Search results

You are looking at 1 - 10 of 42 items for :

  • "Fernand Leger" x
  • Refine by access: All content x
Clear All
The bride stripped bare?
Elza Adamowicz

8 Fernand Léger’s La noce: the bride stripped bare? Elza Adamowicz Elza Adamowicz Fernand Léger’s La noce ‘My painting in the Salon des Indépendants is going to have lots of people befuddled’ [embarquer des tas de gens dans l’abracadabra], writes Fernand Léger in a letter (7 August 1912) to André Mare (Fernand Léger 1997: 299). The work he refers to, La noce (or Les noces), was first exhibited at the Salon (20 March–16 May 1912) under the title Composition avec personnages.1 The Salon was held one month after the Futurist exhibition at the BernheimJeune

in Back to the Futurists
The avant-garde and its Legacy

In 1909, the Italian poet Filippo Tommaso Marinetti's Founding Manifesto of Futurism was published on the front page of Le Figaro. Between 1909 and 1912, the Futurists published works celebrating speed and danger, glorifying war and technology, and advocating political and artistic revolution. In Europe, this avant-garde movement was active in the field of painting and sculpture, theatre, photography and politics. This book reassesses the activities and legacies of Futurism. It looks at Futurist manifestos by linking techniques of promotion with practices in commercial advertising, and exploring the question of how Futurist manifestos address notions of genius and gender. The book also reconstructs the historical, cultural and ideological background of Marinetti's Manifesto del tattilismo. Zurich Dadaists adopted cultural stances heavily indebted to the terms of critical engagement and cultural visibility initiated within the Futurist circle. The book analyses avant-garde's examination of its internal strategies of identity and canonization, and the importance of Futurism for the Pierre Albert-Birot. It charts the details of the argument on simultaneity between Umberto Boccioni and Robert Delaunay, and analyses the critical readings of Fernand Léger's La noce. The dialogue between Occultism and Futurism is explored by discussing the theme of night in the works of the Florentine Futurists. In La cucina futurista, food is separated from its nutritional function, and the act of eating is related to notions of creativity and identity. The book presents unique examples of innovative expressivity in Italian Futurists' free-word poems, and examines poetry celebrating the triumph of modern aviation.

Abstract only
Author: John Potvin

Richly illustrated with over 110 colour and black and white images, the book productively contests the supposedly exclusive feminine aspect of the style moderne (art deco). It explores how alternative, parallel and overlapping experiences and expressions of decorative modernism, nationalism, gender and sexuality in the heady years surrounding World War I converge in the protean figure of the deco dandy. As such, the book significantly departs from and corrects the assumptions and biases that have dominated scholarship on and popular perceptions of art deco. The book outlines how designed products and representations of and for the dandy both existed within and outwith normative expectations of gender and sexuality complicating men’s relationship to consumer culture more broadly and the moderne more specifically. Through a sustained focus on the figure of the dandy, the book offers a broader view of art deco by claiming a greater place for the male body and masculinity in this history than has been given to date. The mass appeal of the dandy in the 1920s was a way to redeploy an iconic, popular and well-known typology as a means to stimulate national industries, to engender a desire for all things made in France. Important, essential and productive moments in the history of the cultural life of Paris presented in the book are instructive of the changing role performed by consumerism, masculinity, design history and national identity.

Abstract only
Between gas mask and carnival dance
Elza Adamowicz

in avant-garde art by a celebration of technology, particularly in the early days of the conflict, and notably in Futurist imagery of the body perfected as machine. In Umberto Boccioni’s Carica dei Lancieri (Charge of the Lancers, 1914; figure 2.1), for example, the cavalry is presented as forming a single unit with horse and lance, creating a dynamic, forward-surging mechanical body. Elsewhere, in the works of the French Cubist artist Fernand Léger, for instance, such as the 1917 painting La ADAMOWICZ 9781526131140 PRINT (4 col).indd 23 31/01/2019 16:05 24

in Dada bodies
Elza Adamowicz

(The Basket Carrier, 1922)9 embodies the ancient Greek motif of the caryatid; and paintings such as Fernand Léger’s Le Mécanicien (The Mechanic, 1920)10 depict the strong, healthy, pneumatic body of the working man. In response, dadaist attacks on the traditional icons of classical art forms were widespread and often virulent. Duchamp subjected the Mona Lisa to his irreverent graffiti in his L.H.O.O.Q. (1919), while Hans Arp extolled the desecration ADAMOWICZ 9781526131140 PRINT (4 col).indd 50 31/01/2019 16:05 shooting the classical body 51 3.3  Francis

in Dada bodies
Abstract only
Pure cinema and Dada/Surrealist films
Maryann De Julio

its discontinuous narrative, set it apart and brought recriminations against Germaine Dulac, charged with having ‘feminized’ Artaud's scenario. Like the films of Viking Eggeling (1880–1925), Hans Richter (1888–1976), Fernand Léger (1881–1955), and Marcel Duchamp (1887–1968), the films of Germaine Dulac are organized in accordance with a rhythm rather than a representation. Entr’Acte (1924), conceived and directed by Francis Picabia (1879–1953), with the assistance of René Clair (1898–1981), is generally considered an example of Dada in cinema

in Germaine Dulac
Aesthetic integration and disintegration in Jean Epstein’s La Chute de la maison Usher
Guy Crucianelli

images. Epstein also employs rhythmically complex editing patterns that not only articulate the theories of the cinematic Impressionists, but can be related to Russian montage, as well as the more painterly films of other French avant-garde filmmakers of the 1920s, such as Fernand Léger’s Ballet mécanique (1924). While the latter film is concerned more with the non-linear, abstract possibilities of

in Monstrous adaptations
Stefania Parigi

Zavattini’s project, the temporal element is freed from an aesthetic of verisimilitude and naturalist illusion, replaced by the material concreteness of time. From this experimental and radical opposition to the linearity of the novel, Zavattini wove a dense network of close and distant fraternal relations: the idea sketched by Fernand Léger in the 1920s to make ‘a film of “24 hours” in the ordinary life of an ordinary

in Cinema – Italy
Anna Dahlgren

modern, efficient production while the same studies of movements represented the urban, modern way of life for artists like Giacomo Balla and Fernand Léger. Businessmen focused on production while artists on other hand were attuned to the consumption contexts of these industrial products. Modernism in the streets The marketers and businessmen of the early twentieth century perceived a societal, instrumental benefit in modernist, abstract forms or visual patterns. The rationale for appreciation was, in other words, its direct and utilitarian value. Accordingly

in Travelling images
Lisa Florman

furniture and wallpaper patterns by a group of young designers led by André Mare, the Maison also showcased the paintings of Fernand Léger, Albert Gleizes, Jean Metzinger and many of the other so-called salon cubists. It seems a striking fact – surely more than merely coincidental – that Picasso’s inclusion of explicitly decorative elements within his cubist papiers collés followed almost immediately upon cubism’s own very public inclusion in such an explicitly decorative context. 12 Figure 14.10 Photograph of the Salon bourgeois, La Maison Cubiste. Salon d

in 1913: The year of French modernism