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Marie Vassilieff ’s androgyny
Lauren Jimerson

On a sunny afternoon in August of 1916, Jean Cocteau photographed a group of friends on boulevard Montparnasse ( figure 1.1 ). He captured them before the iconic Art Nouveau metro entrance and the popular café La Rotonde. The Chilean painter Manuel Ortiz de Zárate lights a cigarette and next to him the writer Henri-Pierre Roché appears in uniform. The poet Max Jacob sports a polka-dotted bow tie, while Pablo Picasso holds an envelope perhaps containing samples of his work. 2 In front of this motley crowd

in Painting her pleasure
Gavin Parkinson

is not particularly surprising that historians would seek to organise and affirm its link with Pablo Picasso’s pioneering Cubist paintings of about the same period. 4 The supposed connection between Picasso’s Cubism and Einstein’s relativity was made by several scholars in the 1940s and 1950s, among them the historian and critic Sigfried Giedion and the art historian Erwin Panofsky. 5 In this argument, a painting such as Picasso’s The Poet (1911) is a synthesis of different observers occupying different frames of

in Art and knowledge after 1900
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Prophecy to Sun Woman I
Griselda Pollock

singular gambit in the avant-garde game of reference, deference and difference ? 3 A brief overview of Lee Krasner’s painting from the 1940s to the late 1950s reveals that she might be a creative Bataillist. Like all the artists of her generation and ambition, she had to take on haunting presences, from Cézanne to Picasso to her co-creating contemporaries such as Pollock and de Kooning, and process – but not exactly obliterate – them as much as aesthetically transform them, right there, on her canvas, precisely

in Killing Men & Dying Women
Der Blaue Reiter and its legacies

This book presents new research on the histories and legacies of the German Expressionist group, Der Blaue Reiter, the founding force behind modernist abstraction. For the first time Der Blaue Reiter is subjected to a variety of novel inter-disciplinary perspectives, ranging from a philosophical enquiry into its language and visual perception, to analyses of its gender dynamics, its reception at different historical junctures throughout the twentieth century, and its legacies for post-colonial aesthetic practices. The volume offers a new perspective on familiar aspects of Expressionism and abstraction, taking seriously the inheritance of modernism for the twenty-first century in ways that will help to recalibrate the field of Expressionist studies for future scholarship. Der Blaue Reiter still matters, the contributors argue, because the legacies of abstraction are still being debated by artists, writers, philosophers and cultural theorists today.

Open Access (free)
Design and material culture in Soviet Russia, 1960s–80s

The major part of this book project was funded by the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No. 700913.

This book is about two distinct but related professional cultures in late Soviet Russia that were concerned with material objects: industrial design and decorative art. The Russian avant-garde of the 1920s is broadly recognised to have been Russia’s first truly original contribution to world culture. In contrast, Soviet design of the post-war period is often dismissed as hackwork and plagiarism that resulted in a shabby world of commodities. This book identifies the second historical attempt at creating a powerful alternative to capitalist commodities in the Cold War era. It offers a new perspective on the history of Soviet material culture by focusing on the notion of the ‘comradely object’ as an agent of progressive social relations that state-sponsored Soviet design inherited from the avant-garde. It introduces a shared history of domestic objects, handmade as well as machine-made, mass-produced as well as unique, utilitarian as well as challenging the conventional notion of utility. Situated at the intersection of intellectual history, social history and material culture studies, this book elucidates the complexities and contradictions of Soviet design that echoed international tendencies of the late twentieth century. The book is addressed to design historians, art historians, scholars of material culture, historians of Russia and the USSR, as well as museum and gallery curators, artists and designers, and the broader public interested in modern aesthetics, art and design, and/or the legacy of socialist regimes.

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Subversive sexualities
Lauren Jimerson

heterosexual male viewer. It is uncertain whether Vassilieff ever exhibited her double-sided and inverted Cubist painting, Homme et femme. There is no record that indicates that it was shown publicly. This fact, along with the construction of the work itself, raises questions about viewership. Given its daring and unprecedented depiction of the male body, perhaps Vassilieff chose her audience selectively, as Picasso had done with Les Demoiselles d’Avignon (1907). 5 Rather than display it before a wide audience at the Indépendants

in Painting her pleasure
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Niharika Dinkar

of the copy. Take the well-­known case of the reception of Gaganendranath Tagore’s Light and Shadow (1920), viewed as a bad copy in colonial accounts, by even such a staunch supporter of modern Indian art as William Archer. Tagore had simply selected a scene that looked ‘cubist’ and rendered an illustration of geometric architecture for Archer so that, despite its ‘modernistic manner’, it had ‘an air of trivial irrelevance’, lacking the power of Braque or Picasso. Tagore’s forms were stylised copies, bearing no relation to Indian art: ‘However modern and

in Empires of light
Griselda Pollock

While radically Americanizing his own long and deeply admiring struggle with Picasso’s seated woman topos , de Kooning may also have looked with European eyes at the Hollywood manufacture of the cinematic woman, not yet epitomized and self-parodied by Monroe, the huge star, but present in her many early bit parts as much as those of her predecessor, pin-up supreme Betty Grable. Parody, laughter can also be resourced with a violence that certain artist-women perceived, if not in de Kooning’s paintings, then in what his

in Killing Men & Dying Women
French paintings of rugby
Bernard Vere

was supportive of aviation and whose title Pablo Picasso had incorporated in a variety of ways in his cubist works over the previous couple of years.20 To the right of the sign for Astra, there is another advertisement, this one a perimeter 91 Sport and modernism in the visual arts in Europe 26  Robert Delaunay, The Cardiff Team, First Version, 1912–13 92 Oval balls and cubist players advertising hoarding. In the First Version this reads ‘MAGIC/PARIS’, a reference to Magic City amusements, a venue also evoked by Sonia Delaunay in her Tango Magic City, 1913. In

in Sport and modernism in the visual arts in Europe, c. 1909–39
Elza Adamowicz

a wholesome antidote to the realities of post-war society. Sculpture in particular was a favoured medium, when firmly grounded in references to Greek and Roman antiquity, as evidenced in the output of popular sculptors Aristide Maillol and Antoine Bourdelle – also called upon for a number of war memorials. Such was the groundswell in favour of this invasive neo-classicism that it permeated even the work of avant-garde artists themselves: Picasso’s Ingresque nudes, such as his La Source (1921), are executed in a robustly classical style; Georges Braque’s Canéphore

in Dada bodies