DOCSLIB.ORG

Small Slice of Heaven

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Small Slice of Heaven Back to Art Deco Multimedia: http://www.theage.com.au/multimedia/art_deco 32 ART DECO 1910~ 1939 THE SUNDAY AGE 2008 VISUAL ARts MEGAN BACKHOUSE SMALL SLICE OF HEAVEN THE DECO HEYDAY PRODUCED — is the painterly face of art deco. a string of affairs and, ever conscious produced similar imagery in her Her The telephone II is one of Art Deco of her public persona, often had fashion and textile designs and is SOME STUNNING IMAGES 1910-1939’s signature works and, as herself photographed in the guise of noteworthy when it comes to the such, is in the opening room of the Hollywood movie stars. breadth of all that is deco in that AMONG THE MATERIAL GOODS. exhibition, along with an American- Perhaps that explains the roll call she found there to be “no gap” made aluminium meat slicer, a of celebrities who have since lavished between her painting and decorative French oak dressing table with ivory grand sums on De Lempicka works, work. Although she initially took (BELOW) THE ELEPHONE PRESSED and silvered bronze inlay, and other from fashion designers Wolfgang up the applied arts to supplement MAYPOLE (EMPIRE to one ear, she is all works thought to epitomise the style. Joop (who owns The telephone II) and her income as a painter, Delaunay, STATE BUILDING), glossy curls, sultry But of the more than 300 works Donna Karan, to Jack Nicholson and who died in 1979, once said, “The 1932, eyes and painted lips. included in the NGV’s exhibition, Barry Humphries. Madonna, much to minor art had never been an artistic GELATIN SILVER T Tamara De Lempicka there are only nine paintings, 12 the annoyance of the artist’s daughter, frustration but a free expansion, a PHOTOGRAPH; didn’t do ragamuffin. But as her photographs, plus about 50 prints and used De Lempicka paintings in a conquest of new space. It was an EDWARD telephone painting shows, she did do drawings, many of which are posters. couple of videos. application of the same research.” STEICHEN, US, the statuesque, the lavishly dressed, Just as the visual arts don’t make up Art Deco 1910-1939 also features Although French artist Fernand 1879-1973. the perfectly proportioned. the biggest slice here, they didn’t Ukrainian-French painter and Leger didn’t turn to the decorative NATIONAL GALLERY OF Now, almost 30 years after her pack a massive punch at the 1925 designer Sonia Delaunay, who, with arts in the same way as Delaunay, VIctORIA, MELBOURNE, death, the Polish-born artist — who Exposition in Paris either, which was husband Robert and others, founded one of his 1918 abstracts, exuding PURCHASED 1973. famously thought modernism untidy more about decorative objects that the Orphic cubism art movement. She his preoccupation with geometrics and impressionism dirty-coloured could be bought than high art. is represented by a 1913 watercolour and machine-age aesthetics, is also Deco proved to be something of illustration bursting with all her included here. Leger’s emphasis on a challenge to what had been seen as signature shapes and colours. She cylindrical shapes — “tubism”, as the primacy of painting; Victoria and it has come to be called — has been Albert Museum curator Ghislaine seen in De Lempicka’s paintings. Wood cites one of the greatest legacies But his role in this exhibition is to do of 1925 Paris as being “the fusion of with what the V&A’s Ghislaine Wood art deco with shopping”. describes in the exhibition catalogue Even so, the movement towards as the way “geometry represented a geometry and abstraction in the visual distillation of the modern world” for arts was quickly assimilated into the contemporary artists and designers deco style and, by the same token, alike. artists working everywhere from This “distillation” can also be Paris and New York to Shanghai and seen in Hungarian sculptor Joseph Sydney were strongly influenced by Csaky’s 1919 Abstract Sculpture, a all that was glamorous, luxurious and bronze column of cones, cylinders, exotic about it. discs and spheres; and in another of French artist Jean Dupas was one the paintings in this exhibition, the such artist, and one of his best-known 1916 Acrobats, by French cubist Albert paintings, Les Perruches (Parakeets), Gleizes. He was living in New York was shown at the Paris Exposition and at the time and was affected by the is here too. city’s skyscrapers, as was American For De Lempicka, though, the deco photographer Edward Steichen. pull seems to have been more all- Steichen was noted for capturing encompassing. The heady influences city scenes from the window of and aspirations of the time didn’t NAPIER WALLER, AUstRALIA, 1893-1972; his Manhattan studio, but here is feed into her paintings alone, and I’LL PUT A GIRDLE ROUND THE EARTH represented by a 1932 picture of the the decidedly deco twists and turns (DETAIL), CAR TOON FOR NEWSPAPER Empire State Building. of her complicated private life have HOUSE MO S AI C, 1933, NATIONAL GALLERY Buildings also influenced become the stuff of legend. From her OF AUstRALIA, CANBERRA. stylish duplex in Paris she conducted © COURTESY OF THE NAPIER WALLER EstATE C ONTINUED PAGE 34 Back to Art Deco Multimedia: http://www.theage.com.au/multimedia/art_deco 34 ART DECO 1910~ 1939 THE SUNDAY AGE 2008 ARCH OF stEEL, 1933; HAROLD CAZNEAUX, NZ, 1878-1953; GELATIN SILVER PHOTOGRAPH. NATIONAL LIBRARY OF AUstRALIA, CANBERRA F ROM PAGE 32 textile artist Ruth Reeves, whose 1930 Manhattan furnishing fabric juxtaposes architectural motifs of New York with the geometric grid of the place and billowing factory smoke. The New York skyline makes another appearance in a lithographic advertisement poster designed by Horace C. Taylor, and there are several other posters in this show. Many are devoted to tourism and travel (“escape”, as long as it was done in style, being something of a deco aspiration). There’s a poster from 1935 promoting the Normandie, at the time the world’s largest, most luxurious and fastest ocean-liner, its interior a marvel of deco design. A couple of years later, Victorian Railways took a similar approach in promoting its new train, the Spirit of Progress, portraying it as one long, gleaming line of aerodynamic carriages. French poster designer Paul Colin depicted American entertainer Josephine Baker in a banana skirt in a 1927 lithograph. Three years later, English artist Cecil Beaton photographed his sister, Nancy, as a shooting star by having her sit amid a mass of crumpled cellophane. Australia’s Olive Cotton took a less fantastical approach and is included here with a 1935 photograph that is neither opulent nor exotic. Her Teacup Ballet takes a series of everyday domestic cups and quietly plays up their geometric patterns and abstract shapes. Similarly, New Zealand-born photographer Harold Cazneaux dwelled on the shadowy mathematical precision and symmetry of the Sydney Harbour Bridge in his 1933 photograph featured here. Victorian artist Napier Waller is represented in the show by the painted study for his first mosaic commission in Melbourne, the 1933 facade of Newspaper House, at 247 Collins Street. The work combined images of modern life with classical figures and is one of the best examples of deco in his public work. But without a doubt one of the clearest expressions of the painterly in art deco is the work of De Lempicka. But for all her devotees and her signature status in this show, she is not without her critics. A 2004 exhibition devoted to her at London’s Royal Academy of Arts had one reviewer describing her pictures as having “no soul, no sincerity, no imagination and few appreciable differences one from the other”. Another reported that the kindest thing that could be said about De Lempicka’s art was that “it was of its day”. But perhaps this is the point, when it comes to this exhibition: this being a slice of the visual arts in the midst of the global phenomenon that was art deco. M EGAN BACKHOUSE IS A CONTRIBUTING ARts REPORTER..
Load more

Recommended publications
  • Parcours Pédagogique Collège Le Cubisme
    PARCOURS PÉDAGOGIQUE COLLÈGE 2018LE CUBISME, REPENSER LE MONDE LE CUBISME, REPENSER LE MONDE COLLÈGE Vous trouverez dans ce dossier une suggestion de parcours au sein de l’exposition « Cubisme, repenser le monde » adapté aux collégiens, en Un autre rapport au préparation ou à la suite d’une visite, ou encore pour une utilisation à distance. réel : Ce parcours est à adapter à vos élèves et ne présente pas une liste d’œuvres le traitement des exhaustive. volumes dans l’espace Ce dossier vous propose une partie documentaire présentant l’exposition, suivie d’une sélection d’œuvres associée à des questionnements et à des compléments d’informations. L’objectif est d’engager une réflexion et des échanges avec les élèves devant les œuvres, autour de l’axe suivant « Un autre rapport au réel : le traitement des volumes dans l’espace ». Ce parcours est enrichi de pistes pédadogiques, à exploiter en classe pour poursuivre votre visite. Enfin, les podcasts conçus pour cette exposition vous permettent de préparer et d’approfondir in situ ou en classe. Suivez la révolution cubiste de 1907 à 1917 en écoutant les chroniques et poèmes de Guillaume Apollinaire. Son engagement auprès des artistes cubistes n’a jamais faibli jusqu’à sa mort en 1918 et a nourri sa propre poésie. Podcasts disponibles sur l’application gratuite du Centre Pompidou. Pour la télécharger cliquez ici, ou flashez le QR code situé à gauche. 1. PRÉSENTATION DE L’EXPOSITION L’exposition offre un panorama du cubisme à Paris, sa ville de naissance, entre 1907 et 1917. Au commencement deux jeunes artistes, Georges Braque et Pablo Picasso, nourris d’influences diverses – Gauguin, Cézanne, les arts primitifs… –, font table rase des canons de la représentation traditionnelle.
    [Show full text]
  • The Futurist Moment : Avant-Garde, Avant Guerre, and the Language of Rupture
    MARJORIE PERLOFF Avant-Garde, Avant Guerre, and the Language of Rupture THE UNIVERSITY OF CHICAGO PRESS CHICAGO AND LONDON FUTURIST Marjorie Perloff is professor of English and comparative literature at Stanford University. She is the author of many articles and books, including The Dance of the Intellect: Studies in the Poetry of the Pound Tradition and The Poetics of Indeterminacy: Rimbaud to Cage. Published with the assistance of the J. Paul Getty Trust Permission to quote from the following sources is gratefully acknowledged: Ezra Pound, Personae. Copyright 1926 by Ezra Pound. Used by permission of New Directions Publishing Corp. Ezra Pound, Collected Early Poems. Copyright 1976 by the Trustees of the Ezra Pound Literary Property Trust. All rights reserved. Used by permission of New Directions Publishing Corp. Ezra Pound, The Cantos of Ezra Pound. Copyright 1934, 1948, 1956 by Ezra Pound. Used by permission of New Directions Publishing Corp. Blaise Cendrars, Selected Writings. Copyright 1962, 1966 by Walter Albert. Used by permission of New Directions Publishing Corp. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 1986 by The University of Chicago All rights reserved. Published 1986 Printed in the United States of America 95 94 93 92 91 90 89 88 87 86 54321 Library of Congress Cataloging-in-Publication Data Perloff, Marjorie. The futurist moment. Bibliography: p. Includes index. 1. Futurism. 2. Arts, Modern—20th century. I. Title. NX600.F8P46 1986 700'. 94 86-3147 ISBN 0-226-65731-0 For DAVID ANTIN CONTENTS List of Illustrations ix Abbreviations xiii Preface xvii 1.
    [Show full text]
  • Groups 3 and 6 David Sequeira Cubism and Expressionism Gallery
    Groups 3 and 6 David Sequeira Cubism and Expressionism Gallery Sonia Delaunay DUBONNET 1914. Look at the work for a minute or so in silence. COLOUR (our eye follows the colours) and MOVEMENT. Largely secondary colours – (plum) red . Blue (ultramarine) . Yellow (mustardy) . Subtle contrasts . Rainbow palette . Appear to be spontaneous but carefully organised and balanced. e.g. red Geometry in the movement – circular but last quarter is different in colour and shape giving a fixed or static feel. “O” drops down, D and B also move. The “U” is like a wineglass (full). Two “N”s are Russian(?) Painting is joyful, happy, carefree (and yet so careful and contrived) celebratory, a sense of kicking up the heels. It is also hopeful, energetic, creating a feeling of change and excitement. The word Dubonnet is rhythmic. The jingle for the drink was Du beau, du bon, dubonnet…….. We do not really need to know what the word means as it is not really the focus. The painting is not a poster but it may well be an advertisement for the Delaunay’s studio itself – Aetelier “Simultane” which they established. They were intrigued by the notion of simultaneity – esp. of colours and the effects achieved. (Seurat and mixed colours). Friends and colleagues created the Orphism movement around them but they did not accept this label. Sonia came to Paris from Russia in 1905 as a young woman still in her teens. She had been brought up by a wealthy Uncle in St.Petersburg. In 1908 she made a marriage of convenience to a gay art dealer, Wilhem Uhde, who introduced her to “everyone” in the avant garde.
    [Show full text]
  • Read Book Kazimir Malevich
    KAZIMIR MALEVICH PDF, EPUB, EBOOK Achim Borchardt-Hume | 264 pages | 21 Apr 2015 | TATE PUBLISHING | 9781849761468 | English | London, United Kingdom Kazimir Malevich PDF Book From the beginning of the s, modern art was falling out of favor with the new government of Joseph Stalin. Red Cavalry Riding. Articles from Britannica Encyclopedias for elementary and high school students. The movement did have a handful of supporters amongst the Russian avant garde but it was dwarfed by its sibling constructivism whose manifesto harmonized better with the ideological sentiments of the revolutionary communist government during the early days of Soviet Union. What's more, as the writers and abstract pundits were occupied with what constituted writing, Malevich came to be interested by the quest for workmanship's barest basics. Black Square. Woman Torso. The painting's quality has degraded considerably since it was drawn. Guggenheim —an early and passionate collector of the Russian avant-garde—was inspired by the same aesthetic ideals and spiritual quest that exemplified Malevich's art. Hidden categories: Articles with short description Short description matches Wikidata Use dmy dates from May All articles with unsourced statements Articles with unsourced statements from June Lyubov Popova - You might like Left Right. Harvard doctoral candidate Julia Bekman Chadaga writes: "In his later writings, Malevich defined the 'additional element' as the quality of any new visual environment bringing about a change in perception Retrieved 6 July A white cube decorated with a black square was placed on his tomb. It was one of the most radical improvements in dynamic workmanship. Landscape with a White House.
    [Show full text]
  • PIET MONDRIAN. PROTO-FASHION THEORIST// ------SUBMISSION DATE: 08/01/2015 // ACCEPTANCE DATE 13/05/2015 // PUBLICATION DATE: 15/06/2015 (Pp
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Revistes Catalanes amb Accés Obert LAUREN PALMOR // PIET MONDRIAN. PROTO-FASHION THEORIST //PIET MONDRIAN. PROTO-FASHION THEORIST// ---------------------------------------------- SUBMISSION DATE: 08/01/2015 // ACCEPTANCE DATE 13/05/2015 // PUBLICATION DATE: 15/06/2015 (pp. 39-50) LAUREN PALMOR UNIVERSITY OF WASHINGTON [email protected] /// KEYWORDS: Fashion theory, Piet Mondrian, J.C. Flügel, Thorstein Veblen, Georg Simmel, Sonia Delaunay. ABSTRACT: This paper attempts to contextualize Mondrian‘s few writings on fashion within his larger interest in oppositions and the work of early fashion theorists, who similarly framed dress in terms of binaries and antonyms. Like Mondrian, early fashion theorists were invested in ideas of opposition and universality, similarities that suggest that Mondrian may find conceptual allies in the first generation of fashion theorists, particularly J. C. Flügel, Thorstein Veblen, and Georg Simmel. Mondrian‘s largely overlooked approach to fashion theory sheds light on the understanding of his complex aesthetic philosophy, and, while much has been written about Mondrian‘s influence on fashion, there remains a need to navigate Mondrian‘s own inspiration by fashion. /// Piet Mondrian‘s legacy has escaped the historical limits of his own discipline—his influence has been felt in nearly every sphere of the visual arts, seemingly by osmosis. He has had a demonstrable visual impact on graphic design, home decor, and fashion, and his presence can be experienced by any hapless shopper who finds himself in a department store surrounded by handbags decorated with divided planes of red, yellow, and blue. Mondrian‘s uncompromisingly abstract, neoplastic style has long oscillated between high art and popular culture (Troy 2006: 15-36), and when one is determined to find an elegant intersection between Mondrian and design, the most frequently cited example is that of his influence on fashion.
    [Show full text]
  • Sonia Delaunay's Yellow Nude, 1908
    © COPYRIGHT by Laura Ryan 2019 ALL RIGHTS RESERVED SUBVERTING ORIENTALISM AND PRIMITIVISM? SONIA DELAUNAY'S YELLOW NUDE, 1908 BY Laura Ryan ABSTRACT In this thesis, I demonstrate that Yellow Nude includes a number of pointed references to historic stereotypes and contemporaneous tropes that embroil the artist’s identity in the primitivist ideologies she apparently appropriates. I first identify the background design within the painting as that of a turn of the century ikat textile, with Central Asian, Jewish, and Russian production histories that mimic the biographic transnationality of Delaunay herself. Delaunay therefore invites viewers to conflate the figure in the painting with the woman who made it, capitalizing on the perceived “exoticism” of her “primitive” cultural upbringing. From this perspective, the featured figure’s mask-like face, disjunctive body, and gender ambiguity further implicate, interrogate, and perhaps undermine international fascination with the “primitive.” I argue that in Yellow Nude Sonia Delaunay both recreated the popular type of the exotic foreign woman and subtly undercut the ideologies behind the genre through specific references likely legible to those who shared her background. ii TABLE OF CONTENTS ABSTRACT .................................................................................................................................... ii LIST OF ILLUSTRATIONS ......................................................................................................... iv INTRODUCTION: THE VANGUARD NUDE,
    [Show full text]
  • Misfired Canon (A Review of the New Moma)
    NEW YORK NEW MOMA WINTER 2020 WINTER / OPENED OCTOBER 21 news ART At the new MoMA, Faith Ringgold’s 1967 painting American People Series No. 20: Die (below) is paired with Picasso’s famed 1907 canvas Les Demoiselles d'Avignon. Misfred Canon A feminist curator fnds the rehang seriously lacking. BY MAURA REILLY URING THE 1990S, WHILE and, ultimately, Jackson Pollock. According by my boss from cheekily offering a tour of pursuing my graduate art history to Barr, “modern art” was a synchronic, “women artists in the collection” at a time degree at New York University, I linear flow of “isms” in which one (hetero- when there were only eight on view. worked in the Education Depart- sexual, white) male “genius” from Europe or By the turn of the 21st century, the rele- Dment of the Museum of Modern Art, where the U.S. influenced another who inevitably vance of mainstream modernism was being I led gallery tours of the museum’s perma- trumped or subverted his previous master, challenged, and anti-chronology became nent collection for the general public and thereby producing an avant-garde progres- all the rage. The Brooklyn Museum, the VIPs. At that time, the permanent exhibition sion. Barr’s story was so ingrained in the High Museum of Art, and the Denver Art galleries, representing art produced from institution that it was never questioned as Museum all rehung their collections accord- 1880 to the mid-1960s, were arranged to problematic. The fact that very few women, ing to subject instead of chronology, and a tell the “story” of modern art as conceived artists of color, and those not from Europe much-anticipated inaugural exhibition at by founding director Alfred H.
    [Show full text]
  • Sonia Delaunay, Dossier Pédagogique
    Dossier pédagogique 1 Dossier pédagogique Sonia Delaunay Les couleurs de l’abstraction Sommaire Introduction 3 Plan/ parcours 4 Présentation par salle 5-12 Biographique de l’artiste 13-14 Mots-clefs 15 Citations 16-17 Pédagogie 18-22 Activités groupes du service culturel 23-26 Publications/ programmation 27 Sélection d’œuvres 28-31 Informations pratiques 32 2 Dossier pédagogique Sonia Delaunay - Octobre 2014 - Service culturel du Mam Introduction Sonia Delaunay (1885-1979) figure parmi les pionniers de l’abstraction et a marqué de son empreinte un siècle entier de création. Sa proximité avec Robert Delaunay a pourtant souvent oblitéré l’extrême richesse de ses recherches. Cette exposition première rétrospective française d’envergure consacrée exclusivement à l’artiste propose de relire cet œuvre dans sa globalité de la peinture à la mode au design et à l’architecture. Cette rétrospective de près de 400 œuvres s’attache à montrer l’approche originale de la couleur développée par l’artiste à partir d’une sélection de ses premiers portraits, peintures et dessins. Soulignant l’importance de ses origines russes, l’exposition mets en lumière l’implication de Sonia Delaunay dans les arts appliqués et son rôle, majeur, dans les débuts de l’abstraction ainsi que sa place spécifique au sein des avant-gardes européennes . Les activités développées pendant l’entre-deux-guerres dans les domaines de la mode et du design font l’objet d’une présentation conséquente et de reconstitutions inédites. L’exposition réunit un ensemble exceptionnel de peintures monumentales de 1937, et insiste également sur le rôle clé de l’artiste, « passeur » entre la génération des pionniers de l’abstraction et celle des abstraits de l’après-guerre : sont ainsi évoqués les participations de Sonia Delaunay aux Salons des Réalités Nouvelles et aux expositions du groupe Espace, mais aussi la présence de l’artiste au sein de la galerie Denise René et les nombreux projets d’édition développés dès les années 1950.
    [Show full text]
  • Delaunay and Stockholm
    http://www.diva-portal.org This is the published version of a chapter published in O Círculo Delaunay / The Delaunay Circle. Citation for the original published chapter: Öhrner, A. (2015) Delaunay and Stockholm. In: Ana Vasconcelos e Melo (ed.), O Círculo Delaunay / The Delaunay Circle (pp. 226-240). Lissabon: Fundação Calouste Gulbenkian N.B. When citing this work, cite the original published chapter. Permanent link to this version: http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-28793 Delaunay and Stockholm colour. This side was the front cover of the catalogue for the exhibi- tion in Stockholm, which was among Sonia’s earliest international exhibitions outside France. The Couverture… is a self-portrait, and Annika Öhrner several sketches and preparations for it exist.4 One version for ex- Södertörn University ample, corresponding to the front image, was printed on the cover of her self-biography, Nous irons jusqu’au soleil [We Will Go Right Up to the Sun], in 1978.5 J’AIME MIEUX QUE VOUS LES FAISIEZ VOYAGER [MES TABLEAUX] AU The letters on the left side, which once functioned as the back LIEU QU’ILS DORMENT of the cover, are neither plain “typographical signs”, nor abstract CAR MES TABLEAUX SONT LE MOUVEMENT ET DONC ILS AIMENT LE forms, however they are carefully balanced within the compo- MOUVEMENT. sition, whilst simultaneously signifying letters and words.6 On Robert Delaunay to Arturo Ciacelli, 7 August 19171 the upper section of this side reads the full name of the artist, S. Delaunay-Terk. It is scribed in large capital letters, in a way that, again, expresses self-representation.
    [Show full text]
  • Commerce, Little Magazines and Modernity: New York, 1915-1922
    Commerce, Little Magazines and Modernity: New York, 1915-1922 Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy, to be awarded by the University of De Montfort, Leicester Victoria Kingham University of De Montfort December 2009 Acknowledgements This PhD would have been impossible without the help of all the following people and organisations, and I would like to express heartfelt thanks to everyone here for their support for this work and for their continued belief in my work, and to all the institutions which have generously supported me financially. Birkbeck College, University of London Dr. Rebecca Beasley, Dr. Robert Inglesfield, Dr. Carol White. University of Cambridge Dr. Sarah Cain, Dr. Jean Chothia, Prof. Sarah Annes Brown, Dr. Eric White. De Montfort University, Leicester Prof. Andrew Thacker, Prof. Heidi MacPherson, Prof. Peter Brooker, Dr. Deborah Cartmell, Federico Meschini. Funding Institutions Birkbeck College, University of London; The Arts and Humanities Research Council; The British Association for American Studies; The Centre for Textual Studies, Modernist Magazines Project, and Research fund, De Montfort University. Friends and Family Richard Bell, John Allum, Peter Winnick, John Lynch, Rachel Holland, Philippa Holland, Adam Holland, Lucille and Lionel Holdsworth. 2 Abstract This thesis examines the theme of commerce in four magazines of literature and the arts, all published in New York between 1915 and 1922. The magazines are The Seven Arts (1916-1917), 291 (1915-1916), The Soil (1916-1917), and The Pagan (1916-1922). The division between art and commerce is addressed in the text of all four, in a variety of different ways, and the results of that supposed division are explored for each magazine.
    [Show full text]
  • Cubism Was One of the First Truly Modern Movements to Emerge in Art
    QUICK VIEW: Synopsis Cubism was one of the first truly modern movements to emerge in art. It evolved during a period of heroic and rapid innovation between Pablo Picasso and Georges Braque. The movement has been described as having two stages: 'Analytic' Cubism, in which forms seem to be 'analyzed' and fragmented; and 'Synthetic' Cubism, in which newspaper and other foreign materials such as chair caning and wood veneer, are collaged to the surface of the canvas as 'synthetic' signs for depicted objects. The style was significantly developed by Fernand Léger and Juan Gris, but it attracted a host of adherents, both in Paris and abroad, and it would go on to influence the Abstract Expressionists, particularly Willem de Kooning. Key Points • Analytic Cubism staged modern art's most radical break with traditional models of representation. It abandoned perspective, which artists had used to order space since the Renaissance. And it turned away from the realistic modeling of figures and towards a system of representing bodies in space that employed small, tilted planes, set in a shallow space. Over time, Picasso and Braque also moved towards open form - they pierced the bodies of their figures, let the space flow through them, and blended background into foreground. Some historians have argued that its innovations represent a response to the changing experience of space, movement, and time in the modern world. • Synthetic Cubism proved equally important and influential for later artists. Instead of relying on depicted shapes and forms to represent objects, Picasso and Braque began to explore the use of foreign objects as abstract signs.
    [Show full text]
  • The Orpheu Generation and the Avant-‐‑Garde: Intersecting Literature and the Visual Arts
    The Orpheu Generation and the Avant-Garde: Intersecting Literature and the Visual Arts Patrícia Silva* Keywords Orpheu, Orpheu generation, Avant-garde, Cubism, Futurism, Orphism, Intersectionism, Sensationism. Abstract Considering the literary and artistic production of key figures from the Orpheu generation, this essay examines their transnational links to counterparts in the European avant-garde through acquaintance and epistolary networks. More specifically, it does so by focusing on the intersections between literature and the visual arts in works by writers and artists and the periodicals in which they published between 1915 and 1917, to argue that their aesthetic hybridity reflects the experimentalism in the arts of this period animated by the goal of creating “the total work of art”, which is central to European modernism and actively practised by the Portuguese modernists. Palavras-chave Orpheu, Geração de Orpheu, Avant-garde, Cubismo, Futurismo, Orfismo, Interseccionismo, Sensacionismo. Resumo Considerando a produção literária e artística de figuras centrais da geração de Orpheu, este ensaio examina as relações transnacionais que estas estabeleceram com os seus contrapartes na vanguarda europeia por meio de redes de familiaridade e epistolares. Mais especificamente, fá-lo ao focar as intersecções entre a literatura e as artes visuais nas obras destes escritores e artistas e nos periódicos em que publicavam entre 1915 e 1917, arguindo que o seu hibridismo estético reflete o experimentalismo nas artes deste período animado pelo fim de criar “a obra de arte total”, que preside ao modernismo europeu e foi ativamente praticado pelos modernistas portugueses. * Center for Social Studies, University of Coimbra & Queen Mary, University of London. Formerly published under the name Patricia Silva (McNeill).
    [Show full text]