DOCSLIB.ORG

Final Version.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Final Version.Pdf 2 Acknowledgements Maurizio Montalti Publisher De Verenigde Sandbergen Marjo van Baar Nora Morton Sandberg Instituut is the magazine published Ineke Bakker Julia van Mourik occasionally by the Rebecca Bego David Mulder van der Vegt Editor Sandberg Instituut Jurgen Bey Laura Pappa Minke Havelaar Sjoerd ter Borg Jerszy Seymour Print run: 3,000 Max Cohen de Lara Melle Smets English editing ©2016 Sandberg Instituut Christophe Coppens Lisette Smits UVA Talen, Amsterdam Amsterdam Femke Dekker Thomas Spijkerman Linde Dorenbosch Theo Tegelaers Graphic design Sandberg Instituut Martijn Engelbregt Tom Vandeputte Monika Grūzīte Masters of Art and Design Catherine Geel Herman Verkerk Juliette Lizotte Gerrit Rietveld Academie Krist Gruijthuijsen Annelys de Vet Florian Mecklenburg Monika Grūzīte Jaap Vinken Visitor address Hanne Hagenaars Nancy van Vooren Contributors Overschiestraat 188 Cynthia Hathaway Sander van Wettum Can Boyan 1062 XK Amsterdam Minke Havelaar Hélène Webers Theofanis Dalezios Anne Holtrop Anke Zedelius Alexander Gustafsson Postal address Liesbeth in ’t Hout Martine Zoeteman Márk Redele Fred. Roeskestraat 98 Jan-Kees van Kampen Karime Salame 1076 ED Amsterdam Maxine Kopsa De Verenigde Sandbergen Nolwenn Salaün Aliki van der Kruijs issue #76 Arthur Tramier +31 20 5882400 Judith Leysner January 2016 Ekaterina Volkova www.sandberg.nl Juliette Lizotte Sanne Luteijn Master’s programmes Printing Anja Masling 2016–2017 Drukkerij SSP & Cliteur, Brian McKenna Sandberg Instituut Amsterdam STUDIO FOR IMMEDIATE SPACES Florian Mecklenburg Amsterdam Juri Suzuki | 2015 3 FasHioN Matters CRITICAL STUDIES CURE MASTER Rafael Kouto | 2015 4 Rebecca Stephany | 2015 Nyeke Koek | 2015 5 DESIGN Janna Ulrich | 2015 6 7 FINE ARTS SYstem D AcademY dirY art DepartmeNT Alice Gancevici and Remnus Puscariu | 2015 8 Clément Carat | 2014 Chris Rijksen | 2015 9 DirtY art departmeNT DesigNING DemocracY Michele Rizzo | 2015 10 Sandberg Forum | 2015 11 Table of Content Sandberg Instituut 14 Jurgen Bey: waking the unknown 17 Permanent departments Critical Studies 19 Dirty Art Department 25 Design 31 Fine Arts 37 Studio for Immediate Spaces 43 Temporary programmes 13 Master of Voice 49 Reinventing Daily Life 63 Fashion Matters 69 Materialisation in Art and Design 75 Cure Master 81 Designing Democracy 87 System D Academy 93 The One Minutes 99 Studio for Immediate Spaces Wellness Centre | 2015 12 Temporary programmes human voice as a means or an Overschiestraat 188 Sandberg Instituut Jurgen Bey, the director since end in itself, within artistic As the Benthem Crouwel 2010, has sought to find ways practices. Lisette Smits building on the Fred. As the postgraduate programme of the Gerrit to align the institute with the heads the department. Roeskestraat is being dynamic of contemporary Both programmes start in renovated, the Sandberg Rietveld Academie Amsterdam, we offer society. He introduced September 2016, applications Instituut has moved to 2-year programmes that are open until April 1st 2016. a temporary location. Master’s programmes in Fine Arts (MA in Fine are developed according to Our new visitor address urgent world issues. Vacant Permanent departments is Overschiestraat 188, Art), Interior Architecture (MA in Interior NL – the first temporary Whereas the temporary Amsterdam. It will be our Master’s programme – was programmes reflect on residence for at least the Architecture), and Design (MA in Design). launched in 2011 and explored situations with a sense of next two years, and we are the vast potential of the urgency, our main departments sharing it with the Gerrit With an average of 20 students per programme, thousands of vacant buildings aim to deepen the practices Rietveld Academie’s Fine Arts in the Netherlands. In 2013, of artists, designers and department (BA). we keep our departments relatively small. two additional temporary critics. Sandberg Instituut’s programmes were introduced: permanent programmes Sandberg eats This allows us to make the courses flexible and School of Missing Studies include Critical Studies, We have our own food truck, dealt with art and the public Design, The Dirty Art run by students Lia Satzinger open to initiatives from students and third space, whereas Material Department, Fine Arts and (Studio for Immediate Spaces) Utopias investigated the Studio for Immediate Spaces. and Naomi Tattum (Cure parties. The course directors are prominent shifting boundaries between Master). From Tuesday until materials and techniques. This publication presents an Thursday they serve fresh artists, designers and curators with international introduction to each of our soup, Lebanese bread wraps At the moment we are running departments and temporary and man’oushi flatbread from five temporary programmes. programmes. It provides their Saj, a domed griddle. practices. They invite (guest) tutors who are able 15 14 Cure Master (2014–2016) on a peak at what the courses to challenge the students to critically reflect on art and healthcare, Designing entail and the work our Democracy (2014–2016) students create. their profession, their work and their progress. on political spatial design, System D Academy The Sandberg Instituut is (2014–2016) on informal and open to candidates from self-organising social systems, many different backgrounds. Fashion Matters (2015–2017) We require a valid Bachelor on alternative systems for degree in a field relevant the fashion industry, and to the programme you are Materialisation in Art and applying for, as well as proof Design (2015–2017) which of proficiency in the English is a continuation as well as a language. To apply for a disruption of Material Utopias. programme, or for more information, please visit New programmes www.sandberg.nl We are happy to announce two new temporary programmes that will run from September 2016 until June 2018. Reinventing Daily Life, directed by Thomas Spijkerman, seeks to integrate elements of the performing arts in everyday life. Master of Voice focusses on the Jurgen Bey: waking the unknown ‘Nothing is without deception’, says the Idiot by Dostoevsky. ‘If only there was more deception’, Jurgen Bey seems to lament: he wants to arrive at a better world by putting a different spin on reality, with art as an accelerator or flywheel. In Salvador Sandberg Eats | The Lebanese Sajeria | 2015 Dali’s melting clocks and trees with eyes, recognition and alienation are balanced in an understandable mix on the canvas. An ideal entry 17 16 point into a different reality for beginners. In the Hoog Catharijne yet we regard it as soothing. syndrome as angels, as a gift shopping centre in Utrecht a In the 1970s, broadcasters for humanity. In the film a man in a black suit and tie steps organized silence on the group of adults takes to the out of the crowd and dances radio. Panic ensued among streets pretending to be many times in a circle with the listeners; what was going mentally handicapped and open arms. He gives the man on? A silence on the radio is give a forceful twist on the or woman with a shopping bag still a sound of 24 decibels, thumbscrew of normality. full of leeks and carrots the the minimum standard. The reaction of the chance to become infected by Subsequently, civilized voices bystanders leaves no trace the magic of this Sufi dance discussed whether the radio of the angelic idea and their in a work by artist Germaine should resume broadcasting. discomfort and irritation Kruip. ‘There is the education’, However, the freedom to is displayed unashamedly. says Bey, ‘in the language of carry out such experiments During a visit to the Rockwool what you don’t understand. has disappeared. factory, one of the ‘idiots’ Art is meant to embrace is allowed to briefly push “not understanding.” ’ Bey’s favourite film The the blue button, which halts idiots by Lars von Trier also production, and for a moment Perhaps we can also embrace removes the veil between he is the king of isolation. chaos as silence. different realities. The idea for the film derives from the The search for the ‘inner idiot’ Silence – the lack of sound – theory of Rudolf Steiner, is the counterbalance for the Sandberg year opening | 2015 is a strange phenomenon and who saw people with Down ordinary normative existence. To help the world progress, you, to seek the elasticity predictions rarely come true, it is necessary to go beyond between those few things that but that those who make the reality, to have visionary you do understand’. journey of discovery to the thinking, to think unthinkable future return with invaluable thoughts. That is the field It was possible for Obama knowledge.’ * World peace? of art. to become the first black An era that is driven by American president because culture? Who knows. Perhaps. Every person constantly reality was primed by TV and sees what he or she already films, where black leaders were At the Sandberg it is about knows, as a kind of everyday already shown, in anticipation applied questions that are blindness. Reality? of reality. With imagination, we not answered in an applied The number of realities is are turning the knobs of the manner. ‘If we want to change inconceivable. The planet future. ‘For me, beauty is that our behaviour, we do not need Mars possesses only a tenth imaginative power’, says Bey. technocratic solutions, but of our reality. Autistic, blind people who are nice to each or deaf people share a part of The school intends to organize other again’, says Bey at the our reality, but much of our the principles of the cultural end of our conversation. reality is also removed in their field, the areas where curiosity And that brings us back to life. Almost all people regard emerges. As director, Bey Dostoevsky’s idiot, who their own small circle as ‘the wants to be careful with ‘not also under all circumstances truth’ but this is no more than permitting’. The different continues to believe in the an opinion. A conviction.
Load more

Recommended publications
  • Mondrian and De Stijl
    Exhibition November 11, 2020 – March 1, 2021 Sabatini Building, Floor 1 Mondrian and De Stijl Piet Mondrian, Lozenge Composition with Eight Lines and Red (Picture no. III), 1938 Fondation Beyeler, Riehen/Basel, Beyeler Collection. © Mondrian/Holtzman, 2020 The work of the Dutch artist Piet Mondrian within the context of the movement De Stijl [The Style] set the course of geometric abstract art from the Netherlands and contributed to the drastic change in visual culture after the First World War. His concept of beauty based on the surface, on the structure and composition of color and lines, shaped a novel and innovative style that aimed at breaking down the frontiers between disciplines and surpassing the traditional limits of pictorial space. De Stijl, the magazine of the same name founded in 1917 by the painter and critic Theo van Doesburg, was the platform for spreading the ideas of this new art and overcoming traditional Dutch provincialism. Contrary to what has often been said, the members of De Stijl did not pursue a utopia but a world where collaboration between all disciplines would make it possible to abolish hierarchies among the arts. These would thus be freed to merge together and give rise to something new, a reality better adapted to the world of modernity that was just starting to be glimpsed. Piet Mondrian (Amersfoort, Netherlands, 1872-New York, 1944) is considered one of the founders of this new art. His progressive ideas about the relationship between art and society grew from the deep- rooted Dutch realist tradition inherited from the seventeenth century.
    [Show full text]
  • Guide to International Decorative Art Styles Displayed at Kirkland Museum
    1 Guide to International Decorative Art Styles Displayed at Kirkland Museum (by Hugh Grant, Founding Director and Curator, Kirkland Museum of Fine & Decorative Art) Kirkland Museum’s decorative art collection contains more than 15,000 objects which have been chosen to demonstrate the major design styles from the later 19th century into the 21st century. About 3,500 design works are on view at any one time and many have been loaned to other organizations. We are recognized as having one of the most important international modernist collections displayed in any North American museum. Many of the designers listed below—but not all—have works in the Kirkland Museum collection. Each design movement is certainly a confirmation of human ingenuity, imagination and a triumph of the positive aspects of the human spirit. Arts & Crafts, International 1860–c. 1918; American 1876–early 1920s Arts & Crafts can be seen as the first modernistic design style to break with Victorian and other fashionable styles of the time, beginning in the 1860s in England and specifically dating to the Red House of 1860 of William Morris (1834–1896). Arts & Crafts is a philosophy as much as a design style or movement, stemming from its application by William Morris and others who were influenced, to one degree or another, by the writings of John Ruskin and A. W. N. Pugin. In a reaction against the mass production of cheap, badly- designed, machine-made goods, and its demeaning treatment of workers, Morris and others championed hand- made craftsmanship with quality materials done in supportive communes—which were seen as a revival of the medieval guilds and a return to artisan workshops.
    [Show full text]
  • International Style in Archıtecture Rietveld Art Deco
    08.12.2011 ARCHITECTURE IN THE FIRST HALF OF THE TWENTIETH CENTURY Adolf Loos & origins of the modern façade Cubism, De Stijl and New Conceptions of Space: The International Style in Archıtecture Rietveld Art Deco Week 11 WORLD HISTORY ART HISTORY ARCHITECTURAL HISTORY Wrights flight airplane 1903 Machintosh builds Hill House Einstein announces relativity theory 1905 First Fauve exhibit, Die Brücke founded Earthquake shakes San Francisco 1906 Gaudi starts building Casa Mila 1907 Brancusi carves first abstract sculpture 1908 Picasso and Braque found Cubism FAUVISM 1908-13 Ash Can painters introduced realism CUBISM EARLY Wright invents Prairie House 1910 Kandinsky paints first abstract canvas Adolf Loos builds Steiner house. 1911 Der Blaue Reiter formed Henry Ford develops assembly line 1913 Armory Show shakes up American art World War I declared 1914 CUBISM HIGH 1916 Dada begins FUTURISM Lenin leads Russian revolution 1917 De Stijl founded 1918 Bauhaus formed EXPRESSIONISM 1920s Mexican muralists active U.S. Women win vote 1920 Soviets suppress Constructivism LATE CUBISM LATE Hitler writes Mein Kampf 1924 Surrealists issue manifesto Gropius builds Bauhaus in Dessau Lindbergh flies solo across Atlantic 1927 Buckminister Fuller designs Dymaxian House Fleming discovers penicillin 1928 CONSTRUCTIVISM PRECISIONISM Stock Market crashes 1929 Le Corbusier’s Villa Savoy sets style for Modernism 1930s American scene painters popular, Social Realists paint political art Empire State Building opens FDR becomes President 1933 Commercial television begins 1939 U.S: enters WWII 1941 SURREALISM First digital computer developed 1944 Pope’s National Gallery is last major Classical building in U.S. Hiroshima hit with atom bomb 1945 Dubuffet coins term “L’Art Brut” Mahatma Gandhi assasinated, Israel founded 1948 People’s Republic of China founded 1949 Oral Contraceptive invented 1950 Abstract expressionism recognized 1952 Harold Rosenberg coins term “Action Painting” DNA structure discovered, Mt.
    [Show full text]
  • Colour, Form, and Space: Rietveld Schröder House Challenging The
    COLOUR, FORM AND SPACE RIETVELD SCHRÖDER HOUSE CHALLENGING THE FUTURE Marie-Thérèse van Thoor [ed.] COLOUR, FORM AND SPACE TU Delft, in collaboration with Centraal Museum, Utrecht. This publication is made possible with support from the Getty Foundation as part of its Keeping It Modern initiative. ISBN 978-94-6366-145-4 © 2019 TU Delft No part of these pages, either text or image, may be used for any purpose other than research, academic or non-commercial use. The publisher has done its utmost to trace those who hold the rights to the displayed materials. COLOUR, FORM AND SPACE RIETVELD SCHRÖDER HOUSE CHALLENGING THE FUTURE Marie-Thérèse van Thoor [ed.] COLOUR, FORM AND SPACE / Rietveld Schröder House challenging the Future 4 Contents CONTENTS INTRODUCTION 7 Marie-Thérèse van Thoor THE RESTORATION OF THE EXTERIOR 11 Marie-Thérèse van Thoor THE PAINTWORK AND THE COLOURS OF THE EXTERIOR 23 Marie-Thérèse van Thoor RESTORATION OF THE INTERIOR 35 Marie-Thérèse van Thoor THE HOUSE OF TRUUS SCHRÖDER: FROM HOME TO MUSEUM HOUSE 55 Natalie Dubois INDOOR CLIMATE IN THE RIETVELD SCHRÖDER HOUSE 91 Barbara Lubelli and Rob van Hees EPILOGUE 101 ENDNOTES 105 LITERATURE 113 ARCHIVES 114 CONVERSATIONS 114 COLOPHON 117 5 COLOUR, FORM AND SPACE / Rietveld Schröder House challenging the Future INTRODUCTION MARIE-THÉRÈSE VAN THOOR 6 Introduction INTRODUCTION MARIE-THÉRÈSE VAN THOOR The Rietveld Schröder House in Utrecht was designed in 1924 is also a milestone in the history of modern heritage restoration by Gerrit Thomas Rietveld (1888-1964) for Mrs Truus Schröder- and a manifesto for the concern for modern heritage in Schräder (1889-1985), as a home for her and her three young the Netherlands.
    [Show full text]
  • M O MA Highligh Ts M O MA Highligh Ts
    MoMA Highlights MoMA Highlights MoMA This revised and redesigned edition of MoMA Highlights: 350 Works from The Museum of Modern Art presents a new selection from the Museum’s unparalleled collection of modern and contemporary art. Each work receives a vibrant image and an informative text, and 115 works make their first appearance in Highlights, many of them recent acquisitions reflecting the Museum’s commitment to the art of our time. 350 Works from The Museum of Modern Art New York MoMA Highlights 350 Works from The Museum of Modern Art, New York The Museum of Modern Art, New York 2 3 Introduction Generous support for this publication is Produced by the Department of Publications What is The Museum of Modern Art? 53rd Street, from a single curatorial The Museum of Modern Art, New York provided by the Research and Scholarly At first glance, this seems like a rela- department to seven (including the Publications Program of The Museum of Edited by Harriet Schoenholz Bee, Cassandra Heliczer, tively straightforward question. But the most recently established one, Media Modern Art, which was initiated with the sup- and Sarah McFadden Designed by Katy Homans answer is neither simple nor straight- and Performance Art, founded in port of a grant from The Andrew W. Mellon Production by Matthew Pimm forward, and any attempt to answer it 2006), and from a program without a Foundation. Publication is made possible Color separations by Evergreen Colour Separation permanent collection to a collection of by an endowment fund established by The (International) Co., Ltd., Hong Kong almost immediately reveals a complex Printed in China by OGI/1010 Printing International Ltd.
    [Show full text]
  • Van Gogh Museum Journal 1997-1998
    Van Gogh Museum Journal 1997-1998 bron Van Gogh Museum Journal 1997-1998. Waanders, Zwolle 1998 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012199701_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 7 Director's foreword This is an exciting period for the Van Gogh Museum. At the time of publication, the museum is building a new wing for temporary exhibitions and is engaged in a project to renovate its existing building. After eight months, during which the museum will be completely closed to the public (from 1 September 1998), the new wing and the renovation are to be completed and ready for opening in May 1999. The original museum building, designed by Gerrit Rietveld and his partners, requires extensive refurbishment. Numerous improvements will be made to the fabric of the building and the worn-out installations for climate control will be replaced. A whole range of facilities will be up-graded so that the museum can offer a better service to its growing numbers of visitors. Plans have been laid for housing the collection during the period of closure, and thanks to the co-operation of our neighbours in the Rijksmuseum, visitors to Amsterdam will not be deprived of seeing a great display of works by Van Gogh. A representative selection from the collection will be on show in the South Wing of the Rijksmuseum from mid-September 1998 until early April 1999. In addition, a group of works will be lent to the Rijksmuseum Twenthe in Enschede. We have also taken this opportunity to lend an important exhibition to the United States.
    [Show full text]
  • Programme 2004 Edition 1 Jan Van Eyck Academie
    Programme 2004 Edition 1 Jan van Eyck Academie Contents 5 Introduction Research projects 10 Authoring the City 11 CLiC 12 Meta Haven Sealand Identity Project 13Micropolis 14 Publications and Resonances 15 Trichtlinnburg 16 UbiScribe Researchers, advising researchers and staff 18 A– 20 B– 35 C– 40 D– 42 E– 43 F– 46 G– 48 H– 55 I– 56 J– 58 K– 65 L– 74 M– 82 N– 83 P– 85 R– 88 S– 95 T– 99 U– 100 V– 105 W– 108 Directory Introduction: Post-academic institute? Research and production? Fine art, design and theory? ~ ‘Never yet has this institute had the time to get used to its past’ – it is the first sentence of the preface of a former director at the Jan van Eyck Academie, and also one of the last sentences from the argument of another former director at the same institute. William Graatsma and Ko Sarneel are right: the history of the Jan van Eyck has been turbulent. There has never been much time to look back. If I mention that the Jan van Eyck was founded in 1948 as a catholic ‘academy for education in fine art and applied art’ with a view to ‘promote and extend art education in the widest sense of the word on a catholic foundation’ then this provides an immediate indication about the drastic changes which have occurred in Maastricht. And how much the people there have always looked to the future. This would remain the same also after the directorships of Sarneel and Graatsma. The Jan van Eyck has simply continued reformulating its own principles and practices.
    [Show full text]
  • A Tectonics of Place & Structure in the Mississippi Heartland
    Southern Illinois University Carbondale OpenSIUC Theses Theses and Dissertations 8-8-2009 ASSEMBLY & JOINTURE: A Tectonics of Place & Structure in the Mississippi Heartland Delta Matthew .J Pica Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/theses Recommended Citation Pica, Matthew J., "ASSEMBLY & JOINTURE: A Tectonics of Place & Structure in the Mississippi Heartland Delta" (2009). Theses. Paper 2. This Open Access Thesis is brought to you for free and open access by the Theses and Dissertations at OpenSIUC. It has been accepted for inclusion in Theses by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. ASSEMBLY AND JOINTURE: A TECTONICS OF PLACE & STRUCTURE IN THE MISSISSIPPI HEARTLAND DELTA by Matthew J. Pica Degrees Earned B.S. in Architectural Studies, Southern Illinois University, 2008 A Thesis Submitted in Partial Fulfillment of the Requirements for the Master of Architecture Department of Architecture in the Graduate School Southern Illinois University Carbondale August 2009 ASSEMBLY AND JOINTURE: A TECTONICS OF PLACE & STRUCTURE IN THE MISSISSIPPI HEARTLAND DELTA by Matthew J. Pica Degrees Earned B.S. in Architectural Studies, Southern Illinois University, 2008 A Thesis Submitted in Partial Fulfillment of the Requirements for the Master of Architecture Department of Architecture in the Graduate School Southern Illinois University Carbondale August 2009 THESIS APPROVAL ASSEMBLY & JOINTURE: A TECTONICS OF PLACE & STRUCTURE IN THE MISSISSIPPI RIVER DELTA By Matthew J. Pica A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Architecture in the field of Architecture Approved by: Dr.
    [Show full text]
  • Dutch Influence in Art De Stijlby Tara Jensen
    December 2007 59 Dutch Influence in Art De StijlBy Tara Jensen A New Beginning Between the year 1900 and1945 Modernism took over the world of art. The ways of understanding the world were changing with the discoveries of chemistry and physics, which caused artists to look at the world in an entirely new way. It was a time of rebellion for a very large number of artists who were challenging traditional art. Since there were so many artists challenging traditional art during this time, there came to be many different art movements throughout the modern time period. For a short period of time Dutch Modernism had an influence on modern art at the birth of abstractionism. This movement was referred to as De Stijl, which is Dutch for “The Style.” This particular movement began nearing the end of WWI and for some time after; from the year 1917 through 1932 led by Piet Mondrian. What began with Wassily Kandinsky’s love of arranging colors and lines later became a belief that lines and color alone could be used to transmit emotion rather than simply imitate nature. The emphasis on color to Art on this page: Piet Mondrian Composition A with Blavk, Red, Yellow, and Blue Design History 60 Art on this page: Theo van Doesburg Counter-Composition XIII December 2007 December 2007 61 a belief that lines and color alone could be used to transmit emotions convey emotions went against the teachings students artists before this time learned in art academies, which had placed more period. Painting was importance on design.
    [Show full text]
  • Redalyc.Piet Mondrian, Plastic Vision and Esthetic Emotion
    El Artista E-ISSN: 1794-8614 [email protected] Universidad Distrital Francisco José de Caldas Colombia Barriga, Jorge Alexander Piet Mondrian, Plastic vision and esthetic emotion El Artista, núm. 8, diciembre, 2011, pp. 109-134 Universidad Distrital Francisco José de Caldas Pamplona, Colombia Disponible en: http://www.redalyc.org/articulo.oa?id=87420931008 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto Piet Mondrian, Plastic vision and esthetic emotion Piet Mondrian, Visión plastic y emoción estética Por: Jorge Alexander Barriga Bunsei University of Art Departamento de Artes Plasticas Doctorando en arte Recibido 3/12/11; aceptado 7/12/11 Es la fantasía inconsciente del sujeto lo único que domina en el artista al considerar la belleza. Eduard Von Hartman.1889 Abstract Mondrian expressed that “if color represents meaning and expression it has to be a universal, general meaning formulated in every separated color and specified in the relation unity of image. Unity and relationship are the determinants in the roots of the meaning in color. Yet, he offers no opinion on the question of whether color carries an inner meaning of its own. He needed to make the universal visible; this fact forced him to keep available the possibilities of the pure, saturated color; then, he used it in all of his works. Key words: plasticism, saturation, pure color 1 Mondrian: the painter Mondrian was 20 years old when he started studies at the Amsterdam Public Academy.
    [Show full text]
  • Art and Architecture
    College of Engineering Department of Architecture History of Architecture 4th year – 1st Semester M.S.C. Madyan Rashan Academic Year 2018-2019 Lecture Information Course name History of Architecture Lecture’s title LE Corbosier, Frank L. Wright, De stjil . Lecturer Madyan Rashan Lecturer’s Information [email protected] [email protected] +9647703315409 The objective This lecture explains the main principles of Corbousier Architecture. Previous Lecture Russian Constructivism Bauhaus Walter Gropius Mies van der Rohe LE CORBUSIER Charles-Édouard Jeanneret was born on oct 6 1887, in La Chaux-de- Fonds in Switzerland. Published the book Après le cubisme (After Cubism), an anti-cubism manifesto, and established a new artistic movement called purism. Purism, referring to the arts, was a movement that took place between 1918 and 1925 that influenced French painting and architecture. Purism was led by Amédée Ozenfant and Charles Edouard Jeanneret (Le Corbusier). Ozenfant and Le Corbusier created a variation of the Cubist movement and called it Purism: where objects are represented as elementary forms devoid of detail. The main concepts were presented in their book Après le Cubisme (After Cubism) published in 1918 LE CORBUSIER LE CORBUSIER In 1923, published another book, Vers une Architecture (Toward a New Architecture) in which he declared ,“a house is a machine for living in”. In this book he elucidated his vision for architecture inspired by the emerging modern era, applying the principles of cars, planes, and ships to buildings. It was here that he proclaimed the house as a “machine for living in,” summarizing his early approach to design and defining the fundamental attitude of Modernist architecture.
    [Show full text]
  • Piet Mondrian, Plastic Vision and Esthetic Emotion Piet Mondrian
    Piet Mondrian, Plastic vision and esthetic emotion Piet Mondrian, Visión plastic y emoción estética Por: Jorge Alexander Barriga Bunsei University of Art Departamento de Artes Plasticas Doctorando en arte Recibido 3/12/11; aceptado 7/12/11 Es la fantasía inconsciente del sujeto lo único que domina en el artista al considerar la belleza. Eduard Von Hartman.1889 Abstract Mondrian expressed that “if color represents meaning and expression it has to be a universal, general meaning formulated in every separated color and specified in the relation unity of image. Unity and relationship are the determinants in the roots of the meaning in color. Yet, he offers no opinion on the question of whether color carries an inner meaning of its own. He needed to make the universal visible; this fact forced him to keep available the possibilities of the pure, saturated color; then, he used it in all of his works. Key words: plasticism, saturation, pure color 1 Mondrian: the painter Mondrian was 20 years old when he started studies at the Amsterdam Public Academy. He studied there from 1892 to 1908, under Master August Allebé’s direction. For that period, his plastic activity was influenced by naturalism and impressionism. According to critics, he painted images and landscapes following the Haya school style, and as Jongkind’s successor. I think his art work expresses deep nostalgia and existential emptiness feeling. Windmills, countryside and rivers were inspiration sources for many of his works. However the most representative works of this period were those where he used harmony, dominating mauve, grey, and dark green Número 8/dic.
    [Show full text]