DOCSLIB.ORG

GO Directly to Hofmannopoly!

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
GO Directly to Hofmannopoly! The Scottsdale Museum of Contemporary Art presents Hofmannopoly An Art Student’s Journey ���������� Each player is an art student journeying through Hans Hofmann's world and learning about his color theory. The first person to reach graduation wins: Congratulations, you're an art super star! Continue play until each player graduates. ��� ���� ����� a color printer 8.5" x 11" printer paper scissors tape or glue 2 to 4 small playing pieces (buttons, thimbles, bottle caps or coins work well) no dice necessary 2 to 4 players, ages 8 and up ��������� The game board consists of four pages. Assembly is easiest if you follow these instructions step by step: 1. Cut along the dotted line on Page 1. Do NOT cut along the solid lines. 2. Align the cut edge of Page 1 with the solid line on the left side of Page 2, making sure that the game board lines up properly. Using tape or glue, attach Page 1 to Page 2. 3. Now cut along the dotted lines on Pages 3 and 4. 4. Align the cut right edge of Page 3 with the solid line on the left of Page 4, again making sure that the game board lines up properly. Attach Page 3 to Page 4. 5. Finally, attach Pages 3 and 4 to the bottom margin of Pages 1 and 2. 6. Cut out the direction cards, shuffle, and place on the Direction Cards square. ���������� ��� ����� The youngest player goes first. Pick a card from the top of the pile to start the game. Read the card out loud and move to the space on the board as directed. Place used cards in the Discard pile. Play passes to the left. If you run out of cards, reshuffle the Discard pile. Have fun playing Hofmannopoly! � ✁ DIRECTION CARDS � DISCARD PILE ✁ © 2003 Scottsdale Museum of Contemporary Art. All rights reserved. All images in the Hofmannopoly game are protected by copyright and/or other intellectual property laws in favor of Amgott Productions and/or its licensors.“Fair use,” for personal and/or educational purposes, of this material is permitted, but none of this content may be reproduced, transmitted, displayed, distributed or made into a derivative work, or otherwise used, for any other purpose without the prior written per- mission of Amgott Productions or, when owned by one of Amgott Productions’ licensors, by said licensor. � ✁ ✁ ✁ The Scottsdale Museum of Contemporary Art, AZ Art, Contemporary SMoCA The Scottsdale Museum of Contemporary Art presents © Copyright SMoCA 2003 ✁ � Hofmann made up words from a Go directly to the Cedar combination of German, French Tavern to have a few drinks and English. Use this Hofmann with Abstract Expressionist "made-up" word in a sentence: artists such as Jackson Pollock "COMPOSITORIC" and Mark Rothko. Stay sober so you can follow the Then move forward two spaces. directions from there. You want to be an abstract artist. How do you know How lucky you are to be one when an abstract painting is of Hofmann's 40,000 students! finished? Move ahead three spaces. Go to the Whitney Museum in NewYork to find out. Find a copy of A Painters Primer Hofmann's students were called by Hofmann. Oh! It hasn't "space cadets." been published! Instead, read This is a compliment. Search for the Real (1948), As a "space cadet," you're learning Hofmann's principal collection to manipulate space through color of writings. and form. Move ahead four spaces Move ahead three spaces. at the speed of light. As was his practice, Hofmann It's 1931 and Hofmann is teaching tears your drawing into pieces life drawing, still life and landscape and reassembles it into a new classes at the University of composition. California, Berkeley. One class for six weeks costs $45. You're short the money! No luck selling your Get over it and move ahead painting. Move back two steps. two steps. © Copyright SMoCA 2003 Hofmann's secret to painting is to Art critic Clement Greenberg referred synthesize the line of Picasso with to Hofmann's school as "a vortex of the color of Matisse. Try it in your influence in the burgeoning art scene of own work. Then fly to NewYork the 1930s and 1940s, a major City to pitch your paintings to Betty fountainhead of style and ideas for the Parsons at her gallery, where new American painting." You actually Hofmann had a one-man show in understand what "Clem" means by this! Move ahead three steps. 1947. It's 1935 and you've been Hofmann's version of art asked to work on a WPA* history: "It was I who made mural. Good for you! A steady Delaunay aware of Seurat." paycheck and a job in the arts! Move back two spaces, with Move ahead two steps. the weight of your ego. *Works Progress Administration Abstract Expressionist Lee Krasner Hofmann was more than 80 years was a student of Hofmann in New of age when he painted the Renate York (1937-1940). She went on to Series, inspired by Renate Schmitz, marry the famous Jackson Pollock, whom he married in 1965 after who overshadowed her career until the death of his first wife, Miz his death in 1956. Move back two (1963). You have a new lease on spaces. life. Leap forward 10 spaces! Hofmann once said that Lee Hofmann's summer sessions on Krasner's works were "so the French and Italian Rivieras good" they seemed to be were canceled when Hitler done by a man! Thank occupied Austria in the spring of goodness for Women's 1938. It was too dangerous. Liberation! March ahead three Stay in your studio and make no spaces. moves. © Copyright SMoCA 2003 In 1942, Hofmann's former student Lee In 1941, Hofmann became an Krasner introduced him to Jackson "I American citizen. Sing the Star am nature" Pollock. (Whose clothes do Spangled Banner, wave your paint you suppose had more paint spattered brush and splash ahead three on them? What do you suppose they spaces. talked about?) Move forward five steps. Hofmann once said: "I am not speaking as a teacher. As an artist, I know that Can one be a great painter art cannot be taught. Nobody can AND a great teacher? Yes, make a person musical unless a person Hofmann was! Move ahead is born musical....The artist is always three spaces. the mystery." If art can't be taught, what am I doing here? I'm depressed! Stay in your studio and mope. Hofmann said: "The picture plane Recite five adjectives that describe an is like a soft balloon or soft abstract expressionist painting. sausage; when I press on the one Move ahead five spaces. end, it swells on the other." Use this theory in your paintings. Move ahead two steps. Hofmann said: "To understand Cubism A new Hofmann student says: is to many like trying to read a book in "Simplicity is difficult, isn't it?" another language, and if you cannot read Hofmann replies: "If that were not it, do not conclude that this language does not exist." Go directly to the so, there would be more great Museum of Modern Art in NewYork to artists." Simplify your work and look at the Cubist paintings. leap ahead two spaces. © Copyright SMoCA 2003 Hofmann said: "The composition is Hofmann once said: "Since the more of a struggle than the color. The Impressionists, all modern paintings color comes when the composition is should have clear colors." Move right." Get your composition right and ahead to the next red square. move ahead four spaces. Hofmann said: "Color has intervals and chords like music. You must try Hofmann invites you to work on his mosaic mural in the lobby of a building to achieve the intervals between in midtown Manhattan. the complexes, then your painting will sing." You make your painting Go to NewYork City and get to work! sing and someone buys it! Soar ahead five spaces. Hofmann said: "With the dirtiest Recite five adjectives that describe an palette, you can create the most abstract expressionist painting. beautiful colors." You look at your Move ahead five spaces. palette, and it is too clean! Go back three spaces and dirty it up. Hofmann said: "Painting is not so much Hofmann said: "The dilettante wants a matter of color as it is of form, and to put every leaf on the tree." This the form comes out of the artist's sounds like your struggle in the feeling for rhythm and color." studio. If this is true for you, stay where you are and lose one turn. If Dance ahead five steps. not, move forward one square. © Copyright SMoCA 2003 Hofmann knew Picasso, Matisse, After World War I, Hofmann's school Delaunay and many other becomes known abroad and attracts modernist artists. How many foreign students, such as Louise contemporary abstract painters do Nevelson. Go visit some of Nevelson's you know? Move ahead one step sculptures at the Guggenheim Museum. for each name. Hofmann operated his school in Hofmann asks you to help him paint NewYork from 1933 to 1958. It his Provincetown home using his attracted young artists from all signature bright, beautiful colors. over the world. What an honor! You're one of them! Pack up your paints and move to Go to Provincetown! NewYork City. Hofmann operated his summer Hofmann said: "With the dirtiest school in Provincetown, palette, you can create the most Massachusetts, from 1934 until 1958. beautiful colors." You look at your It attracted artists from all over the palette, and it is too clean! world. Go back three spaces and dirty it You're one of them! up.
Load more

Recommended publications
  • Wolf Kahn & Emily Mason
    Wolf Kahn & Emily Mason A rare opportunity to compare and contrast the work of two very different painters By David Ebony Emily Mason, Surpassing Ermine, 1985–86. Oil on canvas, 60 x 52 inches. Courtesy the Emily Mason and Alice Trumbull Mason Foundation and Miles McEnery Gallery, New York. Artists, lovers, life-partners, art-world rivals, benefactors, and luminaries, Emily Mason (1932–2019) and Wolf Kahn (1927–2020) were all of these things—and more. Miles McEnery Gallery has devoted each of its two spaces to the first posthumous solo gallery exhibitions for the couple, who died within months of each other after more than sixty years of marriage. The shows offer a rare opportunity to compare and contrast the work of two very different painters—one abstract and the other figurative—who shared a passion for vibrant color, the bucolic landscapes of Vermont and Italy, and who both aimed in their works for pure, soul-baring expressivity. Filling the larger gallery at 525 West 22nd street, some 26, mostly large major works by Kahn feature his trademark landscapes with brilliant color contrasts and lively gestural touches. Despite deteriorating eyesight and other physical ailments in his last years, Kahn managed to produce some remarkably intense composi- 1 Wolf Kahn, Woodland Density, 2019, Oil on canvas, 52 x 52 inches. Emily Mason, The Bullock Farm, 1987, Oil on canvas, 52 x 42 inches. Courtesy the artist and Miles McEnery Gallery, New York. Courtesy the Emily Mason and Alice Trumbull Mason Foundation and Miles McEnery Gallery, New York. tions, such as Woodland Density (2019), which shows an imposing row of blaring orange tree trunks set against 1970s on, when she acquired her own studio space on West 20th Street in Manhattan after sharing a work a steel-blue background.
    [Show full text]
  • Hans Hofmann (German-American Painter, 1880-1966)
    237 East Palace Avenue Santa Fe, NM 87501 800 879-8898 505 989-9888 505 989-9889 Fax [email protected] Hans Hofmann (German-American Painter, 1880-1966) Hans Hofmann is one of the most important figures of postwar American art. Celebrated for his exuBerant, color-filled canvases, and renowned as an influential teacher for generations of artists— first in his native Germany, then in New York and Provincetown—Hofmann played a pivotal role in the development of ABstract Expressionism. As a teacher he Brought to America direct knowledge of the work of a celebrated group of European modernists (prior to World War I he had lived and studied in Paris) and developed his own philosophy of art, which he expressed in essays which are among the most engaging discussions of painting in the twentieth century, including "The Color ProBlem in Pure Painting—Its Creative Origin." Hofmann taught art for over four decades; his impressive list of students includes Helen Frankenthaler, Red Grooms, Alfred Jensen, Wolf Kahn, Lee Krasner, Louise Nevelson and Frank Stella. As an artist Hofmann tirelessly explored pictorial structure, spatial tensions and color relationships. In his earliest portraits done just years into the twentieth century, his interior scenes of the 1940s and his signature canvases of the late 1950s and the early 1960s, Hofmann brought to his paintings what art historian Karen Wilkin has descriBed as a "range from loose accumulations of Brushy strokes…to crisply tailored arrangements of rectangles…But that somehow seems less significant than their uniform intensity, their common pounding energy and their consistent physicality." Hofmann was Born Johann Georg Hofmann in WeissenBerg, in the Bavarian state of Germany in 1880 and raised and educated in Munich.
    [Show full text]
  • LEE KRASNER Public Information (Selected Chronology)
    The Museum of Modern Art 79 LEE KRASNER Public Information (Selected Chronology) 1908 Born October 27, Lenore Krassner in Brooklyn, New York. 1926-29 Studies at Women's Art School of Cooper Union, New York City. 1928 Attends Art Students League. 1929-32 Attends National Academy of Design. 1934-35 Works as an artist on Public Works of Art Project and for the Temporary Emergency Relief Administration. Joins the WPA Federal Art Project as an assistant in the Mural Division. 1937-40 Studies with the artist Hans Hofmann. 1940 Exhibits with American Abstract Artists at the American Fine Arts Galleries, New York. 1942 Participates in "American and French Paintings," curated by John Graham at the McMillen Gallery, New York. As a result of the show, begins acquaintance with Jackson Pollock. 1945 Marries Jackson Pollock on October 25 at Marble Collegiate Church, New York. Exhibits in "Challenge to the Critic" with Pollock, Gorky, Gottlieb, Hofmann, Pousette-Dart, and Rothko, at Gallery 67, New York. 1946-49 Creates "Little Image" all-over paintings at Springs, Easthampton. 1951 First solo exhibition, "Paintings 1951, Lee Krasner," at Betty Parsons Gallery, New York. 1953 Begins collage works. 1955 Solo exhibition of collages at Stable Gallery, New York. 1956 Travels to Europe for the first time. Jackson Pollock dies on August 11. 1959 Completes two mosaic murals for Uris Brothers at 2 Broadway, New York. Begins Umber and Off-White series of paintings. 1965 A retrospective, "Lee Krasner, Paintings, Drawings, and Col­ lages," is presented at Whitechapel Art Gallery in London (circulated the following year to museums in York, Hull, Nottingham, Newcastle, Manchester, and Cardiff).
    [Show full text]
  • Modernism 1 Modernism
    Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking.
    [Show full text]
  • Jackson Pollock in Action
    LESSON 10 TEACHER’S GUIDE Jackson Pollock in Action by Barbara Tillman Fountas-Pinnell Level S Biography Selection Summary Jackson Pollock pursued his passion for art in high school and at the Art Students League in New York. He studied the work of artists he admired and eventually developed his own style of abstract art. Number of Words: 1,263 Characteristics of the Text Genre • Biography Text Structure • Narrative text organized in fi ve short chapters. • Details help the reader understand the author’s purpose. Content • Abstract art • How Pollock became an artist • Reactions to an artist’s work Themes and Ideas • Artists can be inspired by their surroundings. • An artist’s work communicates his own thoughts, feelings, and ideas. • Abstract art appeals to some, but not all, viewers. Language and • Descriptive language Literary Features • Conversational tone Sentence Complexity • Longer complex sentence structures with embedded phrases and clauses • Sentences with parenthetical material Vocabulary • Many art terms, some of which might not be familiar, such as composition, mural, technique Words • Many multisyllable words some of them challenging, such as reservations, muralist, unattractive • Phonetic pronunciation provided Illustrations • Illustrations support text and add interest. Book and Print Features • Eleven pages of text with a timeline at the end • Table of contents with easy-to-read chapter headings • Captions and text box support text. © 2006. Fountas, I.C. & Pinnell, G.S. Teaching for Comprehending and Fluency, Heinemann, Portsmouth, N.H. Copyright © by Houghton Mifflin Harcourt Publishing Company All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage or retrieval system, without the prior written permission of the copyright owner unless such copying is expressly permitted by federal copyright law.
    [Show full text]
  • Jackson Pollock & Tony Smith Sculpture
    Jackson Pollock & Tony Smith Sculpture An exhibition on the centennial of their births MATTHEW MARKS GALLERY Jackson Pollock & Tony Smith Speculations in Form Eileen Costello In the summer of 1956, Jackson Pollock was in the final descent of a downward spiral. Depression and alcoholism had tormented him for the greater part of his life, but after a period of relative sobriety, he was drinking heavily again. His famously intolerable behavior when drunk had alienated both friends and colleagues, and his marriage to Lee Krasner had begun to deteriorate. Frustrated with Betty Parsons’s intermittent ability to sell his paintings, he had left her in 1952 for Sidney Janis, believing that Janis would prove a better salesperson. Still, he and Krasner continued to struggle financially. His physical health was also beginning to decline. He had recently survived several drunk- driving accidents, and in June of 1954 he broke his ankle while roughhousing with Willem de Kooning. Eight months later, he broke it again. The fracture was painful and left him immobilized for months. In 1947, with the debut of his classic drip-pour paintings, Pollock had changed the direction of Western painting, and he quickly gained international praise and recog- nition. Four years later, critics expressed great disappointment with his black-and-white series, in which he reintroduced figuration. The work he produced in 1953 was thought to be inconsistent and without focus. For some, it appeared that Pollock had reached a point of physical and creative exhaustion. He painted little between 1954 and ’55, and by the summer of ’56 his artistic productivity had virtually ground to a halt.
    [Show full text]
  • BAMPFA Mounts Expansive Reevaluation of Groundbreaking Abstract Painter Hans Hofmann
    Media Contact: A. J. Fox · (510) 642-0365 · [email protected] BAMPFA Mounts Expansive Reevaluation of Groundbreaking Abstract Painter Hans Hofmann On View February 27–July 21, 2019 Hans Hofmann: The Nature of Abstraction Marks New Perspectives on Hofmann’s Experimental Approaches and Painterly Achievement, Featuring Rare Works and New Scholarship Press Preview: Monday, February 25, 2019 at 10 a.m. RSVP to [email protected] (Berkeley, CA) October 3, 2018—A monumental Hans Hofmann exhibition opens at the University of California, Berkeley Art Museum and Pacific Film Archive (BAMPFA) next year, marking a comprehensive reevaluation of one of the twentieth century’s most influential abstract painters. With nearly seventy paintings—including works from private collections that have never been exhibited in a museum setting—Hans Hofmann: The Nature of Abstraction presents an unprecedented and fresh look at Hofmann’s studio practice, focusing in particular on his continuously experimental approach to painting and the expressive potential of color, form, and space. On view at BAMPFA from February 27 through July 21, the exhibition will then travel to the Peabody Essex Museum in Salem, MA September 21, 2019 through January 6, 2020. Accompanied by a fully illustrated scholarly catalog on Hofmann’s career, the exhibition marks the most significant opportunity to reexamine the artist’s legacy since his death in 1966. Since that time, discourse around Hofmann has focused primarily on the remarkable color plane abstractions he created the 1950s and ’60s, which were the focus of major exhibitions at New York’s Museum of Modern Art and the Whitney Museum of American Art during his lifetime.
    [Show full text]
  • Irving Sandler
    FROM THE ARCHIVES: HANS HOFMANN: THE PEDAGOGICAL MASTER By Irving Sandler May 30, 1973 Irving Sandler died on June 2, 2018 at the age of 92. A frequent contributor to A.i.A., Sandler was best known for chronicling the rise and the aftermath of Abstract Expressionism. One of his most significant articles for A.i.A., the impact of Hans Hofmann, who taught such artists as Helen Frankenthaler and Allan Kaprow, thereby influencing not only second- and third-generation Ab Ex painters but other developments in American art after 1945. Sandler highlights Hofmann’s interest in the deep traditions of European art, and his belief that the best abstract painting continues its manner of modeling the world. “It was in this cubic quality, this illusion of mass and space, that the man-centered humanist tradition—or what could be saved of it—was perpetuated,” Sandler wrote, summarizing a central tenet of Hofmann’s teachings. The full essay, from our May/June 1973 issue, is presented below. In June we re-published Sandler’s essay “The New Cool-Art,” on the rise of Minimalism. —Eds. As both a painter and a teacher Hans Hofmann played a germinal part in the development of advanced American art for more than thirty years. This article will deal only with his pedagogical role—a topic chosen with some trepidation, for to treat an artist as a teacher is often thought to demean his stature as an artist. The repute of Hofmann’s painting has suffered in the past because of this bias, but no longer, since he is now firmly and deservedly established as a pathfinding master of Abstract Expressionism.
    [Show full text]
  • California Modernism After World War Ii
    1 CALIFORNIA MODERNISM AFTER WORLD WAR II So in America when the sun goes down and I sit on the old broken-down river pier watching the long, long skies over New Jersey and sense all that raw land that rolls in one unbelievable huge bulge over to the West Coast, and all that road going, and all the people dreaming in the immensity of it, and in Iowa I know by now the children must be crying in the land where they let the children cry, and tonight the stars’ll be out, and don’t you know that God is Pooh Bear? The evening star must be drooping and shedding her sparkler dims on the prairie, which is just before the coming of complete night that blesses the earth, darkens all the rivers, cups the peaks and folds the final shore in, and nobody, nobody knows what’s going to happen to anybody besides the forlorn rags of growing old, I think of Dean Moriarty, I even think of Old Dean Moriarty the father we never found, I think of Dean Moriarty. JACK KEROUAC, ON THE ROAD POSTWAR EXCHANGES Most historical accounts of cultural and artistic developments in the United States after World War II have offered little information about trends affecting artists across the country. In the rush to figure out who did what first and to locate it geographically—usu - ally in New York— the historians have ignored the fluid interchanges between the two coasts, and cultural opportunities offered on either of them in these postwar years.
    [Show full text]
  • Lauren Wilson ENGL 1200 – Marc Petersen
    Lauren Wilson ENGL 1200 – Marc Petersen A Pollock Piece Jackson Pollock was truly a one-of-a-kind artist. While many critics consider his works to be simple, uninteresting, and easily repeatable, many fans see him as the art genius that dared to step out of art’s societal boundaries and attempted something new. Still others remain without critique or opinion and merely pass by his puzzling works. Although numerous artists have gained inspiration from the works of this original-minded individual, Pollock’s initial inspiration for his successful paintings is rarely discussed. So, what could possibly have led Pollock to the creation of such bold and unusual paintings, and could there be solely one inspiration, a bundle of inspirations, or did Pollock simply throw paint onto the canvas as some viewers believe? A natural place to begin our examination of Pollock is with his youth. Jackson Pollock, although born into a family that was almost always poor, was given several opportunities to explore his artistry. The youngest of five sons, Pollock was constantly encouraged by his mother to explore his creativity instead of living an athletic boy’s childhood (Tuchman 96). He and his brothers explored their artistic possibilities and found opportunities that would allow them to excel in their artistry. As they grew in their experiences, the boys carefully chose their desired medias. Three of the boys, including Pollock, chose painting, while one moved towards landscape architecture and the other into the craft of a rotogravure etcher. Although he was born in Cody, Wyoming, he was constantly on the move throughout Arizona and California as a result of his father’s failing farms.
    [Show full text]
  • An Interview with Jackson Pollock
    1 Jackson Pollock: An Interview Digitized and edited by Maria Caamano This interview was taped by William Wright in the summer of 1950 for presentation on the Sag Harbor radio station, but was never used. William Wright.: Mr. Pollock, in your opinion, what is the meaning of modern art? Jackson Pollock.: Modern art to me is nothing more than the expression of contemporary aims of the age that we’re living in. W.W.: Did the classical artists have any means of expressing their age? J.P.: Yes, they did it very well. All cultures have had means and techniques of expressing their immediate aims….The thing that interests me is that today painters do not have to go to a subject matter outside of themselves. They work from a different source. They work from within. W.W.: Would you say that the modern artist has more or less isolated the quality, which made the classical works of art valuable, that he’s isolated it and uses it in a purer form? J.P.: Ah ---the good ones have, yes. W.W.: Mr. Pollock, there’s been a good deal of controversy and a great many comments have been made regarding your method of painting. Is there something you’d like to tell us about that? J.P.: My opinion is that new needs need new techniques. And the modern artists have found new ways and new means of making their statements.…Each age finds its own technique. W.W.: Which would also mean that the layman and the critic would have to develop their ability to interpret the new techniques.
    [Show full text]
  • Pictorial Space Throughout Art History: Cézanne and Hofmann
    ARAS Connections Issue 2, 2012 Venus of Véstonice . Baked clay, Czechoslovakia. 29,000-25,000 BC. Photograph: J Jelinek, 'The Evolution of Man' Pictorial Space throughout Art History: Cézanne and Hofmann How it models Winnicott's interior space and Jung's individuation Maxson J. McDowell Copyright: McDowell, 2006 The images in this paper are strictly for educational use and are protected by United States copyright laws. 1 Unauthorized use will result in criminal and civil penalties. ARAS Connections Issue 2, 2012 Introduction Since the stone age humankind has created masterworks which possess a mysterious quality of solidity and grandeur or monumentality . Such works now sell for tens of millions of dollars. A paleolithic Venus and a still life by Cézanne both share this monumentality. Michelangelo likened monumentality to sculptural relief: Painting should be considered excellent in proportion as it approaches the effect of relief |1|. Braque called monumentality space : You see, the whole Renaissance tradition is antipathetic to me. The hard and fast rules of perspective which it imposes on art were a ghastly mistake which it has taken four centuries to redress: Cézanne and, after him, Picasso and myself can take a lot of the credit for this. Scientific perspective is nothing but eye-fooling illusionism; it is simply a trick - a bad trick - which makes it impossible for an artist to convey a full experience of space, since it forces the objects in a picture to disappear away from the beholder instead of bringing them within his reach, as a painting should. That's why I have such a liking for primitive art: for very early Greek art, Etruscan art, Negro art.
    [Show full text]