Art and World War I

Transcript

1. Art  and  the  World  Wars:  
   Futurism,  Dada,  and  Surrealism  
   Reading:  
   Ar,orms,  369-­‐383  
    
   Range:  
   c.  1908-­‐1940  
   Futurism,  Dada,  and  Surrealism  
    
   Terms/Concepts:  
   fascism,  bourgeois,  trench  warfare,  anD-­‐
   art,  readymade,  dematerializaDon,  
   Freudian  Psychoanalysis,  Id,  Ego,  
   Superego,  conscious,  subconscious,  free  
   associaDon,  automaDsm,  naturalisDc  
   surrealism,  biomorphic  abstracDon,  
   froKage,  graKage,  decalcomania,  
   paranoic-­‐criDcal  method.  
   Key  Monuments:  
     Umberto  Boccioni,  Unique  Forms  
   of  ConBnuity  in  Space,  1913.  
     Gino  Severini,  The  Armored  Train  
   in  AcBon,  1915.  
     22.1  Marcel  Duchamp,  
   L.H.O.O.Q.,  1919.  
     22.4  Hannah  Hoch,  The  MulB-­‐
   Millionaire,  1923.  
     22.6  Salvador  Dali,  The  
   Persistence  of  Memory,  1931.  
     22.8  Rene  MagriKe,  Portrait,  
   1935.  
   

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2. Reminders…  
   Responses  Due:  Thursday  May  9th  
    
   Final  Exam:  Thursday  May  16th  12:30-­‐2:30  PM  
    
   

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3. Pablo  Picasso,  Les  Demoiselles  d’Avignon,  1907.  
   

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4. Man  Ray,  Portrait  of  Georges  Braque,  Austria,  1922.   Portrait  of  Pablo  Picasso,  Montmartre,  
   Paris,  c.  1904.  
   Picasso  and  Braque  met  in  1907,  but  their  collaboraDon  
   really  did  not  began  unDl  1908.  
   

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5. Paul  Cezanne,  Mont  Sainte-­‐Victoire,  1902-­‐1904.  
   

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6. Paul  Cezanne,  Mont  Sainte-­‐Victoire,  1902-­‐1904.  
   

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7. Paul  Cezanne,  Mont  Sainte-­‐
   Victoire,  1902-­‐1904.  
   Paul  Cezanne,  The  Sea  
   at  L'Estaque,  1885  
   

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8. Paul  Cezanne,  The  Sea  at  L’Estaque  ,  1885.  
   

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9. Georges  Braque,  
   Houses  at  l’Estaque,  
   1908.  
   

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10. Georges  Braque,  Houses  
    at  l’Estaque,  1908.  
    Paul  Cezanne,  The  Sea  
    at  L’Estaque,  1885.  
    

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11. Pablo  Picasso,  Ma  Jolie,  
    1911-­‐1912.    
    

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12. Pablo  Picasso,  Ma  Jolie,  1911-­‐1912.    
    

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13. Pablo  Picasso,  Ma  Jolie,  1911-­‐1912.    
    

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14. Georges  Braque,  The  
    Portuguese,  1911.  
    Pablo  Picasso,  Ma  
    Jolie,  1911-­‐1912.    
    AnalyDc  Cubism  
    

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15. Italy:    
    Futurism  
    Russia:  
    Suprema2sm/
    Construc2vism  
    Modern  AbstracDon  a[er  Cubism  
    France:  
    Purism  
    

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16. Italy:    
    Futurism  
    Russia:  
    Suprema2sm/
    Construc2vism  
    Modern  AbstracDon  a[er  Cubism  
    France:  
    Purism  
    

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18. F.C.  Cole\,  Photo  of  
    F.T.  MarineQ,  c.  1911.    
    

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19. Giacomo  Balla,  Abstract  Speed—The  Car  Has  
    Passed,  1913.  
    We  declare…that  all  forms  of  imitaDon  must  
    be  despised,  all  forms  of  originality  glorified…
    that  all  subject  previously  used  must  be  swept  
    aside  in  order  to  express  our  whirling  life  of  
    steel,  of  pride,  of  fever,  and  of  speed…that  
    movement  and  light  destroy  the  material  
    bodies.”  
    

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20. Umberto  Boccioni,  Unique  
    Forms  of  ConBnuity  in  
    Space,  1913.  
    “a  translaDon,  in  plaster,  bronze,  glass,  
    wood,  or  any  other  material,  of  those  
    atmospheric  planes  which  bind  and  
    intersect  things…Let’s  proclaim  the  absolute  
    and  complete  aboliDon  of  finite  lines  and  
    the  contained  statue.    Let’s  split  open  our  
    figures  and  place  environment  inside  them.    
    We  declare  that  environment  must  form  
    part  of  the  plasDc  whole.”  
    

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22. Umberto  Boccioni,  Unique  Forms  of  
    ConBnuity  in  Space,  1913.  
    Nike  (“Victory”)  of  Samothrace,  c.  
    190  BCE.  
    Marine\:  “automobile  adorned  with  great  pipes  
    like  serpents  with  explosive  breath…is  more  
    beauDful  than  the  Victory  of  Samothrace.”  
    

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23. Gino  Severini,  
    Armored  Train  in  
    AcBon,  1915.  
    

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24. Gino  Severini,  Armored  Train  in  
    AcBon,  1915.  
    Pablo  Picasso,  Ma  
    Jolie,  1911-­‐1912.    
    

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25. World  War  I  broke  out  in  1914.  
    Allie  =  England,  France,  Italy,  Russia,  Portugal  
    Central  Powers:  Germany,  Austria-­‐Hungary,  Turkey  
    

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26. View Slide

27. Trench  Warfare,  c.  1914  
    

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28. BriDsh  Soldiers  OperaDng  a  Vickers  Machine  Gun,  BaKle  of  
    the  Somme,  July  1916.    
    Gas  Masks  
    Machine  Gun  
    

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29. World  War  I  CasualDes  on  the  BaKlefield,  France,  1914.  
    On  the  1916  Front  alone…  
    850,000  Germans  
    700,000  French  
    400,000  BriDsh  
    

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30. Photographs  and  reconstrucDon  drawings  
    of  war  injuries,  c.  1917  
    

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31. Figure 2. Moulage (painted plaster), Mus:e
    du Val-de-GrAce, Paris. Photo courtesy of
    Musce du service de sant6 des Arm6es,
    Val-de-GrAce, Paris.
    I C . .
    ALL L.. ?
    ? .bO'/zLLECIN'N"O
    Wax  casts  of  war  injuries,  Val-­‐de-­‐Grace  
    Museum,  c.  1917  
    

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32. it visible. In its formation of an aesthetic practice aimed at critiquing
    ...... ..... ',?
    ,%
    Figure 3. Pair of moulages (painted wax), Musee du Val-de-Grace,
    Paris. Photo courtesy of Musee
    du service de sante des Armees, Val-de-Grace,
    Paris.
    Wax  casts  of  war  injuries,  Val-­‐de-­‐Grace  
    Museum,  c.  1917  
    

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33. BriDsh  soldier  suffering  from  “shell  shock”,  c.  1917.    
    Over  80,000  BriDsh  soldiers  suffered  
    from  “shell  shock.”  
    

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34. Zürich:  Key  ArDsts  
    •  Tristan  Tzara  
    •  Hugo  Ball  
    •  Emmy  Hennings  
    •  Jean  Arp  
    •  Marcel  Janco  
    •  Richard  
    Huelsenbeck  
    

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35. A  typical  evening  at  the  Cabaret  Voltaire:  “Tzara  is  
    wiggling  his  behind  like  the  belly  of  an  Oriental  dancer.      
    Janco  is  playing  an  invisible  violin  and  bowing  and  
    scraping.    Madame  Hennings,  with  a  Madonna  face,  is  
    doing  the  splits.    Huelsenbeck  is  banging  away  nonstop  
    on  the  great  drum,  with  Ball  accompanying  him  on  the  
    piano,  pal  as  a  chalky  ghost.    We  were  given  the  honorary  
    Dtle  of  Nihilists.    
    Cabaret  Voltaire,  Zurich,  c.  
    1916  
    Dadaist  Gathering,  Cabaret  
    Voltaire,  Zurich,  c.  1916  
    

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36. Hugo  Ball,  Karawane  (Caravan),  1916.  
    

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37. Zürich:  Key  ArDsts  
    •  Tristan  Tzara  
    •  Hugo  Ball  
    •  Emmy  Hennings  
    •  Jean  Arp  
    •  Marcel  Janco  
    •  Richard  
    Huelsenbeck  
    Berlin:  Key  ArDsts  
    •  Hannah  Höch  
    •  Raoul  Hausmann  
    •  John  Hearpield  
    •  George  Grosz  
    

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38. 22.4  Hannah  Hoch,  The  MulB-­‐Millionaire,  1923.  
    Dada  
    

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39. To  New  York  
    Paris:  Key  ArDsts  
    •  Pablo  Picasso  
    •  Jean  Cocteau    
    •  Erik  SaDe  
      Marcel  Duchamp  
    Zürich:  Key  ArDsts  
    •  Tristan  Tzara  
    •  Hugo  Ball  
    •  Emmy  Hennings  
    •  Jean  Arp  
    •  Marcel  Janco  
    •  Richard  
    Huelsenbeck  
    Berlin:  Key  ArDsts  
    •  Hannah  Höch  
    •  Raoul  Hausmann  
    •  John  Hearpield  
    •  George  Grosz  
      Duchamp  is  consider  an  unaffiliated  arDst  
    

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40. Man  Ray,  Marcel  Duchamp  as  Rrose  
    Selavy,  c.  1923.  
    Man  Ray,  Marcel  Duchamp,  c.  
    1921.  
    

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41. Marcel  Duchamp,  Fountain,  1917.  
    Readymade  was  the  term  Marcel  Duchamp  used  to  describe  works  consisDng  of  liKle  
    more  than  household  items.    Because  they  required  liKle  or  no  arDsDc  manipulaDon  
    the  were  “readymade.”  
    

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42. Marcel  Duchamp,  In  
    Advance  of  the  
    Broken  Arm,  1915.  
    DematerializaDon  of  the  Art  Object  
    

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43. 22.1  Marcel  Duchamp,  
    L.H.O.O.Q.,  1919.  
    Elle  a  chaud  au  cul    
    She’s  got  a  hot  ass  
    L—H—O—O—Q    
    EL—Ash—Oh—Oh—Kiu      
    

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44. Psychoanalysis  
     
     
     
    “To  be  sure,  the  ancient  belief  
    that  the  dream  reveals  the  
    future  is  not  enDrely  devoid  of  
    truth.  By  represenDng  to  us  a  
    wish  as  fulfilled  the  dream  
    certainly  leads  us  into  the  
    future;  but  this  future,  taken  
    by  the  dreamer  as  present,  has  
    been  formed  into  the  likeness  
    of  that  past  by  the  
    indestrucDble  wish.”  
    -­‐-­‐The  InterpretaBon  of  Dreams  
    1900.  
    Sigmund  Freud  
    

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45. Conscious  
    Subconscious  
    Logic  &  
    Reasoning  
    Higher-­‐
    Consciousness  
    or  Conscience  
    Base  Fears  &  
    Desires  
    “The  mind  is  like  an  iceberg,  it  floats  with  
    one-­‐seventh  of  its  bulk  above  water.”  
    -­‐-­‐Sigmund  Freud  
    

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46. Sigmund  Freud’s  Sofa,  Freud  Museum,  London.  
    Rorschach  or  “Inkblot”  Test  
    “Free-­‐AssociaDon”  
    

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47. Surrealism  
    “SURREALISM,  noun,  masc.,  pure  
    psychic  automaDsm  by  which  it  is  
    intended  to  express,  either  verbally  
    or  in  wriDng  the  true  funcDon  of  
    thought.    Though  dictated  in  the  
    absence  of  all  control  exerted  by  
    reason,  and  outside  all  aestheDc  or  
    moral  preoccupaDons,  ENCYL.  Philos.  
    Surrealism  is  based  on  the  belief  in  
    the  superior  reality  of  omnipotence  
    of  the  dream,  an  in  the  disinterested  
    play  of  though.    It  leads  to  the  
    permanent  destrucDon  of  all  other  
    psychic  mechanism  and  to  its  
    subsDtuDon  for  them  in  the  soluDon  
    of  the  principal  problems  of  life.”    
    -­‐-­‐Manifesto  of  Surrealism,  1924.  
    Andre  Breton  
    

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48. The  Surrealist  Group,  Paris,  c.  1929.  
    

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49. Andre  Masson,  
    AutomaBc  
    Drawing,  1924.  
    AutomaDsm:  “the  true  
    process  of  thought,  
    free  from  the  exercise  
    of  reason  and  from  any  
    aestheDc  or  moral  
    purpose.”  
    -­‐Andre  Breton  
    

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50. Andre  Breton,  Man  Ray,  
    Max  Morise,  Yves  Tanguy,  
    Exquisite  Corpse,  1928.  
    

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51. Max  Ernst,  The  Hoarde,  1927.  
    FroKage  =  “Rubbing”  
    GraKage=  “Scraping”  
    “In  striving  more  and  more  to  restrain  my  own  acDve  parDcipaDon  
    in  the  unfolding  of  the  picture  and  finally,  by  widening  in  this  way  
    the  acDve  part  of  the  mind’s  hallucinatory  faculDes  I  cam  to  assist  as  
    a  spectator  at  the  birth  of  all  my  works.”  
    

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52. Max  Ernst,  Europe  A[er  the  Rain,  c.  1940.  
    Decalcomania  =  the  impressions  of  painted  glass.  
    

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53. Two  Approaches  
    NaturalisDc  Surrealism   Biomorphic  AbstracDon  
    

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54. Rene  MagriKe,  The  Treachery  (or  Perfidy),  of  Images,  1928-­‐1929.  
    

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55. Rene  MagriKe,  Portrait,  1933.  
    Rene  MagriKe,  Time  Transfixed,  
    1933.  
    

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56. Rene  MagriKe,  The  
    Human  CondiBon,  1933.  
    Rene  MagriKe,  The  
    Human  CondiBon,  1933.  
    

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57. Salvador  Dali,  The  Persistence  of  Memory,  1931.  
    MelDng  Camembert  
    “to  materialize  the  images  to  concrete  irraDonality  with  the  most  
    imperialisDc  fury  of  precision…in  order  that  the  world  of  
    imaginaDon  and  of  concrete  irraDonality  may  be  as  objecDvely  
    evident…as  that  of  the  exterior  world  of  phenomenal  reality.”    
    paranoic-­‐criDcal  method  
    

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58. Salvador  Dali,  AccommodaBons  of  Desire,  
    1929.  
    

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59. Salvador  Dali,  AccommodaBons  of  Desire,  1929.  
    

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60. Salvador  Dali,  AccommodaBons  of  Desire,  
    1929.  
    

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61. Salvador  Dali,  AccommodaBons  of  Desire,  1929.  
    

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62. The  ArDst  as  Eccentric  
    Portrait  of  Salvador  Dali,  c.  1922  
    "Take  me,  I  am  the  drug;  take  me,  I  
    am  hallucinogenic.”  
    -­‐-­‐Salvador  Dali  
    "The  only  difference  between  a  crazy  
    person  and  myself,  is  that  the  crazy  
    person  believes  they  are  sane.  I  know  
    that  I'm  crazy.”  
    -­‐-­‐Salvador  Dali  
    “SomeDmes,  I  spit  for  fun  on  my  
    mother’s  portrait”    
    -­‐-­‐Inscribed  on  one  of  works  
    

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