DOCSLIB.ORG

New Movement

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
New Movement 10821 Painters within this category include René Magritte (1898-1967), Dali and Paul Delvaux (1897–1994). Background and influences Surrealist painting Fig. 1 René Magritte, Attempting the Impossible, 1928; oil on canvas, by 105.6 x 81 cm/ 41.5 x 31.8 in; Galerie Isy Brachot, Brussels. Dr John W Nixon BRETON, DADA AND AUTOMATISM Related Study Notes Surrealism was a literary and visual arts movement Surrealism’s principal theorist and guiding force was the active across Europe c.1920–39 and dedicated to French poet and writer André Breton (1896–1966) – artistically exploring irrational and subconscious (or popularly referred to as ‘the Pope of Surrealism’, a title 10050 unconscious) areas of experience. Historical precedents suggesting something of the control he improbably, but Perspectives on realism include the bizarre visions of Hieronymus Bosch tellingly, managed to exert over the movement. Breton had 10060 (c1450–1516), the poetry of the Comte de Lautréamont been one of the Paris Dadaists, contributing articles from From realism to abstraction (1846–70: “Beautiful as the chance encounter of a 1918 and producing his own periodical, Littérature. By about sewing machine and umbrella on an operating table…”), 1920, however, he had become exasperated with Dada’s 10720 the nightmarish fantasies of Henri Fuseli (1741–1825), unfettered anarchism and negativism and had broken away Cubist painting in France Francisco Goya (1746–1828), and James Ensor (1860– from the movement. A group of like-minded writers began to 10740 1949), or the lighter and more directly contemporaneous form around him and in 1924, in Paris, he produced the First Northern Expressionist works of Paul Klee (1879–1940), Marc Chagall (1889– Surrealist Manifesto. In this he defined Surrealism as: painting 1985) and Giorgio de Chirico (1888–1978) – these three, Pure psychic automatism, by which it is intended to 10845 it should be noted, resisted the association. More express, whether verbally or in writing, or in any other way, the real process of thought. Thought’s dictation, free Picasso, middle and late directly, several Surrealists, including the movement’s painting principal theorist André Breton (1896–1966), were from any control by the reason, independent of any previously Dadaists (c.1915–22). Dada’s distain for aesthetic or moral preoccupation... Surrealism rests on 20521 reason and tradition – a reaction in part to the 1914–18 the belief in the superior reality of certain forms of associ- De Stijl World War – fed into the new movement. The psycho- ation hitherto neglected, in the omnipotence of the dream, in the disinterested play of thought... 30710 logical writings of Sigmund Freud (1856-1939) and Carl Abstract Expressionist Jung (1875-1961) were also influential. Freud’s psychol- SURREALISM THE TERM painting ogy emphasized the role of sexuality: Jung’s, myth, Breton borrowed the word surréaliste from the French poet 30720 religion and art. Dreams, hypnosis, and forms of ‘free and critic Guillaume Apollinaire (1880–1918) who had coined Pop Art association’ or ‘automatic’ behaviour were their points it in 1917 in reference to German philosopher Friedrich of entry to what underlay consciousness. These, too, Nietzsche’s (1844–1900) notion of the Superman, Ie Sur- 30746 influenced content and methods in Surrealist practice. homme – the great artist-philosopher whose qualities of Pictorial analysis and Breton’s First Surrealist Manifesto, published in Paris willpower, creativity and imagination set him apart from the interpretation: a case study in 1924, launched the movement into the public arena. rest of humanity, the crowd, the herd. (See From Realism to Abstraction study note for earlier treatment of Nietzsche.) 30820 The first Surrealist International Exhibition was held in Surrealism, thus, means ‘above the real’, ‘super-real’, ‘a sort Modernism and Paris in 1925 and the movement rapidly became the of absolute reality, a surreality’. By implication, Breton and Postmodernism most generally popular of the 20thC. Even today, many his fellow Surrealists saw themselves licensed to operate continue to produce Surrealist work, although more 30830 with the same casual, elitist disdain for order – be it logical, within cinema and graphics than painting or sculpture. School of London painting aesthetic, moral or whatever – as did Nietzsche’s Superman. There are two main kinds of Surrealism: Dream, juxta- In the text, a Z symbol refers posing images ‘bringing together two or more dissimilar OUTWARD AND INWARD VISION to these Study Notes realities on a plane foreign to all of them’; and Automat- Surrealism, Breton makes clear, is concerned not with ic, where use of chance or accident extends into the faithfully recording outer appearance and phenomenal effect formal elements themselves, leading, for the most part, but, rather, giving expression to inner worlds of dreams, emotions, drives and imagination. Bypassing everyday to abstraction or semi-abstraction. Automatic Surrealists waking reality, with all its constraints and particularities, include Max Ernst (1891–1976), Joan Miró (1893–1983) Breton claims the Surrealist, like the Expressionist or and André Masson (1896–1987). Dream Surrealism limits Abstract artist, addresses a “superior reality”, one effectively ‘chance’ or ‘accident’ to the selection and juxtaposition closer to the essence of beings and things. It is worth noting, of images or ideas, the images themselves tending to be however, that Nietzsche’s perspectivist, relativist philosophy rendered academically. Dream rather than Automatic questions the superiority of any one viewpoint to another. Surrealism, understandably, generated the popular Breton’s ‘either/or’ attitude may be the norm within Modernist support, not least because of relative accessibility, at a polemic, each movement striving to overthrow its predeces- certain level, and easy adaptation to mass media such sor, but art itself is generally more complex. Whilst Surrealist as film and television. Salvador Dali (1904–89), for art emphasizes inner visions it will be seen that much of it instance, was largely responsible for the award winning also connects with outer ones. dream sequence in Alfred Hitchcock’s film Spellbound, 1945, starring Ingrid Bergman and Gregory Peck. 1/5 10821u.doc: first published 2007 CCEA GCE HISTORY OF ART NIETZSCHE, FREUD AND JUNG By way of postscript to this section. The ‘scientific’ worth Nietzsche’s philosophical writings, with their intense and of Freud’s theories has been criticised in recent years, with powerfully dramatic musings on what it is to be human, some of his case studies seemingly exposed as fraudulent. anticipate certain developments in psychiatry at the turn of Nevertheless, his approach dominates current therapeutic the century. Interestingly, particularly given that early practice. Jungian analytic psychology, on the other hand, Expressionism and abstraction also centred on Germany, the whilst relatively unimportant within current therapeutic two leaders in the field, Austrian Sigmund Freud (1856– practice, remains influential across the arts and humanities. 1939) and Swiss Carl Jung (1875–1961), both had German Jung’s reputation, like that of Nietzsche before him, has as their first language. suffered somewhat by association with Nazism – the Collect- In his psychiatric practice in Vienna, Freud used hypnosis, ive Unconscious having a strong racial dimension, and dream analysis, and, later, ‘automatic’ or ‘free association’1 Nietzsche’s Superman being rather close to a Hitler self- techniques to diagnose patients with hysteria and other image. Freud, as a Jewish refugee from Nazism (he spent mental disorders. Such disorders, he came to consider, his last two years in England), had no such problems. It may represented undischarged emotional energy, occasioned by also be worth noting, within this psychiatric context, that, ten repressed sexual experiences or urges. This was the basis years before his death, Nietzsche himself suffered a total of his psychoanalytical psychology and psychotherapy. A mental breakdown from which he never emerged. core element, and illustration, of Freud’s psychoanalysis is DREAMS, SYMBOLS AND MEMORY what he called the Oedipus Complex: Dreams, according to Freud in his landmark Interpretation of In psychoanalytical theory…, the normal emotional Dreams, 1899, are “the royal road to a knowledge of the crisis brought about, at an early stage of psychosexual unconscious activities of the mind”. In their bizarre and often development, by the sexual impulses of a boy towards powerfully memorable combinations of the real and unreal, his mother and jealousy of his father. Resultant guilt familiar and unfamiliar, these “series of images, ideas, feelings precipitate the development of the Superego emotions and sensations occurring involuntarily in the mind (conscience). Its female counterpart is the Electra during certain stages of sleep”4 have ever intrigued with their 2 Complex. glimpses into realms beyond the mundane and rational. Freud’s references here to Greek myth, in the persons of Oedipus and Electra, suggest something of the richness and Fig. 2 Giorgio de Chirico, Mystery and Melancholy of a Street, 1914; depth of his learning and thought – and their attractiveness oil on canvas, 88.2 x 72.3 cm/ 34.25 x 28.5 in; private collection. for writers and artists. Reproduced from H. W. Janson, History of Art, 1962; Thames & For Jung, myth had an even more important role. His The Hudson, London, 4th edition, 1991,
Load more

Recommended publications
  • Networking Surrealism in the USA. Agents, Artists and the Market
    151 Toward a New “Human Consciousness”: The Exhibition “Adventures in Surrealist Painting During the Last Four Years” at the New School for Social Research in New York, March 1941 Caterina Caputo On January 6, 1941, the New School for Social Research Bulletin announced a series of forthcoming surrealist exhibitions and lectures (fig. 68): “Surrealist Painting: An Adventure into Human Consciousness; 4 sessions, alternate Wednesdays. Far more than other modern artists, the Surrea- lists have adventured in tapping the unconscious psychic world. The aim of these lectures is to follow their work as a psychological baro- meter registering the desire and impulses of the community. In a series of exhibitions contemporaneous with the lectures, recently imported original paintings are shown and discussed with a view to discovering underlying ideas and impulses. Drawings on the blackboard are also used, and covered slides of work unavailable for exhibition.”1 From January 22 to March 19, on the third floor of the New School for Social Research at 66 West Twelfth Street in New York City, six exhibitions were held presenting a total of thirty-six surrealist paintings, most of which had been recently brought over from Europe by the British surrealist painter Gordon Onslow Ford,2 who accompanied the shows with four lectures.3 The surrealist events, arranged by surrealists themselves with the help of the New School for Social Research, had 1 New School for Social Research Bulletin, no. 6 (1941), unpaginated. 2 For additional biographical details related to Gordon Onslow Ford, see Harvey L. Jones, ed., Gordon Onslow Ford: Retrospective Exhibition, exh.
    [Show full text]
  • 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.
    [Show full text]
  • Mudia a New Perspective on Art
    PRESS KIT MUDIA A NEW PERSPECTIVE ON ART OPENING OF A NEW TOURIST ATTRACTION, INNOVATIVE FUN AND CULTURE IN THE PROVINCE OF LUXEMBOURG SEPTEMBER 10, 2018 On September 10, 2018, MUDIA, a new tourist attraction, will open its doors in the Province of Luxembourg. As MUDIA houses over 300 works and takes a unique educational approach, its inauguration will prove to be one of the milestones of 2018, both on the Belgian scene and internationally. Initiated by a Belgian art lover and supported by contributions from Belgian and international private collections, MUDIA brings together numerous original masterpieces from the Renaissance to the contemporary era, by Veronese, Brueghel, Rodin, Spilliaert, Van Dongen, Wouters, Picasso, Modigliani, Giacometti, Magritte, Hergé, Franquin, Geluck and many more. Paintings, sculptures, drawings, comics, photographs, cinema and more all co- exist in a playful, digital and high-tech tour that invites the public to participate in its various stages, while learning, being entertained and understanding the universe of art and its evolution. The idea is to create a veritable spectacle based on art which is unique in Europe. MUDIA, a unique visitor experience In a space covering over 1,000 m2, with a total of twenty different galleries, MUDIA offers informed and unsuspecting visitors alike a global, playful vision of the history of art. MUDIA boasts over 300 original works, covering forty-six different art movements. Among them are many works by renowned artists, including, but not limited to: Felicien Rops Fernand Khnopff Léon Spilliaert Odilon Redon František Kupka Alphonse Mucha Gustav Klimt Auguste Rodin Émile Claus Rik Wouters Fernand Wery Kees Van Dongen Pablo Picasso Fernand Léger Amedeo Modigliani Paul Klee Oscar Jespers Gustave De Smet Alberto Giacometti René Magritte Paul Delvaux Raoul Ubac Jean Dubuffet Pierre Alechinsky Andy Warhol Marcel Broodthaers Pol Bury Hergé Franquin Philippe Geluck Katarzyna Górna Paolo Ventura ..
    [Show full text]
  • Christie's the Art of the Surreal 27 February 2018
    PRESS RELEASE | LONDON FOR IMMEDIATE RELEASE | 1 3 FEBRUARY 2017 CHRISTIE’S THE ART OF THE SURREAL 27 FEBRUARY 2018 RENÉ MAGRITTE, MAX ERNST AND PAUL DELVAUX PRESENTED ALONGSIDE WORKS FROM THE COLLECTIONS OF: ANTONI TÀPIES, THE EYE OF THE ARCHITECT, ABSTRACTION BEYOND BORDERS AND THE TRITON COLLECTION FOUNDATION Left: René Magritte, Le groupe silencieux, oil on canvas, 1926, estimate: £6,500,000-9,500,000 Middle: Max Ernst, Les invités du dimanche, oil on canvas, 1924, estimate: £2,000,000-3,000,000 Right: Joan Miró, Painting, oil on canvas, 1925 and 1964, estimate: £2,000,000-3,000,000 London – The Art of the Surreal sale will follow the Impressionist & Modern Art Evening Sale on 27 February 2018, both of which launch ‘20th Century at Christie’s’, a series of sales that take place in London from 20 February to 7 March 2018. This year’s seventeenth edition of our annual Art of the Surreal auction is a broad overview of Surrealism, its antecedents and later developments, with 34 lots by 15 artists. A major focal point is the four international collections, Abstraction Beyond Borders, The Eye of the Architect, the collection of Antoni Tàpies and the Triton Collection Foundation, with highlights including a metaphysical work by Giorgio de Chirico, a transparence by Francis Picabia, four early paintings by Joan Miró and surreal works by Pablo Picasso and Paul Klee. The works from the sale will be exhibited in London from 20 to 27 February 2018. Olivier Camu, Deputy Chairman, Impressionist and Modern Art, Christie’s: “The seventeenth edition of our annual themed sale The Art of the Surreal will include a core of four private, international collections providing surreal masterpieces not seen at auction before, by artists such as de Chirico, Magritte, Miró and Picasso.
    [Show full text]
  • DELVAUX Paul
    The Trinity College Dublin Art Collections Artist: Paul Delvaux Title: Chrysio Medium: limited edition poster b. 1897, Antheit d. 1994, Veurne Born in Antheit in 1897, Paul Delvaux was one of the major exponents of Surrealism in Belgium. He began his training in 1920 at the Académie des Beaux-Arts in Brussels, initially as an architect, but he soon changed to decorative painting. His earliest works were strongly influenced by the Flemish Expressionism of painters such as Constant Permeke and Gustav De Smet. In the mid-1930s, however, he turned decisively to Surrealism, not as an orthodox member of the movement but to a large extent under the influence of Giorgio De Chirico’s Pittura Metafisica, or metaphysical art. Delvaux’s dream-like vision eschewed the shocking and disconcerting juxtapositions sought by other Surrealists. He chose familiar scenes that he activated with figures placed in odd or unexpected situations. The hallucinatory quality of the imagery was emphasized by precise draughtsmanship and recognizable, everyday colouring. Preferring nocturnal scenes because of their mysteriousness and their associations with childhood fears, Delvaux’s works often feature nude or semi-nude females. These figures are usually presented as placid and almost innocent nudes totally lacking in sensuality. As impassive and static as sculptural monuments, such figures are of an almost unvarying type: blonde, with large dark eyes, rather heavy breasts and black pubic hair. Delvaux’s work is striking in its unity; apart from in the very early works before he had found his way, he was one of those rare artists who found his style almost at the outset and remained faithful to it throughout his career.
    [Show full text]
  • Talented Art 1-4 - Ms
    Talented Art 1-4 - Ms. Jensen - Grace King High School Assignment #1 - Surreal Circumstances | Size: 8x10 | Media: Any | Sketch & Final ​ READ: SURREALISM Source: https://www.metmuseum.org/toah/hd/surr/hd_surr.htm ​ Surrealism originated in the late 1910s and early ’20s as a literary movement that experimented with a new mode of ​ ​ ​ expression called automatic writing, or automatism, which sought to release the unbridled imagination of the ​ ​ ​ subconscious. ​ Officially consecrated in Paris in 1924 with the publication of the Manifesto of Surrealism by the poet and ​ ​ critic André Breton (1896–1966), Surrealism became an international intellectual and political movement. Breton, a trained psychiatrist, along with French poets Louis Aragon (1897–1982), Paul Éluard (1895–1952), and Philippe Soupault (1897–1990), were influenced by the psychological theories and dream studies of Sigmund Freud ​ (1856–1939) and the political ideas of Karl Marx (1818–1883). Using Freudian methods of free association, their poetry and prose drew upon the private world of the mind, traditionally restricted by reason and societal limitations, to produce surprising, unexpected imagery. The cerebral and irrational tenets of Surrealism find their ancestry in the clever and whimsical disregard for tradition fostered by Dadaism a decade earlier. Surrealist poets were at first reluctant to align themselves with visual artists because they believed that the ​ laborious processes of painting, drawing, and sculpting were at odds with the spontaneity of uninhibited
    [Show full text]
  • A Surrealist Collector's Journey from Mexico to Europe | a Private Sale
    A Surrealist Collector’s Journey from Mexico to Europe | A Private Sale A Surrealist Collector’s Journey from Mexico to Europe | A Private Sale Most great Surrealist collections begin with traditional European classics, works made in Europe during the 1930s and early 1940s, by artists such as Rene Magritte or Max Ernst. Few collectors start with the Surrealists “in exile,” those artists like Wolfgang Paalen and Leonora Carrington who emigrated to Mexico City from Europe during World War II. But this is exactly where this collector began. While accompanying Wendi Norris on trips to Mexico City in the early 2000s, the collector met Leonora Carrington, visited the largest collection of Paalen’s work, and spent time with Remedios Varo’s widow amidst the late artist’s great retrospective at the Museo de Arte Moderno. It was through these very experiences that the collector found inspiration to dedicate nearly two decades to amassing a masterful modern collection, of which part is on offer today. From the Surrealists in exile, he traced the art historical thread to works created by their artist peers immediately prior to the start of the war and their imminent dispersion throughout the world - biomorphic atmospheres of Yves Tanguy, a talisman of political revolt by André Masson, a skeletal portrait by Paul Delvaux. Gallery Wendi Norris is proud to privately sell these works as the owner transitions to a new phase in life. The art has been lovingly cared for and exhibited in the collector’s home in Northern California and generously lent to seminal museum exhibitions worldwide.
    [Show full text]
  • Turn of the Century'
    TURN O F TH E C E N T U R Y Loten met een '*' zijn afgebeeld. 1. Datum van de veiling De openbare verkoping van de hierna geïnventariseerde goederen en kunstvoorwerpen zal plaatshebben op woensdag 12 december om 14u in het Veilinghuis Bernaerts, Verlatstraat 16-22 te 2000 Antwerpen 2. Data van bezichtiging De liefhebbers kunnen de goederen en kunstvoorwerpen bezichtigen Verlatstraat 16-22 te 2000 Antwerpen op donderdag 6 december vrijdag 7 december zaterdag 8 december en zondag 9 december van 10 tot 18u 3. Data van afhaling Onmiddellijk na de veiling of op donderdag 13 december van 9 tot 12u op vrijdag 14 december van 9 tot 12u en van 13u30 tot 17u en ten laatste op zaterdag 15 december van 10 tot 12u 4. Kosten 23 % 28 % via WebCast (registratie tot ten laatste dinsdag 11 december 2018, 18u) 30 % via Silent Sale & After Sale €2/ lot administratieve kost 5. Telefonische biedingen Geen telefonische biedingen onder € 500 Veilinghuis Bernaerts/ Bernaerts Auctioneers Verlatstraat 18 2000 Antwerpen/ Antwerp T +32 (0)3 248 19 21 F +32 (0)3 248 15 93 www.bernaerts.be info bernaerts.be Biedingen/ Biddings F +32 (0)3 248 15 93 Geen telefonische biedingen onder € 500 No telephone biddings when estimation less than € 500 Live Webcast Registratie tot dinsdag 11 december, 18u Identification till Tuesday 11 December, 6 PM Silent Sale Lotnummers vanaf 5001 Enkel online, te bezichtigen tijdens de kantooruren Vrijdag 30 november t.e.m. maandag 17 december 12u www.bernaerts.be > veilingen > enkel online ABK 111-2656241-87 IBAN BE67 1112 6562 4187 BIC ABERBE
    [Show full text]
  • Georges Bataille, Historia Ja Taide
    TURUN YLIOPISTON JULKAISUJA ANNALES UNIVERSITATIS TURKUENSIS SARJA - SER. C OSA - TOM. 353 SCRIPTA LINGUA FENNICA EDITA Georges Bataille, historia ja taide Roni Grén TURUN YLIOPISTO UNIVERSITY OF TURKU Turku 2012 Taidehistoria Historian, kulttuurin ja taiteiden tutkimuksen laitos Humanistinen tiedekunta Turun yliopisto 2012 Kansikuva: Piirros Altamiran luolan suuren salin eläinmaalauksista. Muokattu kuvasta Breuil 1952, 66. ISBN 978-951-29-5203-8 (painettu) ISBN 978-951-29-5204-5 (sähköinen) ISSN 0082-7002 Suomen Yliopistopaino Oy – Juvenes print, Turku 2012 Taitto: Niina Tanskanen SISÄLLYS Johdanto I Tutkimusaihe ​ 7 II Tutkimuskysymys ja näkökulma 11 III Tutkielman rakenne. Asiaa tutkimusaineistosta. Muita lukuohjeita 12 IV Kronologia 15 Osa 1: Runousviha I Elämä ja auringonkukka 29 II Myytti, yhteisö ja arkkitehtuuri 1. Arkkitehtoninen metafora ja dualistinen materialismi 47 2. Toiminnan vaatimus ja taiteilijan desolaatio i Kysymyksenasettelu, 1930-luku 59 ii Kysymyksen käyttö, 1940-luku 64 3. Heterologia ja hurma: teoria kokemuksesta 73 4. Taloustieteen etusija ja yhteisöttömien yhteisö 90 Osa 2: Historia ja taide I Luola ja labyrintti 1. Teoria 109 2. Käytäntö 117 II Modernin epävarmuuden maalari 1. Vallattomat suvereenit 133 2. Manet’n metodi 144 3. Lopuksi 156 III Ruumiit vailla elimiä: potilaskertomus 1. Eroksen kyyneleet, hiljaisuus 159 2. Warburg 165 3. Breton, Benjamin 173 4. Lopuksi 177 Johtopäätökset 181 Liitteet I Kirje Alexandre Kojèvelle 6.12.1937 207 II Sisennettyjen Bataille-lainausten alkuperäistekstit 209 Kuvaluettelo 229 Kirjallisuusviitteet 231 Kirjallisuusluettelo 276 5 KIITOKSET Työn ohjaamisesta, opista, suosituksista, korvaamattomasta kannustuksesta Altti Kuusamolle. Monimuotoisesta, suosiollisesta, mukavasta tutkimusilmapiiristä, luennoista, se- minaareista Tutalle, Larsille, Katve-Kaisalle, Riikalle, Minnalle, Mialle, Kaille, Eevalle, Markolle, Johannalle, Astalle, Ringalle, Hannalle, Natasalle ja kaikille muille Turun yliopiston taidehistorian henkilö- ja tutkijakuntaan kuuluville.
    [Show full text]
  • ARH 4XXX Global Surrealisms
    Cover Sheet: Request 15907 ARH 4XXX – Global Surrealisms Info Process Course|New|Ugrad/Pro Status Pending at PV - University Curriculum Committee (UCC) Submitter Rachel Silveri [email protected] Created 2/28/2021 4:52:36 PM Updated 5/4/2021 12:20:18 PM Description of New upper-division ARH course that examines the global spread of the Surrealist movement. request Actions Step Status Group User Comment Updated Department Approved CFA - Art and Art Elizabeth Caple 3/29/2021 History 13020000 No document changes College Approved CFA - College of Jennifer Setlow 4/16/2021 Fine Arts No document changes University Pending PV - University 4/16/2021 Curriculum Curriculum Committee Committee (UCC) No document changes University Pending PV - University 4/16/2021 Curriculum Curriculum Committee Committee (UCC) No document changes Statewide Course Numbering System No document changes Office of the Registrar No document changes Student Academic Support System No document changes Catalog No document changes College Notified No document changes Course|New for request 15907 Info Request: ARH 4XXX – Global Surrealisms Description of request: New upper-division ARH course that examines the global spread of the Surrealist movement. Submitter: Rachel Silveri [email protected] Created: 5/4/2021 12:19:18 PM Form version: 6 Responses Recommended Prefix Enter the three letter code indicating placement of course within the discipline (e.g., POS, ATR, ENC). Note that for new course proposals, the State Common Numbering System (SCNS) may assign a different prefix. Response: ARH Course Level Select the one digit code preceding the course number that indicates the course level at which the course is taught (e.g., 1=freshman, 2=sophomore, etc.).
    [Show full text]
  • André Breton Ve Sürrealist Resim Ilişkisi Ayşe Güngör
    ANDRÉ BRETON VE SÜRREALİST RESİM İLİŞKİSİ AYŞE GÜNGÖR IŞIK ÜNİVERSİTESİ 2011 ANDRÉ BRETON VE SÜRREAL İST RES İM İLİŞ KİSİ AY ŞE GÜNGÖR İstanbul Üniversitesi, Edebiyat Fakültesi, Antropoloji Bölümü, 2009 Bu Tez, I şık Üniversitesi Sosyal Bilimler Enstitüsü’ne Yüksek Lisans (MA) derecesi için sunulmu ştur. IŞIK ÜN İVERSITES İ 2011 ANDRÉ BRETON VE SÜRREAL İST RES İM İLİŞ KİSİ Özet Bu tezin temel amacı, sürrealizmin kurucusu olan André Breton ve sürrealist resim arasındaki ili şkiyi ortaya koymaktır. Bu tezde öncelikle sürrealizmin tarihsel arkaplanı sunulmu ştur. Sonraki bölüm André Breton’un hayatı hakkında kronolojik bilgilerle okuyanlara bilgi vermektedir. Son olarak, André Breton’un yazmı ş oldu ğu makaleler, kitaplara odaklanarak, Breton’un bir sanatsever, bir entelektüel ve bir sanat teorisyeni olarak sunulması amaçlanmı ştır. Anahtar Kelimeler: Sürrealizm, Resim, Sürrealist Sanat, André Breton, Sürrealizm ve Resim, 20. yüzyıl Sanatı i THE RELATIONSHIP BETWEEN ANDRÉ BRETON AND SURREALIST PAINTING Abstract The main aim of this thesis is to clarify the relationship between André Breton, the founder of surrealism and the surrealist painting. First of all, in this thesis, surrealism’s historical background have been presented. The next part have designed to acquaint the readers about André Breton’s life with chronological information. In conclusion, by focusing Breton’s articles and books about surrealist art, to represent André Breton as an art-lover, intellectual and art theorist have been aimed. Keywords: Surrealism, Painting, Surrealist Art, André Breton, Surrealism and Painting, 20th Century Art ii Te şekkür Işık Üniversitesi Sosyal Bilimler Enstitüsü Sanat Kuramı ve Ele ştiri Programıyla, ülkemizde bir ilki gerçekle ştiren ve bu alanda kuramsal bilginin aktarılmasının yolunu açan Sayın Prof.
    [Show full text]
  • Bibliography
    BIBLIOGRAPHY Aagesen, Dorthe. “Stick the Fork in Your Eye!: Ends and Means in Wilhelm Freddie’s Work.” In Bjerkhof, Wilhelm Freddie, 12–97. Abel, Richard, ed. French Film Theory and Criticism: A History; Anthology Volume 1, 1907–1929. Princeton: Princeton University Press, 1988. Abel, Richard, ed. French Film Theory and Criticism: A History; Anthology Volume 2, 1929–1939. Princeton: Princeton University Press, 1988. Aberth, Susan. “Leonora Carrington and the Art of Invocation.” Abraxas, no. 6 (2014): 89–99. Aberth, Susan. Leonora Carrington: Surrealism, Alchemy and Art. Aldershot: Lund Humphries, 2004. Acevedo-Muños, Ernesto R. Buñuel and Mexico: The Crisis of National Cinema. Berkeley: University of California Press, 2003. Acker, Adolphe, et al. “Inaugural Rupture.” In Richardson and Fijalkowski, Surrealism Against the Current, 42–48. Adamowicz, Elza. Surrealist Collage in Text and Image: Dissecting the Exquisite Corpse. Cambridge: Cambridge University Press, 1998. Adamowicz, Elza. Un Chien Andalou: (Luis Buñuel and Salvador Dalí, 1929). London: I.B. Tauris, 2010. Ades, Dawn. Dada and Surrealism Reviewed. London: Arts Council of Great Britain, 1978. Ades, Dawn, Rita Eder, and Graciela Speranza, eds. Surrealism in Latin America: Vivísimo muerto. Los Angeles: Getty Research Institute, 2012. Ades, Dawn, and Simon Fraser, eds. Undercover Surrealism: Georges Bataille and Documents. London: Hayward Gallery, 2006. Adrian-Nilsson, Gösta. “Kubism—Surrealism.” In Wilhelm Freddie och Sverige, 17. © The Editor(s) (if applicable) and The Author(s) 2017 223 K. Noheden, Surrealism, Cinema, and the Search for a New Myth, DOI 10.1007/978-3-319-55501-0 224 BIBLIOGRAPHY “After Revolution, the Shit!: Jan Švankmajer Talks to the Context.” The Context.
    [Show full text]