email protected]. So strong is the belief in life, in what is most fragile in life – real life, I mean – that in the end this belief is lost. Man, that inveterate dreamer, daily more discontent with his destiny, has trouble assessing the objects he has been led to use, objects that his nonchalance has brought his way, or that he has earned through his own efforts, almost always through his own efforts, for he has agreed to work, at least he has not refused to try his luck (or what he calls his luck!). At this point he feels extremely modest: he knows what women he has had, what silly affairs he has been involved in; he is unimpressed by his wealth or his poverty, in this respect he is still a newborn babe and, as for the approval of his conscience, I confess that he does very nicely without it. If he still retains a certain lucidity, all he can do is turn back toward his childhood which, however his guides and mentors may have botched it, still strikes him as somehow charming. There, the absence of any known restrictions allows him the perspective of several lives lived at once; this illusion becomes firmly rooted within him; now he is only interested in the fleeting, the extreme facility of everything.
    [Show full text]
  • Universidade Federal Do Rio De Janeiro
    UNIVERSIDADE FEDERAL DO RIO DE JANEIRO FACULDADE DE LETRAS O movimento surrealista pelos seus dissidentes: uma leitura a partir de Antonin Artaud e Georges Bataille Gabriel Bustilho Lamas Rio de Janeiro 2020 GABRIEL BUSTILHO LAMAS O movimento surrealista pelos seus dissidentes: uma leitura a partir de Antonin Artaud e Georges Bataille Monografia submetida à Faculdade de Letras da Universidade Federal do Rio de Janeiro, como requisito parcial para obtenção do título de Bacharel em Letras na habilitação Português/Literatura. Orientador: Prof. Dr. Marcelo Jacques de Moraes Rio de Janeiro 2020 BUSTILHO, Gabriel O movimento surrealista pelos seus dissidentes: uma leitura a partir de Antonin Artaud e Georges Bataille/ Gabriel Bustilho Lamas – 2020. 31f. Orientador: Marcelo Jacques de Moraes Trabalho de conclusão de curso (graduação) - Universidade Federal do Rio de Ja- neiro, Faculdade de Letras, Bacharel em Letras: Português - Literatura, 2019. Bibliografia: f.31 1. Introdução 2. Artaud. 3. Bataille 4. Conclusão . I. Lamas, Gabriel Bustilho, autor. MORAES, Marcelo Jacques de, orient. II. O movimento surrealista pelos seus dissidentes: uma leitura a partir de Antonin Artaud e Georges Bataille SUMÁRIO RESUMO ......................................................................................................................... 5 1. Introdução ..................................................................................................................... 8 2. Artaud ........................................................................................................................
    [Show full text]
  • Photographie, Arme De Classe La Photographie Sociale Et Documentaire En France 1928 - 1936 7 Novembre 2018 - 4 Février 2019 Photographie, Arme De Classe
    DIRECTION DE LA COMMUNICATION ET DES PARTENARIATS DOSSIER DE PRESSE PHOTOGRAPHIE, ARME DE CLASSE LA PHOTOGRAPHIE SOCIALE ET DOCUMENTAIRE EN FRANCE 1928 - 1936 7 NOVEMBRE 2018 - 4 FÉVRIER 2019 PHOTOGRAPHIE, ARME DE CLASSE #ArmeDeClasse PHOTOGRAPHIE, ARME DE CLASSE LA PHOTOGRAPHIE SOCIALE ET DOCUMENTAIRE EN FRANCE 1928-1936 7 NOVEMBRE 2018 - 4 FÉVRIER 2019 GALERIE DE PHOTOGRAPHIES, FORUM -1 Octobre 2018 VISITE Presse LUNDI 5 NOVEMBRE DE 10H À 12H direction de la communication et des partenariats VISITE commeNTÉE PAR LES commissaires À 10H15 75191 Paris cedex 04 directeur Benoît Parayre téléphone SOMMAIRE 00 33 (0)1 44 78 12 87 courriel [email protected] responsable du pôle presse 1. COMMUNIQUÉ DE Presse PAGE 3 Élodie Vincent téléphone 00 33 (0)1 44 78 48 56 2. PLAN DE L'EXPOSITION PAGE 5 courriel [email protected] 3. TEXTES DES SALLes PAGE 6 www.centrepompidou.fr 4. PUBLicaTION PAGE 9 5. VISUELS DISPONIBLES POUR LA Presse PAGE 10 6. LISTE DES ŒUVRES EXPOSÉES PAGE 15 7. INFORMATIONS PRATIQUes PAGE 23 #ArmeDeClasse Octobre 2018 COMMUNIQUÉ DE PRESSE direction de la communication et des partenariats 75191 Paris cedex 04 PHOTOGRAPHIE, ARME DE CLASSE directeur Benoît Parayre LA PHOTOGRAPHIE SOCIALE téléphone 00 33 (0)1 44 78 12 87 courriel ET DOCUMENTAIRE EN FRANCE [email protected] responsable du pôle presse 1928-1936 Élodie Vincent téléphone 7 NOVEMBRE 2018 - 4 FÉVRIER 2019 00 33 (0)1 44 78 48 56 courriel GALERIE DE PHOTOGRAPHIES, FORUM-1 [email protected] Organisée à partir des collections de photographies du Centre Pompidou, cette exposition www.centrepompidou.fr propose un nouvel éclairage sur la photographie sociale et documentaire émergeant en France au début des années 1930.
    [Show full text]
  • André Breton Ve Sürrealist Resim Ilişkisi Ayşe Güngör
    ANDRÉ BRETON VE SÜRREALİST RESİM İLİŞKİSİ AYŞE GÜNGÖR IŞIK ÜNİVERSİTESİ 2011 ANDRÉ BRETON VE SÜRREAL İST RES İM İLİŞ KİSİ AY ŞE GÜNGÖR İstanbul Üniversitesi, Edebiyat Fakültesi, Antropoloji Bölümü, 2009 Bu Tez, I şık Üniversitesi Sosyal Bilimler Enstitüsü’ne Yüksek Lisans (MA) derecesi için sunulmu ştur. IŞIK ÜN İVERSITES İ 2011 ANDRÉ BRETON VE SÜRREAL İST RES İM İLİŞ KİSİ Özet Bu tezin temel amacı, sürrealizmin kurucusu olan André Breton ve sürrealist resim arasındaki ili şkiyi ortaya koymaktır. Bu tezde öncelikle sürrealizmin tarihsel arkaplanı sunulmu ştur. Sonraki bölüm André Breton’un hayatı hakkında kronolojik bilgilerle okuyanlara bilgi vermektedir. Son olarak, André Breton’un yazmı ş oldu ğu makaleler, kitaplara odaklanarak, Breton’un bir sanatsever, bir entelektüel ve bir sanat teorisyeni olarak sunulması amaçlanmı ştır. Anahtar Kelimeler: Sürrealizm, Resim, Sürrealist Sanat, André Breton, Sürrealizm ve Resim, 20. yüzyıl Sanatı i THE RELATIONSHIP BETWEEN ANDRÉ BRETON AND SURREALIST PAINTING Abstract The main aim of this thesis is to clarify the relationship between André Breton, the founder of surrealism and the surrealist painting. First of all, in this thesis, surrealism’s historical background have been presented. The next part have designed to acquaint the readers about André Breton’s life with chronological information. In conclusion, by focusing Breton’s articles and books about surrealist art, to represent André Breton as an art-lover, intellectual and art theorist have been aimed. Keywords: Surrealism, Painting, Surrealist Art, André Breton, Surrealism and Painting, 20th Century Art ii Te şekkür Işık Üniversitesi Sosyal Bilimler Enstitüsü Sanat Kuramı ve Ele ştiri Programıyla, ülkemizde bir ilki gerçekle ştiren ve bu alanda kuramsal bilginin aktarılmasının yolunu açan Sayın Prof.
    [Show full text]
  • Download the Text About the Exhibition
    Shana Lutker Paul, the Peacock, the Raven and the Dove Wetterling Gallery, Stockholm October 9-31, 2015 Open letter to Paul Claudel, Ambassador of FRANCE to JAPAN "As for the current movements, not one can not lead to a genuine renewal or creation. Neither Dadaism nor Surrealism—they have only one meaning: pederasty. More than one is surprised not that I am a good Catholic, but also writer, diplomat, ambassador of France and poet. But I do not find in all this anything strange. During the war, I went to South America to buy food, canned meat, lard for the armies, and I made my country two hundred million.” —"Il Secolo" Interview with Paul Claudel, Comoedia, June 17, 1925. Dear M. Claudel, Our activity is only pederastic as it introduces confusion in the minds of those who do not take part in it. Creation matters little to us. We profoundly hope that revolutions, wars, and colonial insurrections will annihilate this Western civilization whose vermin you defend even in the Orient. There can be to us neither balance nor great art. Here, already, for a long time: the idea of Beauty has been stale. It remains standing only as a moral idea, for example, the fact that one can be both poet and Ambassador to France. We assert that we find treason and all that can harm the security of the State one way or another much more reconcilable with Poetry than your sale of “great quantities of lard” on behalf of a nation of pigs and dogs. It is a singular lack of awareness of the possibilities and faculties of the mind that periodically seek their salvation with scoundrels of your species in the Catholic and Greco-Roman tradition.
    [Show full text]
  • Eykyn • Maclean
    E Y K Y N M A C L E A N Surrealism and the rue Blomet November 1 – December 13, 2013 Eykyn Maclean, New York This fall, Eykyn Maclean will present Surrealism and the rue Blomet. This is the first exhibition to explore the rue Blomet, one of the founding centers of the Surrealist movement. “In Paris in the 1920s, the rue Blomet was a hotbed of artistic activity," explains the curator, Kristy Bryce, director at Eykyn Maclean. "Nearly all of the major artists and writers associated with Surrealism either lived, worked, or regularly visited there. We are delighted to shine new light on this previously unexplored moment in art history.” Beginning in 1922 the adjacent studios at 45 rue Blomet, occupied by André Masson and Joan Miró, became a daily congregation spot for the leading figures of Surrealism – the artists Jean (Hans) Arp, Jean Dubuffet, Max Ernst, Juan Gris, Georges Malkine, Pablo Picasso, Man Ray, and Yves Tanguy, and the writers and poets Antonin Artaud, Robert Desnos, Paul Éluard, Ernest Hemingway, Michel Leiris, Georges Limbour, and Gertrude Stein. They gathered together to eat, drink, smoke, play cards, and most importantly, to discuss literature and ideas, to write, and to paint. “The rue Blomet was a decisive place, a decisive moment for me. It was there that I discovered everything I am, everything I would become… More than anything else, the rue Blomet was friendship, an exalted exchange and discovery of ideas among a marvelous group of friends.” -- Joan Miró, 1977 Surrealism and the rue Blomet will include works from museums, institutions, and private collections, presenting a special opportunity to see works that are rarely exhibited publicly and others that have never before been exhibited in the United States.
    [Show full text]
  • Checklist K-M (Pdf)
    381 Konrad Klapheck (Düsseldorf, 10 Feb. 1935) Cruel Night, 1959 393 378 Oil on canvas, 74x100 Jirˇi Kola´ˇr Wassily Kandinsky (Protivin, Bohemia, 24 Sep. 1914) (Moscow, 4 Dec. 1866 – 384 The Castle of Hradcˇany Viewed from Neuilly-sur-Seine, France, 13 Apr. 1944) Paul Klee 387 390 the Stefanik Bridge, 1936 Composition, 1926 (Münchenbuchsee, Switzerland, 18 Dec. 1879 – Max Klinger Max Klinger Collage on paper, 29.5x40.5 Drypoint, 15x11 Muralto, 29 June 1940) Action, from the series A Glove (Ein Handschuh), And Yet, from the series On Death (Vom Tode), 34 Mystical Landscape with Worm on pl. II, 1881 part II, 1888 the Ground, 1917 Etching and aquatint, 29.8x20.7 Etching and aquatint, 51x39 Pencil on paper, 19.5x14 382 Konrad Klapheck The Night Beauties, 1967 Oil on canvas, 90x70 385 394 174 379 Paul Klee Jirˇi Kola´ˇr 175 Lajos Kassák 4 Easily Moved Landscape, 1935 Portrait of Marcel Duchamp, 1959 (Ersekujvar, Hungary, 21 March 1887 – Pencil on paper, 18x27 388 391 Typescript on paper, 29.6x21 Budapest, 22 July 1967) Max Klinger Pierre Klossowski Dadaco, 1923 Dreams, from the series A Life (Ein Leben), (Paris, 9 Aug. 1905) Collage on paper, 22.5x19.2 1884 André Breton, 1955 Etching, 30x17 Pencil on paper, 100x70.6 386 Max Klinger (Leipzig, 12 Feb. 1857 – Grossjena, 5 July 1920) Cupid, Death, and Beyond, from the series Intermezzi, 383 pl. XII, 1881 Konrad Klapheck Etching and aquatint, 45x63 The Female Terrorist, 1971 Oil on canvas, 100x90 395 Jirˇi Kola´ˇr Portrait of André Breton, 1959 380 Typescript on paper, 29.6x21 Rita Kernn-Larsen 389 392 (Hillerød, Denmark, 1 Jan.1904 – Max Klinger Greta Knutson Copenhagen, Sep.
    [Show full text]
  • Modern Era: the Reva and David Logan Collection of Illustrated Books (San Francisco, 2001), No
    AVANT-GARDE 126 C ATALOGUE 140 TWENTIETH-CENTURY AVANT-GARDE Rare Books and Documents ars libri ltd ARS LIBRI LTD 500 Harrison Avenue Boston, Massachusetts 02118 U.S.A. tel: 617.357.5212 fax: 617.338.5763 email: [email protected] http://www.arslibri.com All items are in good antiquarian condition, unless otherwise described. All prices are net. Massachusetts residents should add 5% sales tax. Reserved items will be held for two weeks pending receipt of pay- ment or formal orders. Orders from individuals unknown to us must be accompanied by payment or by satisfactory references. All items may be returned, if returned within two weeks in the same condition as sent, and if packed, shipped and insured as received. When ordering from this catalogue please refer to Catalogue Num- ber One Hundred and Forty and indicate the item number(s). Overseas clients must remit in U.S. dollar funds, payable on a U.S. bank, or transfer the amount due directly to the account of Ars Libri Ltd., Cambridge Trust Company, 1336 Massachusetts Avenue, Cambridge, MA 02238, Account No. 39-665-6-01. Mastercard, Visa and American Express accepted. avant-garde 5 1 ADAMOV, ARTHUR, et al. Mises au point. [Par] Ern Adamov, Fernand Lumbroso, Claude Sernet. 33, (3)pp. Yellow wraps., printed in black. Glassine d.j. Unopened. The second and last publication of the Discontinuité group, following on the unique issue of the eponymous revue. It contains one text by each author (Ser- net’s is dedicated to Benjamin Fondane), with an unsigned general preface attributable to Adamov (who at this time styled himself Er, Ern or Ar, interchangeably).
    [Show full text]
  • 13.10.18 → 15.04.19 Press
    PRESS KIT PAINTING THE NIGHT centrepompidou-metz.fr #peindrelanuit > 13.10.18 15.04.19 2018 Paris, / ADAGP Jochen Littkemann 2018. Photo: DACS/Artimage Doig. All Rights Reserved, , 1989-90 © Peter Milky Way Peter Doig, Peter PAINTING THE NIGHT SUMMARY 1. INTRODUCTION .......................................................................................................................................... 5 2. EXHIBITION LAYOUT .............................................................................................................................. 6 3. FIVE QUESTIONS TO THE CURATOR OF THE EXHIBITION .......................................... 18 4. LIST OF EXHIBITED ARTISTS ......................................................................................................... 20 5. THE CATALOGUE ..................................................................................................................................... 21 6. ASSOCIATED PROGRAMME ............................................................................................................ 23 7. THE PARTNERS ........................................................................................................................................ 29 8. PRESS IMAGES ....................................................................................................................................... 35 3 PAINTING THE NIGHT 1. INTRODUCTION PAINTING THE NIGHT From 13 October 2018 to 15 April 2019 GALERIES 2 & 3 The topic of night has infiltrated current debates With
    [Show full text]
  • By Robin D. Laws with Kenneth Hite & Steve Dempsey By: Robin D
    LAWS | HITE DEMPSEY LAWS PELGT36PELGT38 Follow the Trail of Cthulhu into the Dreamlands From the 1920s to the coming of the Occupation, a new breed of artist prowled the fabled streets of Paris. Combative, disrespectful, irresponsible, the surrealists broke aesthetic conventions, moral boundaries—and sometimes, arms. They sought nothing less than to change humanity by means of a worldwide psychic revolution. Their names resound through pop culture and the annals of art history. DREAMHOUNDS OF PARIS But until now, no one has revealed what they were really up to. In this comprehensive campaign guide for Trail of Cthulhu, you recreate their mundane and mystical adventures as you stumble onto the Dreamlands, a fantastical realm found far beyond the wall of sleep. At first by happenstance and later by implacable design, you remake it in the fiery image of your own art. Will you save the world, or destroy it? Choose your player character from a roster of 19 visionaries and madmen. Put up your dukes as two-fisted filmmaker LUIS BUÑUEL. Flee a formless entity as Dada impresario TRISTAN TZARA. Photograph tentacled entities as American expat MAN RAY. Personify the joy and decadence of the city as chanteuse KIKI DE MONTPARNASSE. Wield the magic cane that will end the world as theater of cruelty inventor ANTONIN ARTAUD. Or arrive in Paris as fresh-faced young painter SALVADOR DALÍ, who has come to tear the movement all down and rebuild it in his image. Includes: • A guide to Paris in the 20s and 30s, from the swirl and sin of Montmartre to the staged atrocities of the Théâtre du Grand-Guignol.
    [Show full text]
  • [4 Octobre -> 21 Décembre 2013] Pierre Molinier [Bordeaux]
    Semaine 40 Site Mélusine http://melusine.univ-paris3.fr/ Pierre Molinier Jean-Paul Brisset Surrealism and the Dream Dalí à Rotterdam 21st Century portuguese surrealism in Berlin Aragon à Saint-Denis Cahiers Benjamin Péret Les mercredis littéraires au Petit Palais Hans Richter Poétiques scientifiques dans les revues européennes de la modernité (1900-1940) Le surréalisme en Belgique (vidéo) Jacques Rivière, Introduction à une métaphysique du rêve Recherches croisées Aragon / Elsa Triolet n° 14 [4 octobre -> 21 décembre 2013] Pierre Molinier [Bordeaux] Pierre Molinier à l'honneur à Bordeaux cet automne Molinier, le Maître des Vertiges : un programme d'événements à la croisée de différentes disciplines artistiques et culturelles organisées autour de l'artiste Pierre Molinier (1900 - 1976) du 24 septembre au 21 décembre 2013. Du 4 octobre au 21 décembre : Exposition Fictions à l'oeuvre : l'art contemporain livré à l'expérience du récit FRAC Aquitaine • Lundi 7 octobre Dans le cadre du Fifib, étude de cas autour de la production du film Les Jambes de Saint-Pierre par Martine Vidalenc OARA / 14h http://art-flox.com/03074-Molinier,_le_Maitre_des_Vertiges.html 1 [8-9 octobre] Conference: Surrealism and the Dream Museo Thyssen-Bornemisza Paseo del Prado 8, 28014 Madrid, España Conference: Surrealism and the Dream http://www.museothyssen.org/en/thyssen/ficha_actividad/307 Communiqué par Henri Béhar et Marian Vega Du surréalisme à la Dali à Rotterdam • Outre la grande rétrospective Dali, le Musée Boijmans van Beuningen propose dans trois de ses salles une plongée dans le surréalisme, particulièrement de Dali. • Il faut avouer que le musée – dans ses très riches collections permanentes – possède plusieurs oeuvres du peintre espagnol.
    [Show full text]