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1932 was an extraordinary year for Picasso, even by his own standards. His paintings reached a new level of sensuality and he cemented his status as the most influential artist of the time. Over the course of this year he created some of his best-loved works, from colour-saturated portraits to surrealist drawings, developing ideas from the voluptuous sculptures he had made at his newly acquired country estate. In his personal life, throughout 1932, Picasso kept a delicate balance between tending to his wife Olga Khokhlova and their son Paulo, and his passionate love affair with Marie-Therese Walter, twenty-eight years his junior. This publication will bring these complex artistic and personal dynamics to life. It was also a year of invention and reflection. Having recently turned fifty, Picasso embarked on the first volume of what remains the most ambitious catalogue of an artist's work ever made. Meanwhile, the first ever retrospective of his work was staged, a show that featured new paintings alongside earlier works in a range of different styles. Picasso's journeys between his homes in Boisgeloup and Paris capture the contradictions of his existence at this pivotal moment: a life divided between countryside retreat and urban bustle, established wife and recent lover, painting and sculpture, sensuality and darkness. The year ended traumatically when Marie-Therese fell seriously ill after swimming, losing most of her iconic blond hair. In his final works of the year, Picasso transformed the event into scenes of rescue and rape, a dramatic finale to a year of love, fame and tragedy that pushed Picasso to the height of his creative powers. This lavishly illustrated publication will explore the major themes and concerns of 1932, in essays, artworks and archive photographs. It will strip away common myths to reveal the man and the artist in his full complexity and richness.
How did women Surrealists such as Leonora Carrington and Claude Cahun take up the question of female identity in terms of their own aesthetic and intellectual practice? What was the response of women analysts such as Joan Riviere to Freud's psychoanalytic construction of femininity? These are among the questions that Natalya Lusty brings to her sophisticated and theoretically informed investigation into the appropriation of 'the feminine' by the Surrealist movement. Combining biographical and textual methods of analysis with historically specific discussions of related cultural sites such as women's magazines, fashion, debutante culture, sexology, modernist lesbian subculture, pornography, and female criminality, the book examines the ambiguities and blind spots that haunt the work of more central figures such as Andre Breton, Georges Bataille, Jacques Lacan, Walter Benjamin, and the Surrealist photographer Hans Bellmer. Lusty's examination of a series of psychoanalytic Surrealist themes, including narcissism, fantasy, masquerade, perversion, and 'the double', illuminates a modernist preoccupation with the crisis of subjectivity and representation and its ongoing relevance to more recent work by Cindy Sherman and Judith Butler. Her book is an important contribution to modernist studies that will appeal to scholars and students working across a diverse range of fields, including literary studies, gender studies, visual culture, cultural studies, and cultural history.
The definitive survey of the literary and artistic aspects of surrealism.
In A Surrealist Stratigraphy of Dorothea Tanning's Chasm, Catriona McAra offers the first critical study of the literary work of the celebrated American painter and sculptor Dorothea Tanning (1910-2012). McAra fills a major gap in the scholarship, repositioning Tanning's writing at the centre of her entire creative oeuvre and focusing on a little-known short story "Abyss," a gothic-flavoured, desert adventure which Tanning worked on intermittently throughout her creative life, finally publishing it in 2004 as Chasm: A Weekend. McAra performs a major reassessment of the visual and literary principles upon which the surrealist movement was initially founded. Combining a groundbreaking methodological approach with reference to cultural theory and feminist aesthetics as well as Tanning's unpublished journals and notes, McAra reveals Tanning as a key player in contemporary art practice as well as in the historical surrealist milieu.
"Modernism-Dada-Postmodernism" collects, updates, integrates and contextualizes the critic Richard Sheppard's essays on the historical avant-garde. Sheppard's topic in all of these essays is the modernist writers', artists', and philosophers' linguistic and visual responses to a changed sense of reality and human nature. Beginning with an overview of the problematics of European modernism, Sheppard establishes the dialectical relationship between the cultural crisis that occurred during the period 1880-1936 and the different responses from European modernists and the avant-garde. With its combination of classic and new essays and its perspective on the theoretical avant-garde/modernism debate in the United States, Sheppard's volume should give the specialist as well as the general reader an insight into the highest sample of European scholarly discourse on this subject.
Modernism-Dada-Postmodernism collects, updates, integrates and contextualizes the critic Richard Sheppard's essays on the historical avant-garde. Sheppard's topic in all of these essays is the modernist writers', artists', and philosophers' linguistic and visual responses to a changed sense of reality and human nature. Beginning with an overview of the problematics of European modernism, Sheppard establishes the dialectical relationship between the cultural crisis that occurred during the period 1880-1936 and the different responses from European modernists and the avant-garde. With its combination of classic and new essays and its perspective on the theoretical avant-garde/modernism debate in the United States, Sheppard's volume should give the specialist as well as the general reader an insight into the highest sample of European scholarly discourse on this subject.
The early surrealists attempted to create art directly from the unconscious, but the resulting art often reveals the stamp of its age. It is generally accepted that a certain macho sensibility prevailed within the movement, excluding queer sensibilities and reducing women to object status. In startling new readings of Breton, Bataille, Cocteau, Artaud, Crevel and others, Justin Vicari examines the intersections between surrealism and mental illness, deploying an interdisciplinary approach, which includes aesthetic theory, radical politics, and psychoanalysis. Of particular interest is the representation of the ideal woman as not only sexually available but mentally ill, a hysteric muse representing a kind of "authenticity" lost in modern life.
Officially Licensed Frida Kahlo Corporation Product. Mexican artist Frida Kahlo sought to define her identity, as well as that of Mexico. She explored themes of self-identity, gender, postcolonialism and popular culture from Mexico throughout her works. Now regarded as a feminist and LGBT icon, as well as a key artist during the twentieth century, this calendar celebrates Frida Kahlo's life with beautiful portraits alongside her famous quotes about life and art. Informative text accompanies each work and the datepad features previous and next months views.
This thought-provoking book re-evaluates the work of one of the most notorious, provocative and visually influential artists of the twentieth century. Robert Radford traces Salvador Dali's career from the crucial early years in Spain, to membership of the Surrealist group in 1930s Paris, and then on to New York and Hollywood, where his purposefully extravagant behaviour made him a media star. The influential figures in his life - Federico Garcia Lorca, Luis Bunuel and his wife Gala - are introduced as the book explores Dali's diverse work as painter, writer, film-maker, illustrator, jewellery designer, myth-maker and performance artist.
Much has been written about Surrealist painting and sculpture, but most of the erotic, disorienting, and exquisite Surrealist photographs of Man Ray, Marcel Duchamp, Max Ernst, Andre Breton, Brassai, Salvador Dali, Andre Kertesz, and Hans Bellmer have remained all but unknown--until now. Traditional criticism has viewed Surrealist photography as a pale imitation of authentic Surrealist work. The assumption has been that photography, a "realistic" medium, is fundamentally incompatible with a cause devoted to the wildly subjective, the world of dreams, and the unconscious. As a consequence, Surrealist photography, a major body of twentieth-century art, has remained largely unexplored.
L' Amour fou is the first book to study the crucial role photography did in fact play in the Surrealist movement. It shows how photographers enlisted into the service of "subjective" Surrealism their medium's very claim to "objective" reality. Of greatest interest, of course, is the book's abundant reproductions of the fantastic and distorted photographic creations that must be acknowledged as an important part of the Surrealist oeuvre.
Through shock and paradox, Rene Magritte sets out to reveal the mysterious nature of thought. His paintings, with their unexpected juxtaposition of objects, are a deliberate defiance of common sense. In this classic study, Suzi Gablik explains how Magritte was never involved in the experimental techniques and stylistic innovations of the other Surrealists, and how, as a result, his work has proved to hold more options for the future. 228 illus., 19 in color.
Taking Joan Miro's notorious declaration of 1927--"I want to
assassinate painting"--as its point of departure, this richly
illustrated volume is the first to focus on Miro the
"anti-painter," identifying the core practices and strategies the
artist used to challenge painting between 1927 and 1937. "Joan
Miro: Painting and Anti-Painting 1927-1937" surveys the various
material, iconographical and rhetorical forms of Miro's attacks on
painting by presenting, in chronological sequence, 12 distinct
series of works, beginning with a remarkable group of paintings on
unprimed canvas and concluding with Miro's return to Realism in
"Still Life with Old Shoe" (1937). Acidic color, grotesque
disfigurement, stylistic heterogeneity and the use of resistant,
ready-made materials are among the key tactics of aggression that
are explored in this extraordinary presentation of the interrelated
and oppositional series of paintings, collages, objects and
drawings Miro produced during this crucial decade of his long
career. This volume integrates close scrutiny of Miro's materials
and processes with historical and iconographic analysis, leading to
an expanded understanding of the underappreciated aggressiveness of
an artist long regarded as Surrealism's most lyrical painter-poet.
While a young student in Chicago, Dorothea Tanning (1910-2012) regularly haunted the corridors of the Art Institute in order to learn `what painting was'. She later moved to New York, and met the art dealer, Julien Levy, who introduced her to surrealist refugees who had fled from occupied Europe, including her future husband Max Ernst. Tanning and Ernst settled first in Sedona, Arizona,where she created enigmatic paintings of life on the inside, looking out (including Tate's own Eine Kleine Nachtmusik from 1943). The couple transferred to Paris in 1956, a move which marked the beginning of Tanning's intense adventure in soft sculpture, featuring fleshy, figure-like protruberances captured in textured fabrics (such as the remarkable installation Chambre 202, Hotel du Pavot or Tate's Nue couchee 1969-70). Tanning returned to the USA after Ernst's death in 1976 and, while continuing to paint, she also began to write poetry and fiction (her published works include two memoirs, Birthday and Between Lives, two collections of poems Coming to That and A Table of Content, and a novel, Chasm). Dorothea Tanning died at her home in New York City on January 31, 2012. She was 101 years old. There is little in print detailing Tanning's entire career, and still less that is well illustrated. This book will be a beautiful introduction to the work of a remarkable and fascinating artist. It will include an overview of the artist's life and career written by Alyce Mahon; Ann Coxon will write on theme of the home and domestic in Tanning's art and examine the overlap with the several contemporary women artists; Idoia Murga Castro will explore the significance of dance and stage in tanning's work, with particular relevance to the drama of the 1940s and 50s; and Mahon will also write on Tanning's sculptural output. The texts and plates are to be punctuated by extracts from Tanning's diaries, selected by the curators and the Pamela Johnson, Executive Director of the Dorothea Tanning Foundation in New York.
This stimulating introductory survey traces the origins and development of these two roughly parallel revolutionary twentieth-century art movements, exploring the full range of artistic production, including film, photography, collage, painting, graphics and object making. Matthew Gale skilfully places the art within a context of ideas ranging from the disillusionment and questioning of accepted values that resulted from the senseless destruction of World War I to the use of the creative forces of the unconscious to undermine convention.
Intimate, revealing memoir of Picasso as man and artist by influential literary figure. Highly readable amalgam of biographical fact, artistic and aesthetic comments: Picasso as founder of Cubism, associate of Apollinaire, Braque, Derain, other notables; titanic, creative spirit. One of Stein's most accessible works. 61 black-and-white illustrations. Index.
With his Pittura Metafisica, Greek-born Italian painter Giorgio de Chirico (1888-1978) was a major influence in Europe's interwar avant-garde, hailed by the likes of Pablo Picasso and Paul Eluard. The artist's Pittura Metafisica set statues or mannequin-like figures in exaggerated one-point perspective spaces including city squares, receding arcades, distant walls, or claustrophobic interiors. Sharp perspectives, striking shadows, geometrical planes, and voids of space crafted a compositional drama and lurking mood of anxiety and loneliness.The paintings set out to disquiet, to make the viewer reassess the nature of reality and search beneath its appearances for elusive memories and unexpected insights. While the Surrealists around Breton turned to Freud's theories of the unconscious, de Chirico was fascinated by Nietzsche. This dependable artist introduction explores all the ominous shadows and brooding corners of de Chirico's Pittura Metafisica as well as his later development into a more classical style, a shift widely criticized by the Surrealists who had so admired his early paintings.
Drawing, often considered a minor art, was central to surrealism from the very beginning. Automatic drawing, exquisite cadavers, and frottage are just a few of the techniques invented by surrealists as means to tap into the subconscious realm. While previous books have examined the connection between drawings and surrealist paintings, Drawing Surrealism is the first to recognize the medium as a fundamental form of surrealist expression, and to explore its impact on other media as well. Surrealist collage, photography, and even paintings are presented in the context of drawing as a metaphor for innovation and experimentation. It is also the first book to encompass a wide array of artists on a global scale - from the great figures in surrealist history to lesser-known surrealists from Japan, Central Europe, and the Americas, where the movement had a profound and lasting effect. In addition to brilliant reproductions of drawings and other works by more than 100 artists, this volume also includes a substantial historical essay by the exhibition's curator, as well as informative essays by leading scholars. This ground-breaking book offers a deep understanding of the techniques and concerns that made surrealism such an intimate perceptual revolution.
Enchanted Ground is about the challenge to modernist criticism by Surrealist writers - mainly Andre Breton but also Louis Aragon, Pierre Mabille, Rene Magritte, Charles Estienne, Rene Huyghe and others - who viewed the same artists in terms of magic, occultism, precognition, alchemy and esotericism generally. It introduces the history of the ways in which those artists who came after Impressionism - Paul Cezanne, Pierre-Auguste Renoir, Georges Seurat, Paul Gauguin, Vincent van Gogh - became canonical in the 20th century through the broad approaches we now call modernist or formalist (by critics and curators such as Alfred H. Barr, Roger Fry, Robert Goldwater, Clement Greenberg, John Rewald and Robert L. Herbert), and then unpacks chapter-by-chapter, for the first time in a single volume, the Surrealist positions on the same artists. To this end, it contributes to new strains of scholarship on Surrealism that exceed the usual bounds of the 1920s and 1930s and that examine the fascination within the movement with magic.
Writings of the best-known leader of the Surrealist movement. Includes a facsimile reproduction of the 1942 Surrealist Album by Andre Breton.
Seven of Salvador Dali's mind-bending images re-imagined as superbly crafted pop-ups. The art of Salvador Dali, like the man himself, defies easy description. During a hugely productive working life that spanned much of the 20th century, he produced more than 1,500 paintings as well as other artworks and objets d'art including sculpture, jewelry, photography, etchings, lithographs, designs for theatre sets and costumes, plus commercial projects such as the Chupa Chups lollipop logo. Decades after his death, his trademark moustache and dandy outfits remain instantly recognisable, while his art has inspired and continues to inspire new generations of artists, from Andy Warhol to Damien Hirst. Enigmatic, playful, deceptive, outrageous, and - above all - adventurous, Salvador Dali will be remembered as one of the most important artists of the twentieth century.
In the thick of the Second World War, the Cairo-based Surrealist collective Art et Liberte were pioneering new art forms and mounting subversive exhibitions that sent shockwaves across local artistic circles. Born with the publication of their Manifesto Long Live Degenerate Art on December 22nd, 1938, the group rejected the convergence of art and nationalism, aligning themselves with a complex, international and evolving Surrealist movement spanning cities such as Paris, London, Mexico City, New York, Beirut and Tokyo. Art and Liberty created a distinct reworking of Surrealism, which provided a generation of disillusioned Egyptian and non-Egyptian artists and writers, men and women alike, with a platform for cultural reform and anti-Fascist protest. Surrealism in Egypt is the first comprehensive analysis of Art and Liberty's artworks, literature and critical writings on Surrealism. By addressing the group's long-lost and often misconstrued legacy, and drawing on a substantial body of previously unpublished primary documents and more than 200 field interviews, the author charts Art and Liberty's significant contribution towards a new definition of Surrealism.Moving beyond the polarizing dichotomies of Saidian Orientalism, this book rewrites the history of Surrealism itself - advocating for a new definition of the movement that reflects an inclusive vision of art history.
Emerging amid the brutality of World War I, the revolutionary Dada movement took disgust with the establishment as its starting point. From 1916 until the mid-1920s, artists in Zurich, Cologne, Hanover, Paris, and New York launched a radical assault on the politics, social values, and cultural conformity which they regarded as complicit in the devastating conflict. Dada artists shared no distinct style but rather a common wish to upturn societal structures as much as artistic standards and to replace logic and reason with the absurd, chaotic, and unpredictable. Their practice encompassed experimental theater, games, guttural sound-making, collage, photomontage, chance-based procedures, and the "readymade," most notoriously Marcel Duchamp's urinal, Fountain (1917). Throughout, the Dadaists considered the visual appearance of their work secondary to the ideas and critiques it expressed. In this sense, Dada may be seen as a fundamental precursor to conceptual art. With a selection of key works from some of the most famous proponents of Dada such as Tristan Tzara, Marcel Duchamp, Hannah Hoech, Kurt Schwitters, Francis Picabia, and Man Ray, this book introduces this urgent, subversive, and determined 20th-century movement and its lasting influence on modern art.
Bringing together unique and rarely seen photographs, paintings, sculpture and drawings, this exquisite book tells the story of the tumultuous relationship between the artists Man Ray (1890 - 1976) and Lee Miller (1907 - 1977). From 1929 to 1932, the two lived together in Paris, first as teacher and student, and later as lovers. Historically, Miller has been described as Man Ray's muse, but Partners in Surrealism reveals how their brief, mercurial love affair was a key source of mutual and sustained inspiration, resulting in some of the most powerful work of each artist's career. Featuring a candid and poignant contribution from Antony Penrose, the son of Miller and the English painter Roland Penrose, on the relationship between Man Ray and his parents in later years, this is an extraordinary exploration of the love, lust and desire that drove the art of the Surrealists.
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