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Correlations Between Creativity In
1 ARTISTIC SCIENTISTS AND SCIENTIFIC ARTISTS: THE LINK BETWEEN POLYMATHY AND CREATIVITY ROBERT AND MICHELE ROOT-BERNSTEIN, 517-336-8444; [email protected] [Near final draft for Root-Bernstein, Robert and Root-Bernstein, Michele. (2004). “Artistic Scientists and Scientific Artists: The Link Between Polymathy and Creativity,” in Robert Sternberg, Elena Grigorenko and Jerome Singer, (Eds.). Creativity: From Potential to Realization (Washington D.C.: American Psychological Association, 2004), pp. 127-151.] The literature comparing artistic and scientific creativity is sparse, perhaps because it is assumed that the arts and sciences are so different as to attract different types of minds who work in very different ways. As C. P. Snow wrote in his famous essay, The Two Cultures, artists and intellectuals stand at one pole and scientists at the other: “Between the two a gulf of mutual incomprehension -- sometimes ... hostility and dislike, but most of all lack of understanding... Their attitudes are so different that, even on the level of emotion, they can't find much common ground." (Snow, 1964, 4) Our purpose here is to argue that Snow's oft-repeated opinion has little substantive basis. Without denying that the products of the arts and sciences are different in both aspect and purpose, we nonetheless find that the processes used by artists and scientists to forge innovations are extremely similar. In fact, an unexpected proportion of scientists are amateur and sometimes even professional artists, and vice versa. Contrary to Snow’s two-cultures thesis, the arts and sciences are part of one, common creative culture largely composed of polymathic individuals. -
Gordon Onslow Ford Voyager and Visionary
Gordon Onslow Ford Voyager and Visionary 11 February – 13 May 2012 The Mint Museum 1 COVER Gordon Onslow Ford, Le Vallee, Switzerland, circa 1938 Photograph by Elisabeth Onslow Ford, courtesy of Lucid Art Foundation FIGURE 1 Sketch for Escape, October 1939 gouache on paper Photograph courtesy of Lucid Art Foundation Gordon Onslow Ford: Voyager and Visionary As a young midshipman in the British Royal Navy, Gordon Onslow Ford (1912-2003) welcomed standing the night watch on deck, where he was charged with determining the ship’s location by using a sextant to take readings from the stars. Although he left the navy, the experience of those nights at sea may well have been the starting point for the voyages he was to make in his painting over a lifetime, at first into a fabricated symbolic realm, and even- tually into the expanding spaces he created on his canvases. The trajectory of Gordon Onslow Ford’s voyages began at his birth- place in Wendover, England and led to the Royal Naval College at Dartmouth and to three years at sea as a junior officer in the Mediterranean and Atlantic fleets of the British Navy. He resigned from the navy in order to study art in Paris, where he became the youngest member of the pre-war Surrealist group. At the start of World War II, he returned to England for active duty. While in London awaiting a naval assignment, he organized a Surrealist exhibition and oversaw the publication of Surrealist poetry and artworks that had been produced the previous summer in France (fig. -
THE NAKED APE By
THE NAKED APE by Desmond Morris A Bantam Book / published by arrangement with Jonathan Cape Ltd. PRINTING HISTORY Jonathan Cape edition published October 1967 Serialized in THE SUNDAY MIRROR October 1967 Literary Guild edition published April 1969 Transrvorld Publishers edition published May 1969 Bantam edition published January 1969 2nd printing ...... January 1969 3rd printing ...... January 1969 4th printing ...... February 1969 5th printing ...... June1969 6th printing ...... August 1969 7th printing ...... October 1969 8th printing ...... October 1970 All rights reserved. Copyright (C 1967 by Desmond Morris. This book may not be reproduced in whole or in part, by mitneograph or any other means, without permission. For information address: Jonathan Cape Ltd., 30 Bedford Square, London Idi.C.1, England. Bantam Books are published in Canada by Bantam Books of Canada Ltd., registered user of the trademarks con silting of the word Bantam and the portrayal of a bantam. PRINTED IN CANADA Bantam Books of Canada Ltd. 888 DuPont Street, Toronto .9, Ontario CONTENTS INTRODUCTION, 9 ORIGINS, 13 SEX, 45 REARING, 91 EXPLORATION, 113 FIGHTING, 128 FEEDING, 164 COMFORT, 174 ANIMALS, 189 APPENDIX: LITERATURE, 212 BIBLIOGRAPHY, 215 ACKNOWLEDGMENTS This book is intended for a general audience and authorities have therefore not been quoted in the text. To do so would have broken the flow of words and is a practice suitable only for a more technical work. But many brilliantly original papers and books have been referred to during the assembly of this volume and it would be wrong to present it without acknowledging their valuable assistance. At the end of the book I have included a chapter-by-chapter appendix relating the topics discussed to the major authorities concerned. -
Homage to Roberto Matta
FIAC PARIS | BOOTH C29 | GRAND PALAIS | OCTOBER 17–20, 2019 At this year’s FIAC, in honor of the late Germana Matta, we will mount an Homage to Roberto Matta Paris was one of the principal residencies of Matta. The exhibition will therefore include parts of the archives and sketchbooks from Matta’s Parisian home. The core of the presentation consists of three highly important large scale works, executed between 1947 and 1958. It will be complemented by midsize works on canvas and paper as well as sculptures. Matta’s influence can be felt both in today’s Contemporary Art as well as in the Tech-World; his impact on fellow New York artists in the 1940’s was summarized by nobody other than Marcel Duchamp: “Still a young man, Matta is the most profound painter of his generation” MARCEL DUCHAMP, 1944 While the legendary MoMA curator and Picasso Scholar William Rubin had this to say about Matta: “Matta became the only painter after Duchamp to explore wholly new possibilities in illusionistic space” WILLIAM RUBIN, 1985 For more information on our FIAC exhibition and Matta please contact Mathias Rastorfer: [email protected] Additional works to be shown are by Yves Klein, Wifredo Lam, Fernand Léger, Joan Miró, Pablo Picasso, Antonio Saura ABOUT GALERIE GMURZYNSKA Founded in Cologne in 1965, Galerie Gmurzynska has been a leading international art gallery specializing in masterpieces of both classic modern and post-war art for more than 50 years. Galerie Gmurzynska is also the prime gallery worldwide for artists of the Russian avant-garde and early 20th century abstraction. -
André Breton Och Surrealismens Grundprinciper (1977)
Franklin Rosemont André Breton och surrealismens grundprinciper (1977) Översättning Bruno Jacobs (1985) Innehåll Översättarens förord................................................................................................................... 1 Inledande anmärkning................................................................................................................ 2 1.................................................................................................................................................. 3 2.................................................................................................................................................. 8 3................................................................................................................................................ 12 4................................................................................................................................................ 15 5................................................................................................................................................ 21 6................................................................................................................................................ 26 7................................................................................................................................................ 30 8............................................................................................................................................... -
Primate Aesthetics
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses Dissertations and Theses July 2016 Primate Aesthetics Chelsea L. Sams University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/masters_theses_2 Part of the Art Practice Commons, Fine Arts Commons, Interdisciplinary Arts and Media Commons, and the Other Animal Sciences Commons Recommended Citation Sams, Chelsea L., "Primate Aesthetics" (2016). Masters Theses. 375. https://doi.org/10.7275/8547766 https://scholarworks.umass.edu/masters_theses_2/375 This Open Access Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. PRIMATE AESTHETICS A Thesis Presented by CHELSEA LYNN SAMS Submitted to the Graduate School of the University of Massachusetts in partial fulfillment of the requirements for the degree of MASTER OF FINE ARTS May 2016 Department of Art PRIMATE AESTHETICS A Thesis Presented by CHELSEA LYNN SAMS Approved as to style and content by: ___________________________________ Robin Mandel, Chair ___________________________________ Melinda Novak, Member ___________________________________ Jenny Vogel, Member ___________________________________ Alexis Kuhr, Department Chair Department of Art DEDICATION For Christopher. ACKNOWLEDGMENTS I am truly indebted to my committee: Robin Mandel, for his patient guidance and for lending me his Tacita Dean book; to Melinda Novak for taking a chance on an artist, and fostering my embedded practice; and to Jenny Vogel for introducing me to the medium of performance lecture. To the longsuffering technicians Mikaël Petraccia, Dan Wessman, and Bob Woo for giving me excellent advice, and tolerating question after question. -
Drawing Surrealism Didactics 10.22.12.Pdf
^ Drawing Surrealism Didactics Drawing Surrealism is the first-ever large-scale exhibition to explore the significance of drawing and works on paper to surrealist innovation. Although launched initially as a literary movement with the publication of André Breton’s Manifesto of Surrealism in 1924, surrealism quickly became a cultural phenomenon in which the visual arts were central to envisioning the world of dreams and the unconscious. Automatic drawings, exquisite corpses, frottage, decalcomania, and collage are just a few of the drawing-based processes invented or reinvented by surrealists as means to tap into the subconscious realm. With surrealism, drawing, long recognized as the medium of exploration and innovation for its use in studies and preparatory sketches, was set free from its associations with other media (painting notably) and valued for its intrinsic qualities of immediacy and spontaneity. This exhibition reveals how drawing, often considered a minor medium, became a predominant mode of expression and innovation that has had long-standing repercussions in the history of art. The inclusion of drawing-based projects by contemporary artists Alexandra Grant, Mark Licari, and Stas Orlovski, conceived specifically for Drawing Surrealism , aspires to elucidate the diverse and enduring vestiges of surrealist drawing. Drawing Surrealism is also the first exhibition to examine the impact of surrealist drawing on a global scale . In addition to works from well-known surrealist artists based in France (André Masson, Max Ernst, Joan Miró, Salvador Dalí, among them), drawings by lesser-known artists from Western Europe, as well as from countries in Eastern Europe and the Americas, Great Britain, and Japan, are included. -
A Fisherman on a Beach Watercolour and Gouache, with Framing Lines in Brown Ink
Henri EVENEPOEL (Nice 1872 - Paris 1899) A Fisherman on a Beach Watercolour and gouache, with framing lines in brown ink. Stamped with the artist's monogram he in a circle (not in Lugt) at the lower right. The artist's monogram also applied to a label stamped PROVENANT DE LA COLLECTION and inscribed Charles De Mey, and further inscribed Pecheur sur la plage / de Henri Evenepoel and Je certifie cette / oeuvre authentique / C. De Mey. on the old backing board. 570 x 411 mm. (22 3/8 x 16 1/4 in.) Given its size, this large drawing would seem to have been intended as a design for a poster or advertisement, rather than a book illustration. As the artist's biographer Francis Hyslop has written, 'A born draftsman with an eye to a self-supporting career, Evenepoel took an intense interest in the graphic arts.' He greatly admired and collected posters, prints and magazine or newspaper illustrations by artists such as Henri de Toulouse-Lautrec (whose studio he visited, and who he described as 'an artist of immense value…a complete artist'), as well as Jules Chéret, Jean-Louis Forain, Théophile- Alexandre Steinlen and Adolphe Willette. As a means of earning some income in the first years of his brief independent career, Evenepoel designed around a dozen posters. One such poster, advertising the ferry line linking Ostend and Tilbury in Essex, was published in 1893, and includes the same sort of blank cartouche with a curlicued corner seen in the present sheet. A similarly dressed fisherman appears in another gouache design for a poster by Evenepoel of c.1894, promoting the beach resort of Nieuport-Bains in Flanders. -
De Chirico in the René Gaffé Collection& the Role of E.L.T Mesens
The archival materials cited in this essay are courtesy of The Getty Research Institute, Los Angeles 43 De Chirico in the René Gaffé Collection & the Role of E.L.T Mesens (Brussels – London) Victoria Noel-Johnson In 1946, René Gaffé (Brussels, 1887-1968) – the Belgian journal- ist, author, collector and bibliophile - wrote a short monograph dedicated to Giorgio de Chirico entitled Giorgio de Chirico. Le voy- ant (Éditions La Boétie, Brussels, fig. 1).1 Published in Gaffé’s na- tive city, the book contains an extensive yet overlooked essay about de Chirico’s early Metaphysical work, as well as a total of 24 black and white reproductions of important paintings executed in the 1910s and 1920s. As an important connoisseur and collector of de Chirico’s œuvre, together with work by Belgian Surrealists such as René Magritte and Paul Delvaux, this article will principally focus on Gaffé’s keen interest in de Chirico, which, in turn, helped disseminate knowledge about his painting within Belgium during fig. 1 R. Gaffé, Giorgio de Chirico. Le 2 the early twentieth century. As his impressive art collection was Voyant, Éditions La Boétie, Brussels, 1946 built and then partly sold off with the intervention of Eduoard Léon Théodore Mesens (Brussels, 1903-1971), a Belgian gallerist and editor who championed Surrealism in Belgium and later in the UK (mainly initiated by the 1937 sale of a substantial part of Gaffé’s collection to the British collector Roland Penrose), this paper will also examine Mesens’ involvement in the acquisition and sale of Gaffé’s de Chiricos.3 1 This article is the expanded and revised version of the article Le voyant: analyse des liens entre René Gaffé et Giorgio de Chirico, in Giorgio de Chirico. -
Musée Des Beaux -Arts De Liège
BAL MUSÉE DES BEAUX -ARTS DE LIÈGE DOSSIER PÉDAGOGIQUE Ce dossier pédagogique a été réalisé sur la proposition de l’Échevin de la Culture, Monsieur Jean Pierre Hupkens. Nos remerciements vont à Jean-Marc Gay, Directeur des musées de la Ville de Liège ; à Régine Rémon, Première Conservatrice du BAL ; Edith Schurgers, Animatrice pédagogique, Isabelle Zumkir. Direction de publication : Jean-Patrick Duchesne Textes : Art&fact asbl Crédits photographiques : Marc Verpoorten Mise en page : Caroline Kleinermann Impression : Ville de Liège Éditeur responsable : Jean Pierre Hupkens, Échevin de la Culture de la Ville de Liège Photos de couverture : façade du Musée des Beaux-Arts de Liège © Ville de Liège Logos Ville de Liège, BAL, Fédération Wallonie-Bruxelles, Art&fact TABLE DES MATIERES Introduction Historique des collections des musées de Liège Historique des collections du Musée des Beaux-Arts et du Musée de l’Art wallon Historique des collections d’Art ancien Historique des collections du Cabinet des Estampes et des Dessins Historique des collections du Musée d’Art moderne et d’Art contemporain Vie du musée Définition et rôles d’un musée Les réserves L’inventaire La conservation-restauration • Christian KÖHLER, Sémiramis, 1852 L’artiste L’œuvre La restauration Le Fonds David-Constant • Anna Eva BERGMAN, Composition sur fond bleu L’artiste L’œuvre La restauration Les donations et legs • Don, donation, legs : quelles différences ? • Donation Jaumain-Jobart : historique, intérêt • Donation Graindorge : historique, intérêt Nouvelles acquisitions -
Logie. Hierhin Gehört U. A. Rembrandts Berühmte „Faust-Radierung“, Deren „Held" Als Magus Von Der Art Prosperos Gedeutet Wird
logie. Hierhin gehört u. a. Rembrandts berühmte „Faust-Radierung“, deren „Held" als Magus von der Art Prosperos gedeutet wird. Im letzten Kapitel des Buches befaßt sich Hartlaub mit dem Spiegel als Symbol, wobei vor allem die Lehre von der Lichtverwandschaft und insbesondere der Sonnen- haftigkeit des Gerätes betont wird. Hier erscheint der Spiegel bald als Sinnbild der Lauterkeit und Jungfräulichkeit Mariä, bald als Zeichen der Sünde, der „Eitelkeit“, der „Vanitas“ und zwar als Selbstverliebtheit oder Vergänglichkeit. Zumal in den Werken der altdeutschen Maler tritt immer wieder die dirnenhaft geschmückte, nackte Frau mit dem Spiegel auf, am eindrucksvollsten bei Baldung, wo sich das Thema mit dem Motiv des Totentanzes verbindet. Der Spiegel ist aber auch das Sinnbild der Klugheit, einer der vier Kardinaltugen den, wobei seine Gesichte nun mehr aus dem lichten, solaren Aspekt des Gerätes stammen. Wie im Text, soist auch in den Anmerkungen und Exkursen eine erstaunliche Fülle an kunst- und kulturhistorischem Wissen ausgebreitet. Alles in allem bildet Hartlaubs umfassendes Werk ein Musterbeispiel einer streng phänomenologischen Untersuchung. Walter Passarge AUSLÄNDISCHE AUSSTELLUNGEN IM SOMMER/HERBST 1953 BELGIEN VENEDIG 14. 6.—18. 10. 1953: Mostra di Lo ANTWERPEN 1. 7.—31. 8. 1953: Exposition renzo Lotto. r^trospective Henri Evenepoel. SCHWEIZ BRÜGGE 15. 7.—15. 9. 1953: Le portrait flamand. BASEL 17. 10.—22. 11. 1953: Zwanzig Jahre BRÜSSEL 22. 5.—15. 7. 1953: Les chefs *oeuvred Basler Künstlergruppe. du Patrimoine beige. Mai—Juli: Bruxelles au BERN 30. 5.—20. 9. 1953: Die Hauptmeister der XVe siede. Berner Malerei 1500—1900 (mit der Jubiläums OSTENDE 5. 7.—31. 8. 1953: Le Fantastique ausstellung für Ferdinand Hodler). -
RENÉ MAGRITTE : LES PROSES DE DISTANCES (1928) Clio Elizabeth De Carvalho Meurer
49 RENÉ MAGRITTE : LES PROSES DE DISTANCES (1928) Clio Elizabeth de Carvalho Meurer >«@MH¿QLVSDUWURXYHUGDQVO¶DSSDUHQFHGXPRQGHUpHOOXLPrPHOD même abstraction que dans mes tableaux ; car, malgré les combinaisons de détails et de nuances d’un paysage réel, je pouvais le voir comme s’il n’était qu’un rideau placé devant mes yeux. Je devins peu certain de la profondeur des campagnes, très peu persuadé de l’éloignement du bleu léger de l’horizon, l’expérience immédiate le situant simplement à la hauteur de mes yeux. J’étais dans le même état d’innocence que l’enfant qui croit pouvoir saisir de son berceau l’oiseau qui vole dans le ciel. Paul Valéry a ressenti ce même état devant la mer qui, dit-il, « se dresse devant les yeux du spectateur » […] Il me fallait maintenant animer ce monde qui, même en mouvement, n’avait aucune profondeur et avait perdu toute consistance. Je songeai alors que les objets eux-mêmes devaient révéler éloquemment leur existence et je recherchai comment je pourrais rendre manifeste la réalité. (René Magritte, 1938)1 En 1928, les surréalistes belges font paraître DistancesOHXUSUHPLqUHUHYXHOLWWpUDLUHRI¿FLHOOH. René Magritte, qui vit l’un des moments les plus fertiles de sa carrière, y contribue activement. À la revue au concept novateur, il fait parvenir non seulement des illustrations, mais aussi des proses, OHVTXHOOHVV¶LQWqJUHQWDXÀX[G¶pFULWXUHLPDJLQpSDU3DXO1RXJpHW&DPLOOH*RHPDQV Ces textes, écrits à un moment où il cherche à appliquer un ordre et un sens à sa peinture, ne sont pas ses premières incursions dans le registre littéraire. Dans ses années de formation à l’Académie Royale de Bruxelles, Magritte, qui commençait déjà une habitude de se lier d’amitié avec des poètes et écrivains, avait collaboré au comité de rédaction de la revue Au Volant des frères Bourgeois (1919).