Science in Surrealism
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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. -
Religious Symbolism in Salvador Dali's Art: a Study of the Influences on His Late Work
East Tennessee State University Digital Commons @ East Tennessee State University Undergraduate Honors Theses Student Works 5-2012 Religious Symbolism in Salvador Dali's Art: A Study of the Influences on His Late Work. Jessica R. Hawley East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/honors Part of the Fine Arts Commons Recommended Citation Hawley, Jessica R., "Religious Symbolism in Salvador Dali's Art: A Study of the Influences on His Late Work." (2012). Undergraduate Honors Theses. Paper 34. https://dc.etsu.edu/honors/34 This Honors Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. ’ A t: A Study of the Influences on His Late Work Thesis submitted in partial fulfillment of Honors By Jessica Hawley The Honors College Fine and Performing Art Scholars Program East Tennessee State University April 6, 2012 Dr. Scott Contreras-Koterbay, Faculty Mentor Dr. Peter Pawlowicz, Faculty Reader Patrick Cronin, Faculty Reader Hawley 2 Table of Contents Preface 3 Chapter 1: ’ Ch h 4 Chapter 2: Surrealism 7 Chapter 3: War 10 Chapter 4: Catholicism 12 Chapter 5: Nuclear Mysticism 15 Conclusion 18 Images 19 Bibliography 28 Hawley 3 Preface Salvador was an artist who existed not long before my generation; yet, his influence among the contemporary art world causes many people to take a closer look at the significance of the imagery in his paintings. -
Sonja Sekula's Time May Have Finally Come
PETER BLUM GALLERY Sonja Sekula’s Time May Have Finally Come Sekula was part of a number of different overlapping scenes, and she was loved and thought highly of by many. And then nearly everything about her and her work got forgotten. GALLERIES | WEEKEND By John Yau Saturday April 29, 2017 Sonja Sekula (1918-1963) piqued my curiosity when I first saw some of her works just a few months ago. Still, I was not sure what to expect when I went to the current exhibition Sonja Sekula: A Survey at Peter Blum Gallery (April 21 – June 24, 2017). I had known that this troubled, Swiss-born artist was part of an international circle of artists, writers, choreographers, and composers in New York in the 1940s, when she was in her early twenties, and that since her death by suicide in 1963, she and her work have largely been effaced from history. But aside from a few biographical facts and the handful of works I saw, I knew little else, but it was more than enough to bring me back. Ethnique, (1961), gouache on paper, 20 1/8 x 20 1/8 inches (all images courtesy Peter Blum At one point, while circling the Gallery, New York) galleries two space for the second or third time, I stopped to peer into a vitrine and saw photographs of a young woman sitting in the apartment of Andre Breton when he lived in New York during World War II. In another photograph she and sister are hugging Frida Kahlo, who is recuperating in a New York hospital room. -
Libro Completo
DESDE ESPAÑA Y SERBIA HACIA IBEROAMÉRICA EL AUGE DE LA LITERATURA, LA FILOLOGÍA Y LA HISTORIA MATTEO RE, BOJANA KOVAČEVIĆ PETROVIĆ, JOSÉ MANUEL AZCONA [EDS.] Desde España y Serbia hacia Iberoamérica © Matteo Re, Bojana Kovačević Petrović, José Manuel Azcona [Eds.], Madrid, 2020. ISBN: 978-84-09-21626-0 Ninguna página de este libro puede ser fotocopiada y reproducida sin autorización de los editores. Este libro es el resultado del proyecto de investigación amparado en el Artículo 83, de la LOU (Ley Orgánica de Universidades 6/2001 de 21 de diciembre) de la Cátedra de Excelencia URJC Santander Presdeia con la referencia siguiente : F47-HC/Cat-Ib-2019-2020: Desde España y Serbia hacia Iberoamérica. El auge de la literatura, la filología y la historia (Vicerrectorado de Innovación y Transferencia). 2 Desde España y Serbia hacia Iberoamérica ÍNDICE PRÓLOGO ........................................................................................................................................ 5 LA FRONTERA METAFÍSICA EN EL CONO SUR AMERICANO (1810-1880) ....................... 11 José Manuel Azcona y Majlinda Abdiu HISTORIA Y HERENCIA CULTURAL DE ALGUNOS PUEBLOS EUROPEOS EN ARGENTINA .................................................................................................................................. 40 Anja Mitić SERBIA, ESPAÑA E IBEROAMÉRICA: ENTRECRUZAMIENTOS HISTÓRICOS Y CULTURALES ................................................................................................................................ 62 Bojana Kovačević -
Max Ernst Was a German-Born Surrealist Who Helped Shape the Emergence of Abstract Expressionism in America Post-World War II
QUICK VIEW: Synopsis Max Ernst was a German-born Surrealist who helped shape the emergence of Abstract Expressionism in America post-World War II. Armed with an academic understanding of Freud, Ernst often turned to his work-whether sculpture, painting, or collage-as a means of processing his experience in World War I and unpacking his feelings of dispossession in its wake. Key Ideas / Information • Ernst's work relied on spontaneity (juxtapositions of materials and imagery) and subjectivity (inspired by his personal experiences), two creative ideals that came to define Abstract Expressionism. • Although Ernst's works are predominantly figurative, his unique artistic techniques inject a measure of abstractness into the texture of his work. • The work of Max Ernst was very important in the nascent Abstract Expressionist movement in New York, particularly for Jackson Pollock. DETAILED VIEW: Childhood © The Art Story Foundation – All rights Reserved For more movements, artists and ideas on Modern Art visit www.TheArtStory.org Max Ernst was born into a middle-class family of nine children on April 2, 1891 in Brühl, Germany, near Cologne. Ernst first learned painting from his father, a teacher with an avid interest in academic painting. Other than this introduction to amateur painting at home, Ernst never received any formal training in the arts and forged his own artistic techniques in a self-taught manner instead. After completing his studies in philosophy and psychology at the University of Bonn in 1914, Ernst spent four years in the German army, serving on both the Western and Eastern fronts. Early Training The horrors of World War I had a profound and lasting impact on both the subject matter and visual texture of the burgeoning artist, who mined his personal experiences to depict absurd and apocalyptic scenes. -
Coire, Switzerland 1966
FRENCH SCULPTURE CENSUS / RÉPERTOIRE DE SCULPTURE FRANÇAISE GIACOMETTI, Alberto Borgonovo, Switzerland 1901 - Coire, Switzerland 1966 Maker: Fiorini Foundry, London Femme qui marche [I] Walking Woman [I] 1932, verrsion of 1936, cast in 1955 bronze statue 7 7 59 ?16 x 4 ?16 x 15 in. on the right side of base: ALBERTO GIACOMETTI on the back of base: IV/IV Acc. No.: 64.520 Credit Line: Major Henry Lee Higginson and William Francis Warden Funds Photo credit: Museum of Fine Arts, Boston © Artist : Boston, Massachusetts, Museum of Fine Arts www.mfa.org Provenance 1936, London, the plaster original was sold to Sir Roland Penrose, who sold it to Valerie Cooper 1955, London, Valerie Cooper sold the plaster original to the Hanover Gallery which commissioned an edition of 4 bronze casts from Fiorini's Foundry(London) 1964, April 8, sold by Hanover Gallery to the MFA, Major Henry Lee Higginson and William Francis Warden Funds Bibliography Museum's website, 16 February 2012 and 20 March 2012 1962 Dupin Jacques Dupin, Alberto Giacometti, Paris, 1972, p. 218 1965 Burlington "Giacometti's 'Femme Qui Marche'", The Burlington Magazine, June 1965, p. 338 1970 Huber Carlo Huber, Alberto Giacometti, Lausanne, 1970, p. 40, repr. 1972 Hohl Reinhold Hohl, Alberto Giacometti: Sculpture Painting Drawing, London, 1972, p. 103-104, p. 138-139, p. 300, p. 70, repr. 1981 Ronald Alley Ronald, Catalogue of The Tate Gallery's Collection of Modern Art other than works by British Artists. London, The Tate Gallery in association with Sotheby Parke Bernet, 1981, p. 276- 277 Exhibitions 1965-1966 New York/Chicago/Los Angeles/San Francisco Alberto Giacometti, organized by Peter Selz, New York, The Museum of Modern Art, June 9- october 12, 1965; The Art Institute of Chicago, November 5-December 12, 1965; The Los Angeles County Museum, January 6-February 14, 1966; The San Francisco Museum of Art, March 10- April 24, 1966 1974 New York Alberto Giacometti: A Retrospective Exhibition, New York, The Solomon R. -
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............................................................................................................................................... -
Art on the Page
Art on the page Toward a modern illustrated book When Parisian art dealer Ambroise Vollard issued his first publication, Parallèlement, in 1900, a collection of poems by Paul Verlaine illustrated with lithographs by Impressionist painter Pierre Bonnard, he ushered in a new form of illustrated book to mark the new century. In the following decades, he and other entrepreneurial art publishers such as Daniel-Henry Kahnweiler and Albert Skira would take advantage of a widening pool of book collectors interested in modern art by producing deluxe books that featured original prints by artists such as Pablo Picasso, Henri Matisse, Georges Rouault, André Derain and others. These books are generally referred to as livres des artistes and, unlike the fine press publications produced by the Kelmscott Press, the Doves Press or Ashendene Press, the earliest examples were distinguished by their modernity. Breon Mitchell, in his introduction to Beyond illustration, argues that the livre d’artiste can be differentiated from the traditional book in several respects: The illustrations are, in each case, original works of art (woodcuts, lithographs, etchings, engravings) executed by the artist himself and printed under his supervision. The book thus contains original graphics of the kind which find their place on museum walls … The livre d’artiste is also defined by the stature of the artist. Virtually every major painter and sculptor of the twentieth century—Picasso, Braque, Ernst, Matisse, Kokoschka, Barlach, Miró, to name a few—has collaborated in the creation of one or more such works. In many cases, book illustration has occupied such an important place in the total oeuvre of the artist that no student of art history can safely ignore it. -
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. -
Francis Poulenc and Surrealism
Wright State University CORE Scholar Master of Humanities Capstone Projects Master of Humanities Program 1-2-2019 Francis Poulenc and Surrealism Ginger Minneman Wright State University - Main Campus Follow this and additional works at: https://corescholar.libraries.wright.edu/humanities Part of the Arts and Humanities Commons Repository Citation Minneman, G. (2019) Francis Poulenc and Surrealism. Wright State University, Dayton, Ohio. This Thesis is brought to you for free and open access by the Master of Humanities Program at CORE Scholar. It has been accepted for inclusion in Master of Humanities Capstone Projects by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. Minneman 1 Ginger Minneman Final Project Essay MA in Humanities candidate Francis Poulenc and Surrealism I. Introduction While it is true that surrealism was first and foremost a literary movement with strong ties to the world of art, and not usually applied to musicians, I believe the composer Francis Poulenc was so strongly influenced by this movement, that he could be considered a surrealist, in the same way that Debussy is regarded as an impressionist and Schönberg an expressionist; especially given that the artistic movement in the other two cases is a loose fit at best and does not apply to the entirety of their output. In this essay, which served as the basis for my lecture recital, I will examine some of the basic ideals of surrealism and show how Francis Poulenc embodies and embraces surrealist ideals in his persona, his music, his choice of texts and his compositional methods, or lack thereof. -
PICASSO Les Livres D’Artiste E T Tis R a D’ S Vre Li S Le PICASSO
PICASSO LES LIVRES d’ARTISTE The collection of Mr. A*** collection ofThe Mr. d’artiste livres Les PICASSO PICASSO Les livres d’artiste The collection of Mr. A*** Author’s note Years ago, at the University of Washington, I had the opportunity to teach a class on the ”Late Picasso.” For a specialist in nineteenth-century art, this was a particularly exciting and daunting opportunity, and one that would prove formative to my thinking about art’s history. Picasso does not allow for temporalization the way many other artists do: his late works harken back to old masterpieces just as his early works are themselves masterpieces before their time, and the many years of his long career comprise a host of “periods” overlapping and quoting one another in a form of historico-cubist play that is particularly Picassian itself. Picasso’s ability to engage the art-historical canon in new and complex ways was in no small part influenced by his collaborative projects. It is thus with great joy that I return to the varied treasures that constitute the artist’s immense creative output, this time from the perspective of his livres d’artiste, works singularly able to point up his transcendence across time, media, and culture. It is a joy and a privilege to be able to work with such an incredible collection, and I am very grateful to Mr. A***, and to Umberto Pregliasco and Filippo Rotundo for the opportunity to contribute to this fascinating project. The writing of this catalogue is indebted to the work of Sebastian Goeppert, Herma Goeppert-Frank, and Patrick Cramer, whose Pablo Picasso. -
Rosaleen Norton's Contribution to The
ROSALEEN NORTON’S CONTRIBUTION TO THE WESTERN ESOTERIC TRADITION NEVILLE STUART DRURY M.A. (Hons) Macquarie University; B.A. University of Sydney; Dip. Ed. Sydney Teachers College Submission for Degree of Doctor of Philosophy School of Humanities and Social Science University of Newcastle NSW, Australia Date of submission: September 2008 STATEMENT OF ORIGINALITY This work contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying subject to the provisions of the Copyright Act 1968. Signed: Date: Neville Stuart Drury ACKNOWLEDGEMENT OF AUTHORSHIP I hereby certify that the work embodied in this Thesis is the result of original research, the greater part of which was completed subsequent to admission for the degree. Signed: Date: Neville Stuart Drury 2 CONTENTS Introduction 5 Chapter One: Rosaleen Norton – A Biographical Overview 16 Chapter Two: Sources of the Western Esoteric Tradition 61 Chapter Three: Aleister Crowley and the Magic of the Left-Hand Path 127 Chapter Four: Rosaleen Norton’s Magical Universe 214 Chapter Five: Rosaleen Norton’s Magical Practice 248 Chapter Six: Rosaleen Norton as a Magical Artist 310 Chapter Seven: Theories and Definitions of Magic 375 Chapter Eight: Rosaleen Norton’s Contribution to the Western Esoteric Tradition 402 Appendix A: Transcript of the interview between Rosaleen Norton and L.J.