Search Results for "semaine-de-bonte"

Max Ernst

Max Ernst

Une semaine de bonté : les collages originaux

  • Author: Max Ernst,Werner Spies,Fundación Mapfre,Musée d'Orsay
  • Publisher: Editions Gallimard
  • ISBN: N.A
  • Category: Collage, German
  • Page: 402
  • View: 8787
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A week of kindness or the seven deadly elements

A week of kindness or the seven deadly elements

  • Author: Max Ernst
  • Publisher: Courier Corporation
  • ISBN: 9780486232522
  • Category: Art
  • Page: 208
  • View: 1717
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The great surrealist's collage masterpiece was printed in 1934 in a limited edition of five now-priceless pamphlets. This single-volume edition contains all of the original publication's 182 bizarre, darkly humorous scenes of violent dreams and erotic fantasies. "One of the clandestine classics of our century." — The New York Times.

The Optical Unconscious

The Optical Unconscious

  • Author: Rosalind E. Krauss
  • Publisher: MIT Press
  • ISBN: 9780262611053
  • Category: Art
  • Page: 353
  • View: 4920
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The Optical Unconscious is a protest against the official story of modernism and against the critical tradition that attempted to define modern art according to certain sacred truths. Rosalind Krauss tells the story of the optical unconscious, an unruly, disruptive force that haunted modernism from the 1920s to the 1950s, and which continues to disrupt it today.

Surrealist Collage in Text and Image

Surrealist Collage in Text and Image

Dissecting the Exquisite Corpse

  • Author: Elza Adamowicz
  • Publisher: Cambridge University Press
  • ISBN: 9780521592048
  • Category: Art
  • Page: 248
  • View: 1109
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A new analysis of Surrealist collage in France, leading to a radical reassessment of Surrealism.

The Screen in Surrealist Art and Thought

The Screen in Surrealist Art and Thought

  • Author: Haim Finkelstein
  • Publisher: Routledge
  • ISBN: 1351540610
  • Category: Art
  • Page: 340
  • View: 2929
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An interrogation of the notion of space in Surrealist theory and philosophy, this study analyzes the manifestations of space in the paintings and writings done in the framework of the Surrealist Movement. Haim Finkelstein introduces the 'screen' as an important spatial paradigm that clarifies and extends the understanding of Surrealism as it unfolds in the 1920s, exploring the screen and layered depth as fundamental structuring principles associated with the representation of the mental space and of the internal processes that eventually came to be linked with the Surrealist concept of psychic automatism. Extending the discussion of the concepts at stake for Surrealist visual art into the context of film, literature and criticism, this study sheds new light on the way 'film thinking' permeates Surrealist thought and aesthetics. In early chapters, Finkelstein looks at the concept of the screen as emblematic of a strand of spatial apprehension that informs the work of young writers in the 1920s, such as Robert Desnos and Louis Aragon. He goes on to explore the way the spatial character of the serial films of Louis Feuillade intimated to the Surrealists a related mode of vision, associated with perception of the mystery and the Marvelous lurking behind the surfaces of quotidian reality. The dialectics informing Surrealist thought with regard to the surfaces of the real (with walls, doors and windows as controlling images), are shown to be at the basis of Andr?reton's notion of the picture as a window. Contrary to the traditional sense of this metaphor, Breton's 'window' is informed by the screen paradigm, with its surface serving as a locus of a dialectics of transparency and opacity, permeability and reflectivity. The main aesthetic and conceptual issues that come up in the consideration of Breton's window metaphor lay the groundwork for an analysis of the work of Giorgio de Chirico, Ren?agritte, Max Ernst, Andr?asson, and Joan Mir?he concluding chapter consi

Marcel Duchamp and Max Ernst

Marcel Duchamp and Max Ernst

The Bride Shared

  • Author: David Hopkins
  • Publisher: Oxford University Press
  • ISBN: 9780198175131
  • Category: Art
  • Page: 211
  • View: 3875
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David Hopkins analyses the extensive network of shared concerns and images in the work of Marcel Duchamp and Max Ernst, the greatest names associated with Dada and Surrealist art. This book covers a broad period from c.1912 to the mid-1940s, during which the emergence of Dada and Surrealismin Europe and the United States challenged earlier movements such as Cubism and Expressionism, creating scope for the expression of the unconscious fears and desires of artists acutely sensitive to the troubled nature of their times.Examining Duchamp's and Ernst's subversion and manipulation of religious and hermetic beliefs such as Catholicism, Rosicrucianism and Masonry, David Hopkins demonstrates the ways in which these esoteric concerns intersect with themes of peculiarly contemporary relevance, including the socialconstruction of gender and notions of ordering and taxonomy.This detailed comparison of components of Duchamp's and Ernst's work reveals fascinating structural patterns, enabling the reader to discover an entirely new way of understanding the mechanisms underlying Dada and Surrealist iconography.

Federico Fellini

Federico Fellini

Painting in Film, Painting on Film

  • Author: Hava Aldouby
  • Publisher: University of Toronto Press
  • ISBN: 1442669594
  • Category: Performing Arts
  • Page: 208
  • View: 516
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Federico Fellini professed a desire to create “an entire film made of immobile pictures.” In this study, Hava Aldouby uses this quotation as a launching point to analyze Fellini’s films as sequences of “pictures” that draw extensively on art history, and particularly painting, as a reservoir of visual imagery. Aldouby employs an innovative pictorial approach that allows her to uncover a wealth of visual evocations overlooked by Fellini scholars over the years. Federico Fellini: Painting in Film, Painting on Film sheds light on the intertextual links between Fellini’s films and the works of various artists, from Velazquez to Francis Bacon, by identifying references to specific paintings in his films. Using new archival evidence from Fellini’s private library, brought to light for the first time here, Aldouby draws out Fellini’s in-depth knowledge of art history and his systematic employment of art-historical allusions.

Max Ernst Collages

Max Ernst Collages

The Invention of the Surrealist Universe

  • Author: Werner Spies
  • Publisher: Harry N Abrams Incorporated
  • ISBN: N.A
  • Category: Art
  • Page: 540
  • View: 3319
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Scrap Book, 1900-1981

Scrap Book, 1900-1981

  • Author: Sir Roland Penrose
  • Publisher: N.A
  • ISBN: N.A
  • Category: Artists
  • Page: 299
  • View: 8453
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