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Futurism-Anthology.Pdf
FUTURISM FUTURISM AN ANTHOLOGY Edited by Lawrence Rainey Christine Poggi Laura Wittman Yale University Press New Haven & London Disclaimer: Some images in the printed version of this book are not available for inclusion in the eBook. Published with assistance from the Kingsley Trust Association Publication Fund established by the Scroll and Key Society of Yale College. Frontispiece on page ii is a detail of fig. 35. Copyright © 2009 by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Nancy Ovedovitz and set in Scala type by Tseng Information Systems, Inc. Printed in the United States of America by Sheridan Books. Library of Congress Cataloging-in-Publication Data Futurism : an anthology / edited by Lawrence Rainey, Christine Poggi, and Laura Wittman. p. cm. Includes bibliographical references and index. ISBN 978-0-300-08875-5 (cloth : alk. paper) 1. Futurism (Art) 2. Futurism (Literary movement) 3. Arts, Modern—20th century. I. Rainey, Lawrence S. II. Poggi, Christine, 1953– III. Wittman, Laura. NX456.5.F8F87 2009 700'.4114—dc22 2009007811 A catalogue record for this book is available from the British Library. This paper meets the requirements of ANSI/NISO Z39.48–1992 (Permanence of Paper). 10 9 8 7 6 5 4 3 2 1 CONTENTS Acknowledgments xiii Introduction: F. T. Marinetti and the Development of Futurism Lawrence Rainey 1 Part One Manifestos and Theoretical Writings Introduction to Part One Lawrence Rainey 43 The Founding and Manifesto of Futurism (1909) F. -
Pushkin and the Futurists
1 A Stowaway on the Steamship of Modernity: Pushkin and the Futurists James Rann UCL Submitted for the Degree of Doctor of Philosophy 2 Declaration I, James Rann, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 Acknowledgements I owe a great debt of gratitude to my supervisor, Robin Aizlewood, who has been an inspirational discussion partner and an assiduous reader. Any errors in interpretation, argumentation or presentation are, however, my own. Many thanks must also go to numerous people who have read parts of this thesis, in various incarnations, and offered generous and insightful commentary. They include: Julian Graffy, Pamela Davidson, Seth Graham, Andreas Schönle, Alexandra Smith and Mark D. Steinberg. I am grateful to Chris Tapp for his willingness to lead me through certain aspects of Biblical exegesis, and to Robert Chandler and Robin Milner-Gulland for sharing their insights into Khlebnikov’s ‘Odinokii litsedei’ with me. I would also like to thank Julia, for her inspiration, kindness and support, and my parents, for everything. 4 Note on Conventions I have used the Library of Congress system of transliteration throughout, with the exception of the names of tsars and the cities Moscow and St Petersburg. References have been cited in accordance with the latest guidelines of the Modern Humanities Research Association. In the relevant chapters specific works have been referenced within the body of the text. They are as follows: Chapter One—Vladimir Markov, ed., Manifesty i programmy russkikh futuristov; Chapter Two—Velimir Khlebnikov, Sobranie sochinenii v shesti tomakh, ed. -
An Italian Vision of a Scientific Utopia a Century Ago, Artists and Writers from Italy Imagined a World Governed by Science and Technology
Vol 459|28 May 2009 BOOKS & ARTS An Italian vision of a scientific Utopia A century ago, artists and writers from Italy imagined a world governed by science and technology. But their vision of modernity also glorified violence and misogyny, finds Ziauddin Sardar. Inventing Futurism: The Art and Politics of Artificial Optimism by Christine Poggi Princeton University Press: 2009. 392 pp. £32.50, $45 A hundred years ago, a group of Italian visionary artists declared war on civilization. Rejecting the artwork, poetry, music and archi- tecture of the period, these ‘Futurists’ wanted to create the world anew. Science and technology formed the building blocks of their brave new world, which they expressed not just in art but in violence and naked nationalism. In Inventing Futurism, art historian Christine Poggi describes how the Futurist movement’s raw passion for technology was moulded by the atmosphere of political foreboding of the times. Like futurists working now in the fields of futures studies and foresight, these artists wanted to shape the future. But the goals of the two groups could not be more different. Futur- ists today forecast how science and technology will change our lives, and predict alternative paths. By applying the best lessons of history Futurist Umberto Boccioni conveys the dynamic forces behind city construction in The City Rises (1910). to build on what exists now, they aim to find policies to ensure futures that are more equi- world into sunlight with velocity and violence. industrial production. War would break out, table and just. By contrast, the Italian Futurists A mythical struggle had to be waged between fought by “small mechanics” whose flesh rejected everything that was old. -
Knife Grinder Date: 1912-1913 Creator: Umberto Boccioni, Italian, 1882-1916 Title: Dynamism of a Soccer Player Work Type: Painting Date: 1913 Cubo-Futurism
Creator: Malevich, Kazimir, Russian, 1878- 1935 Title: Knife Grinder Date: 1912-1913 Creator: Umberto Boccioni, Italian, 1882-1916 Title: Dynamism of a Soccer Player Work Type: Painting Date: 1913 Cubo-Futurism • A common theme I have been seeing in the different Cubo- Futurism Paintings is a wide variety of color and either solid formations or a high amount of single colors blended or layered without losing the original color. I sense of movement is also very big, the Knife Grinder shows the action of grinding by a repeated image of the hand, knife, or foot on paddle to show each moment of movement. The solid shapes and designs tho individually may not seem relevant to a human figure all come together to show the act of sharpening a knife. I Love this piece because of the strong colors and repeated imagery to show the act. • In the Dynamism of a soccer player the sense of movement is sort of around and into the center, I can imagine a great play of lights and crystal clarity of the ideas of the objects moving. I almost feel like this is showing not just one moment or one movement but perhaps an entire soccer game in the scope of the 2D canvas. Creator: Demuth, Charles, 1883-1935 Title: Aucassin and Nicolette Date: 1921 Creator: Charles Demuth Title: My Egypt Work Type: Paintings Date: 1927 Precisionism • Precisionism is the idea of making an artwork of another “artwork” as in a piece of architecture , or machinery. The artist renders the structure using very geometric and precise lines and they tend to keep an element of realism in their work. -
Rise of Modernism
AP History of Art Unit Ten: RISE OF MODERNISM Prepared by: D. Darracott Plano West Senior High School 1 Unit TEN: Rise of Modernism STUDENT NOTES IMPRESSIONISM Edouard Manet. Luncheon on the Grass, 1863, oil on canvas Edouard Manet shocking display of Realism rejection of academic principles development of the avant garde at the Salon des Refuses inclusion of a still life a “vulgar” nude for the bourgeois public Edouard Manet. Olympia, 1863, oil on canvas Victorine Meurent Manet’s ties to tradition attributes of a prostitute Emile Zola a servant with flowers strong, emphatic outlines Manet’s use of black Edouard Manet. Bar at the Folies Bergere, 1882, oil on canvas a barmaid named Suzon Gaston Latouche Folies Bergere love of illusion and reflections champagne and beer Gustave Caillebotte. A Rainy Day, 1877, oil on canvas Gustave Caillebotte great avenues of a modern Paris 2 Unit TEN: Rise of Modernism STUDENT NOTES informal and asymmetrical composition with cropped figures Edgar Degas. The Bellelli Family, 1858-60, oil on canvas Edgar Degas admiration for Ingres cold, austere atmosphere beheaded dog vertical line as a physical and psychological division Edgar Degas. Rehearsal in the Foyer of the Opera, 1872, oil on canvas Degas’ fascination with the ballet use of empty (negative) space informal poses along diagonal lines influence of Japanese woodblock prints strong verticals of the architecture and the dancing master chair in the foreground Edgar Degas. The Morning Bath, c. 1883, pastel on paper advantages of pastels voyeurism Mary Cassatt. The Bath, c. 1892, oil on canvas Mary Cassatt mother and child in flattened space genre scene lacking sentimentality 3 Unit TEN: Rise of Modernism STUDENT NOTES Claude Monet. -
The Legacy of Modern Acting Theories In
Rūta MažEIKIEnė Vytautas Magnus University, Lithuania ON ANTI-MIMETIC AcTING: THE LEGACY OF MODERN AcTING THEORIES 85 IN CONTEmpORARY PERFORMANCE1 II. T II. Key words: theatre, Lithuanian theatre, acting, emporary acting theory, anti-mimetic acting, avant-garde theatre, OBERIU, Oskaras Koršunovas. D The multiplicity of different acting forms and styles OBERIU5 were characterized not only by innova- imensions characteristic to contemporary theatre reveals the tive mise-en-scène but also by an eccentric manner dynamic change of traditional methods of acting as of acting, unconventional for the Lithuanian stage. well as the emergence of new ways of acting. With Although some theatre critics would consider this the appearance of new acting forms, the problem way of acting in relation to postmodernism, a closer IN of denomination, evaluation and interpretation of analysis reveals its bonds with the anti-mimetic C actor’s art is faced. It should be noted that in con- ways of acting developed in the modern theatre. ontemporary temporary theatre criticism it is a common practice Thus the aim of this article is to analyse the OBERIU to relate the new ways of acting to the realm of post- trilogy by Koršunovas in relation to the acting theo- modern aesthetics and analyze them as examples of ries of theatre modernists like Craig, Meyerhold and postmodern theatre language. However, contem- Witkiewicz and discuss the legacy of modern acting porary performance often includes non-traditional theories as reflected in contemporary theatre. and new forms of acting that have taken their root The OBERIU trilogy staged by Oskaras Koršunovas L in the field of modern theatre and especially in in the early nineties stood out against the background ithuanian the marginalized trend of anti-mimetic acting, of Lithuanian drama theatre of the time as an example described in the theories of theatre modernists such of innovative directing style and also as an embodi- as Edward Gordon Craig, Vsevolod Meyerhold or ment of a non-traditional understanding of theatre. -
Écrits Sur Bergson
Écrits sur Bergson 1890 Georges Lechalas. “Le Nombre et le temps dans leur rapport avec l’espace, à propos de Les Données immédiates. ” Annales de Philosophie Chrétienne, N.S. 23 (1890): 516-40. Print. Eng. trans. “Number and Time in Relation to Space, as Concerns Time and Free Will .” 1893 Maurice Blondel. L’action. Essai d’une critique de la vie et d’une science de la pratique . Paris: Alcan, 1893, 495. (Bibliographie de Philosophie Contemporaine) Eng. trans. Action . This item is republished in 1950, Presses Universitaires de France. 1894 Jean Weber. “Une étude réaliste de l’acte et ses conséquences morales.” Revue de métaphysique et de morale . 2.6, 1894, 331-62. Eng. trans. “A Realist Study of the Act and its Moral Consequences.” 1897 Gustave Belot. “Un Nouveau Spiritualisme.” Revue Philosophique de la France et de l’Etranger , 44.8 (August 1897): 183-99. The author sees a danger of materialism in Matter and Memory. Print. Eng. trans. “A New Spiritualism.” Victor Delbos. “Matière et mémoire, étude critique.” Revue de Métaphysique et de Morale , 5 (1897): 353- 89. Print. Eng. trans. “ Matter and Memory , A Critical Study.” Frédéric Rauh. “La Conscience du devenir.” Revue de Métaphysique et de Morale , 4 (1897): 659-81; 5 (1898): 38-60. Print. Eng. trans. “The Awareness of Becoming.” L. William Stern. “Die psychische Präsenzzeit.” Zeitschrift für Psychologie und Physiologie der Sinnesorgane 13 (1897): 326-49. The author strongly criticizes the concept of the point-like present moment. Print. Eng. trans. “The Psychological Present.” 1901 Émile Boutroux. “Letter to Xavier Léon. July 26, 1901” in Lettere a Xavier Léon e ad altri. -
NATALIA-GONCHAROVA EN.Pdf
INDEX Press release Fact Sheet Photo Sheet Exhibition Walkthrough A CLOSER LOOK Goncharova and Italy: Controversy, Inspiration, Friendship by Ludovica Sebregondi ‘A spritual autobiography’: Goncharova’s exhibition of 1913 by Evgenia Iliukhina Activities in the exhibition and beyond List of the works Natalia Goncharova A woman of the avant-garde with Gauguin, Matisse and Picasso Florence, Palazzo Strozzi, 28.09.2019–12.01.2020 #NataliaGoncharova This autumn Palazzo Strozzi will present a major retrospective of the leading woman artist of the twentieth- century avant-garde, Natalia Goncharova. Natalia Goncharova will offer visitors a unique opportunity to encounter Natalia Goncharova’s multi-faceted artistic output. A pioneering and radical figure, Goncharova’s work will be presented alongside masterpieces by the celebrated artists who served her either as inspiration or as direct interlocutors, such as Paul Gauguin, Henri Matisse, Pablo Picasso, Giacomo Balla and Umberto Boccioni. Natalia Goncharova who was born in the province of Tula in 1881, died in Paris in 1962 was the first women artist of the Russian avant-garde to reach fame internationally. She exhibited in the most important European avant-garde exhibitions of the era, including the Blaue Reiter Munich, the Deutsche Erste Herbstsalon at the Galerie Der Sturm in Berlin and at the post-impressionist exhibition in London. At the forefront of the avant- garde, Goncharova scandalised audiences at home in Moscow when she paraded, in the most elegant area of the city with her face and body painted. Defying public morality, she was also the first woman to exhibit paintings depicting female nudes in Russia, for which she was accused and tried in Russian courts. -
Kesarevo Kesarju Scritti in Onore Di Cesare G
BIBLIOTECA DI STUDI SLAVISTICI – 23 – COMITATO SCIENTIFICO Giovanna Brogi Bercoff (Direttore), Stefano Bianchini, Marcello Garzaniti (Presidente AIS), Persida Lazarević, Giovanna Moracci, Monica Perotto COMITATO DI REDAZIONE Alberto Alberti, Giovanna Brogi Bercoff, Maria Chiara Ferro, Marcello Garzaniti, Nicoletta Marcialis, Giovanna Moracci, Donatella Possamai, Giovanna Siedina, Andrea Trovesi Kesarevo Kesarju Scritti in onore di Cesare G. De Michelis a cura di Marina Ciccarini Nicoletta Marcialis Giorgio Ziffer Firenze University Press 2014 Kesarevo Kesarju. Scritti in onore di Cesare G. De Michelis / a cura di Marina Ciccarini, Nicoletta Marcialis, Giorgio Ziffer - Firenze : Firenze University Press, 2014. (Biblioteca di Studi slavistici ; 23) http://digital.casalini.it/9788866555728 ISBN 978-88-6655-572-8 (online) ISBN 978-88-6655-570-4 (print) La collana Biblioteca di Studi Slavistici è curata dalla redazione di Studi Slavistici, rivista di pro- prietà dell’Associazione Italiana degli Slavisti (<http://fupress.com/riviste/studi-slavistici/17>). Editing e progetto grafico: Alberto Alberti. Questo volume è stato realizzato con i contributi del Dipartimento di Studi Umanistici dell’Ateneo di Roma “Tor Vergata”. In copertina: Russia. Lev Nikolaevič Tolstoj indica al popolo russo il sole dell’avvenire (Tavola di Paolo Antonio Paschetto per “Bilychnis. Rivista di studi religiosi”, VI, 1917, 3, p. 209). Certificazione scientifica delle Opere Tutti i volumi pubblicati sono soggetti a un processo di referaggio esterno di cui sono responsabili il Consiglio editoriale della FUP e i Consigli scientifici delle singole collane. Le opere pubblicate nel catalogo della FUP sono valutate e approvate dal Consiglio editoriale della casa editrice. Per una descrizione più analitica del processo di referaggio si rimanda ai documenti ufficiali pubblicati sul catalogo on-line della casa editrice (www.fupress.com). -
UCLA UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Resistant Postmodernisms: Writing Postcommunism in Armenia and Russia Permalink https://escholarship.org/uc/item/32m003t0 Author Douzjian, Myrna Angel Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Resistant Postmodernisms: Writing Postcommunism in Armenia and Russia A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Comparative Literature by Myrna Angel Douzjian 2013 @ Copyright by Myrna Angel Douzjian 2013 ABSTRACT OF THE DISSERTATION Resistant Postmodernisms: Writing Postcommunism in Armenia and Russia by Myrna Angel Douzjian Doctor of Philosophy in Comparative Literature University of California, Los Angeles, 2013 Professor David W. MacFadyen, Co-Chair Professor Kathleen L. Komar, Co-Chair Many postcolonial scholars have questioned the ethics of postmodern cultural production. Critics have labeled postmodernism a conceptual dead end – a disempowering aesthetic that does not offer a theory of agency in response to the workings of empire. This dissertation enters the conversation about the political alignment of postmodernism through a comparative study of postcommunist writing in Armenia and Russia, where the debates about the implications and usefulness of postmodernism have been equally charged. This project introduces the directions in which postcommunist postmodernisms developed in Armenia and -
Minimalism and Cubism Introduction
MINIMALISM AND CUBISM INTRODUCTION Minimalism and Cubism are two genres of art that can be said to have grown from the seeds of abstract art. The works produced in both are far from imitation of reality, although deriving ideas from it. Both cubism and minimalism were a change from the traditional views of art in the time they were founded. Cubism brought a new interpretation of 2D imitationalism paintings by emphasising more on the skeleton of real-world forms rather than focusing on the subject from one viewpoint, whereas minimalism took a step further by making an entire change to the use of conventional materials testing the boundaries of what can be considered as art. Realism The change from Realism to Cubism is evident in the way the subjects are painted. In the Realism artwork we see a more realistic version of the Cubism human subjects, whereas the cubism artwork portrays a more shattered mirror version of the subject. Le Repas des Pauvres Alphonse Legros 1877 Minimalism From cubism we see the use of straight edges developed into the minimalistic artwork. Violin and Palette Georges Braque The use of colour too developed 1909 from monochromatic to colourful. There is also tends to be a lack of real world subjects in this genre. Hyena Stomp Frank Stella 1962 CUBISM It began in the early 1900s after Picasso’s creation of “Les Demoiselles d’Avignon” in 1907. The genre mainly consisted of paintings that followed a monochromatic palette to keep the viewer’s focus on the structure of the subject in the work In contrast to the growing movements at the time such as fauvism, expressionism, etc. -
The Graphic Work of Umberto Boccioni by Joshua C
The graphic work of Umberto Boccioni By Joshua C. Taylor Author Taylor, Joshua C. (Joshua Charles), 1917-1981 Date 1961 Publisher The Museum of Modern Art: Distributed by Doubleday Exhibition URL www.moma.org/calendar/exhibitions/3414 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art Wmm, vym/tora THEGRAPHIC WORK OF UMBERTO BOCCIONI byJoshua C. Taylor TheMuseum of ModernArt, NewYork THE t-" :CU_ OF F' Received: THEGRAPHIC WORK OF UMBERTO BOCCIONI byJoshua C. Taylor TheMuseum of ModernArt, New York Distributedby Doubleday& Company,Inc., GardenCity, NewYork /*? "y (s> ^ . / M«fl TRUSTEES OF THE MUSEUM OF MODERN ART William A. M. Burden, Chairman of the Board; Henry Allen Moe, William S. Paley, Vice-Chairmen ; Mrs. John D. Rockefeller, 3rd, President; fames Thrall Soby, Ralph F. Colin, Vice-Presi dents, Alfred H. Barr , Jr., Mrs. Robert Woods Bliss, Gardner Cowles, *Mrs. W. Murray Crane, Rene d'Harnoncourt, Mrs. C. Douglas Dillon, Mrs. Edsel B. Ford, *A. Conger Goodyear , *Mrs. Simon Guggenheim, Wallace K. Harrison, Mrs. Walter Hoch- schild, *James W. Husted, Philip C. Johnson, Mrs. Albert D. Lasker, Mrs. Henry R. Luce, Ranald H. Macdonald, Mrs. Samuel A. Marx, Porter A. McCray, Mrs. G. Macculloch Miller, Mrs. Bliss Parkinson, Mrs. Charles S. Payson, *Duncan Phillips, David Rockefeller, Nelson A. Rockefeller, *Paul J. Sachs, fames Hopkins Smith, Jr., Mrs. Donald B. Straus, G. David T hompson , *Fdward M. M. Warburg, Monroe Wheeler, John Hay Whitney * Honorary Trustee for Life © 1961 by The Museum of Modern Art, 11 West 33 Street, New York 19 Library of Congress Catalogue Card Number 61-16521 While this catalogue cannot pretend to list all of Boccioni's existing graphic worffi, it does include a large part of them, sufficient to draw a reasonably precise notion of his develop ment and the chronology of his stylistically varied oeuvre.