1.
Joseph Csaky
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Joseph Csaky was a Hungarian avant-garde artist, sculptor, and graphic artist, best known for his early participation as a sculptor in the Cubist movement. Joseph Csaky was one of the first sculptors in Paris to apply the principles of pictorial Cubism to his art, a pioneer of modern sculpture, Csaky is among the most important sculptors of the early 20th century. He was an member of the Section dOr group between 1911 and 1914, and closely associated with De Stijl and Purism throughout the 1920s. Csaky fought alongside French soldiers during World War I and in 1922 became a naturalized French citizen and he was a founding member of lUnion des Artistes modernes in 1929. During World War II, Csaky joined forces with the French underground movement in Valençay, in the late 1920s, he collaborated with some other artists in designing furniture and other decorative pieces, including elements of the Studio House for the designer Jacques Doucet. After 1928, Csaky moved away from Cubism into a figurative or representational style for nearly thirty years. He exhibited internationally across Europe, but some of his pioneering artistic innovation was forgotten and his work today is primarily held by French and Hungarian institutions, as well as galleries and private collections both in France and abroad. József Csáky was born in Szeged, Hungary, then part of the monarchy of the Austro-Hungarian Empire. A provincial southern city, Szeged is now the third-largest in the country, Csaky moved with his family to Budapest at an early age, where he frequented museums and galleries. In 1905 Csaky was accepted at the Academy of Applied Arts in Budapest, where he studied under the direction of the sculptor Mátrai Lajos, ifj. for one and a half years. In 1907, for six and a half months, he worked in the Zsolnay Factory in Pécs, making ceramic ashtrays and he worked briefly as a metal founder in Budapest, and at one point with a taxidermist. Attracted by its reputation for lights and great artists, Csaky made the decision to move to Paris France and he traveled mostly by foot, walking fifty or sixty kilometers per day during the summer of 1908. In Paris a new world opened up for him and he made a living by doing odd jobs, working as a peddler, stone cutter, and posing as a model for students at a local art school, making 20 francs a week. He later posed for artists in their own studios, making more money. By autumn of 1908 he shared a space at Cité Falguière with Joseph Brummer. Within three weeks of Csakys arrival in Paris, Brummer showed the newcomer a sculpture he was working on, Brummer told Csaky that another artist in Paris, a Spaniard named Pablo Picasso, was painting in the spirit of Negro sculptures. Shortly after, Csaky found a studio at the artists collective La Ruche in Montparnasse, the building had been constructed by Gustave Eiffel, and was adapted as artists studios by the sculptor Alfred Boucher. Among other émigré artists at La Ruche were Alexander Archipenko, Wladimir Baranoff-Rossine, with his discovery of the work of Auguste Rodin laying the groundwork for an oeuvre characterized by a mastery of sculptural techniques, Csakys work in stone carving would evolve
2.
Cubism
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Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. Cubism has been considered the most influential art movement of the 20th century, the term is broadly used in association with a wide variety of art produced in Paris during the 1910s and extending through the 1920s. The movement was pioneered by Georges Braque and Pablo Picasso, joined by Andre Lhote, Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris. A primary influence that led to Cubism was the representation of form in the late works of Paul Cézanne. The impact of Cubism was far-reaching and wide-ranging, Cubism spread rapidly across the globe and in doing so evolved to a greater or lesser extent. In essence, Cubism was the origin of a process that produced diversity. In France, offshoots of Cubism developed, including Orphism, Abstract art, in other countries Futurism, Suprematism, Dada, Constructivism, De Stijl and Art Deco developed in response to Cubism. Other common threads between these movements include the faceting or simplification of geometric forms, and the association of mechanization. Cubism began between 1907 and 1911, Pablo Picassos 1907 painting Les Demoiselles dAvignon has often been considered a proto-Cubist work. Georges Braques 1908 Houses at L’Estaque prompted the critic Louis Vauxcelles to refer to bizarreries cubiques, Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro, as the first Cubist paintings. A second phase, Synthetic Cubism, remained vital until around 1919, english art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch. Douglas Coopers restrictive use of terms to distinguish the work of Braque, Picasso, Gris. Alternative interpretations of Cubism have therefore developed, wider views of Cubism include artists who were later associated with the Salle 41 artists, e. g. John Berger identifies the essence of Cubism with the mechanical diagram. The metaphorical model of Cubism is the diagram, The diagram being a symbolic representation of invisible processes, forces, structures. A diagram need not eschew certain aspects of appearance but these too will be treated as not as imitations or recreations. During the late 19th and early 20th centuries, Europeans were discovering African, Polynesian, Micronesian, artists such as Paul Gauguin, Henri Matisse, and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures. Around 1906, Picasso met Matisse through Gertrude Stein, at a time when artists had recently acquired an interest in primitivism, Iberian sculpture, African art and African tribal masks. Picassos paintings of 1907 have been characterized as Protocubism, as seen in Les Demoiselles dAvignon
3.
Art Deco
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Art Deco, sometimes simply referred to as Deco, is a style of visual arts, architecture and design that first appeared in France just before World War I. It took its name, short for Arts Decorators, from the Exposition Internationale des Arts Décoratifs et Industriels Modernes held in Paris in 1925 and it combined modernist styles with fine craftsmanship and rich materials. During its heyday, Art Deco represented luxury, glamour, exuberance, Art Deco was a pastiche of many different styles, sometimes contradictory, united by a desire to be modern. It featured rare and expensive materials such as ebony and ivory, the Chrysler Building and other skyscrapers of New York were the most visible monuments of the new style. In the 1930s, during the Great Depression, the became more subdued. New materials arrived, including chrome plating, stainless steel and plastic, a more sleek form of the style, called Streamline Moderne, appeared in the 1930s, it featured curving forms and smooth, polished surfaces. Art Deco became one of the first truly international architectural styles, with examples found in European cities, the style came to an end with the beginning of World War II. Deco was replaced as the dominant global style by the functional and unadorned styles of modernism. The term arts décoratifs was first used in France in 1858, in 1868, Le Figaro newspaper used the term art décoratifs with respect to objects for stage scenery created for the Théâtre de lOpéra. In 1875, furniture designers, textile, jewelry and glass designers and it took its present name of ENSAD in 1927. The term Art déco was then used in a 1966 newspaper article by Hillary Gelson in the Times, describing the different styles at the exhibit. Art Deco gained currency as a broadly applied stylistic label in 1968 when historian Bevis Hillier published the first major book on the style. Hillier noted that the term was already being used by art dealers and cites The Times, in 1971, Hillier organized an exhibition at the Minneapolis Institute of Arts, which he details in his book about it, The World of Art Deco. The emergence of Art Deco was closely connected with the rise in status of decorative artists, the term arts décoratifs had been invented in 1875, giving the designers of furniture, textiles, and other decoration official status. The Société des artistes décorateurs, or SAD, was founded in 1901, a similar movement developed in Italy. The first international exhibition devoted entirely to the arts, the Esposizione international dArte decorative moderna, was held in Turin in 1902. Several new magazines devoted to decorative arts were founded in Paris, including Arts et décoration, Decorative arts sections were introduced into the annual salons of the Sociéte des artistes français, and later in the Salon dautomne. French nationalism also played a part in the resurgence of decorative arts, in 1911 the SAD proposed the holding of a major new international exposition of decorative arts in 1912
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Hungary
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Hungary is a unitary parliamentary republic in Central Europe. With about 10 million inhabitants, Hungary is a member state of the European Union. The official language is Hungarian, which is the most widely spoken language in Europe. Hungarys capital and largest metropolis is Budapest, a significant economic hub, major urban areas include Debrecen, Szeged, Miskolc, Pécs and Győr. His great-grandson Stephen I ascended to the throne in 1000, converting the country to a Christian kingdom, by the 12th century, Hungary became a middle power within the Western world, reaching a golden age by the 15th century. Hungarys current borders were established in 1920 by the Treaty of Trianon after World War I, when the country lost 71% of its territory, 58% of its population, following the interwar period, Hungary joined the Axis Powers in World War II, suffering significant damage and casualties. Hungary became a state of the Soviet Union, which contributed to the establishment of a four-decade-long communist dictatorship. On 23 October 1989, Hungary became again a democratic parliamentary republic, in the 21st century, Hungary is a middle power and has the worlds 57th largest economy by nominal GDP, as well as the 58th largest by PPP, out of 188 countries measured by the IMF. As a substantial actor in several industrial and technological sectors, it is both the worlds 36th largest exporter and importer of goods, Hungary is a high-income economy with a very high standard of living. It keeps up a security and universal health care system. Hungary joined the European Union in 2004 and part of the Schengen Area since 2007, Hungary is a member of the United Nations, NATO, WTO, World Bank, the AIIB, the Council of Europe and Visegrád Group. Well known for its cultural history, Hungary has been contributed significantly to arts, music, literature, sports and science. Hungary is the 11th most popular country as a tourist destination in Europe and it is home to the largest thermal water cave system, the second largest thermal lake in the world, the largest lake in Central Europe, and the largest natural grasslands in Europe. The H in the name of Hungary is most likely due to historical associations with the Huns. The rest of the word comes from the Latinized form of Medieval Greek Oungroi, according to an explanation the Greek name was borrowed from Proto-Slavic Ǫgǔri, in turn borrowed from Oghur-Turkic Onogur. Onogur was the name for the tribes who later joined the Bulgar tribal confederacy that ruled the eastern parts of Hungary after the Avars. The Hungarians likely belonged to the Onogur tribal alliance and it is possible they became its ethnic majority. The Hungarian endonym is Magyarország, composed of magyar and ország, the word magyar is taken from the name of one of the seven major semi-nomadic Hungarian tribes, magyeri
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Avant-garde
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The avant-garde are people or works that are experimental, radical, or unorthodox, with respect to art, culture, and society. It may be characterized by nontraditional, aesthetic innovation and initial unacceptability, the avant-garde pushes the boundaries of what is accepted as the norm or the status quo, primarily in the cultural realm. The avant-garde is considered by some to be a hallmark of modernism, the avant-garde also promotes radical social reforms. Several writers have attempted, with limited success, to map the parameters of avant-garde activity, the Italian essayist Renato Poggioli provides one of the best-known analyses of vanguardism as a cultural phenomenon in his 1962 book Teoria dellarte davanguardia. Other authors have attempted both to clarify and to extend Poggiolis study, bürgers essay also greatly influenced the work of contemporary American art-historians such as the German Benjamin H. D. Buchloh. Buchloh, in the collection of essays Neo-avantgarde and Culture Industry critically argues for an approach to these positions. Subsequent criticism theorized the limitations of these approaches, noting their circumscribed areas of analysis, including Eurocentric, chauvinist, and genre-specific definitions. The concept of avant-garde refers primarily to artists, writers, composers and thinkers whose work is opposed to cultural values. For Greenberg, these forms were therefore kitsch, phony, faked or mechanical culture, for instance, during the 1930s the advertising industry was quick to take visual mannerisms from surrealism, but this does not mean that 1930s advertising photographs are truly surreal. In this way the autonomous artistic merit so dear to the vanguardist was abandoned and sales became the measure. It has become common to describe successful rock musicians and celebrated film-makers as avant-garde, nevertheless, an incisive critique of vanguardism as against the views of mainstream society was offered by the New York critic Harold Rosenberg in the late 1960s. Since then it has been flanked by what he called avant-garde ghosts to the one side, and this has seen culture become, in his words, a profession one of whose aspects is the pretense of overthrowing it. Avant-garde in music can refer to any form of working within traditional structures while seeking to breach boundaries in some manner. The term is used loosely to describe the work of any musicians who radically depart from tradition altogether, although most avant-garde composers have been men, this is not exclusively the case. Women avant-gardists include Pauline Oliveros, Diamanda Galás, Meredith Monk, there are movements in theatre history that are characterized by their contributions to the avant-garde traditions in both the United States and Europe. Among these are Fluxus, Happenings, and Neo-Dada, Avant-garde – Wikipedia book Barron, Stephanie, and Maurice Tuchman. The Avant-garde in Russia, 1910–1930, New Perspectives, Los Angeles County Museum of Art Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D. C. Los Angeles, CA, Los Angeles County Museum of Art ISBN 0-87587-095-3, Cambridge, MA, ISBN 0-671-20422-X Berg, Hubert van den, and Walter Fähnders
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Sculpture
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Sculpture is the branch of the visual arts that operates in three dimensions. It is one of the plastic arts, a wide variety of materials may be worked by removal such as carving, assembled by welding or modelling, or molded, or cast. However, most ancient sculpture was painted, and this has been lost. Those cultures whose sculptures have survived in quantities include the cultures of the ancient Mediterranean, India and China, the Western tradition of sculpture began in ancient Greece, and Greece is widely seen as producing great masterpieces in the classical period. During the Middle Ages, Gothic sculpture represented the agonies and passions of the Christian faith, the revival of classical models in the Renaissance produced famous sculptures such as Michelangelos David. Relief is often classified by the degree of projection from the wall into low or bas-relief, high relief, sunk-relief is a technique restricted to ancient Egypt. Relief sculpture may also decorate steles, upright slabs, usually of stone, techniques such as casting, stamping and moulding use an intermediate matrix containing the design to produce the work, many of these allow the production of several copies. The term sculpture is used mainly to describe large works. The very large or colossal statue has had an enduring appeal since antiquity, another grand form of portrait sculpture is the equestrian statue of a rider on horse, which has become rare in recent decades. The smallest forms of life-size portrait sculpture are the head, showing just that, or the bust, small forms of sculpture include the figurine, normally a statue that is no more than 18 inches tall, and for reliefs the plaquette, medal or coin. Sculpture is an important form of public art, a collection of sculpture in a garden setting can be called a sculpture garden. One of the most common purposes of sculpture is in form of association with religion. Cult images are common in cultures, though they are often not the colossal statues of deities which characterized ancient Greek art. The actual cult images in the innermost sanctuaries of Egyptian temples, of which none have survived, were rather small. The same is true in Hinduism, where the very simple. Some undoubtedly advanced cultures, such as the Indus Valley civilization, appear to have had no monumental sculpture at all, though producing very sophisticated figurines, the Mississippian culture seems to have been progressing towards its use, with small stone figures, when it collapsed. Other cultures, such as ancient Egypt and the Easter Island culture, from the 20th century the relatively restricted range of subjects found in large sculpture expanded greatly, with abstract subjects and the use or representation of any type of subject now common. Today much sculpture is made for intermittent display in galleries and museums, small sculpted fittings for furniture and other objects go well back into antiquity, as in the Nimrud ivories, Begram ivories and finds from the tomb of Tutankhamun
7.
Salon d'Automne
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The Salon dAutomne, or Société du Salon dautomne, is an annual art exhibition held in Paris, France since 1903. During the Salons early years, established such as Pierre-Auguste Renoir threw their support behind the new exhibition. Foreign artists are well represented. The Salon dAutomne also boasts the presence of a politician and patron of the arts and this was the idea behind Jourdains dream of opening a new Salon des Refusés in the late 1890s, and realized in the opening the Salon dAutomne in 1903. Providing a venue where artists could be recognized, while wrestling the public out of its complacency were, to Jourdain. The platform of the Salon dAutomne was based on an open admission, jurors were members of society itself, not members of the Academy, the state, or official art establishments. Refused exhibition space in the Grand Palais, the first Salon dAutomne was held in the poorly lit and it was backed financially by Jansen. While Rodin applauded the endeavor, and submitted drawings, he refused to join doubting it would succeed, notwithstanding, the first Salon dAutomne, which included works by Matisse, Bonnard and other progressive artists, was unexpectedly successful, and was met with wide critical acclaim. Even Paul Signac, president of the Salon des Indépendants, never forgave Jourdain for having founded a rival salon, what he had not predicted was a retaliation that threatened the future of the new salon. Carolus-Duran threatened to ban from his Société established artists who might consider exhibiting at the Salon dAutomne, retaliating in defense of Jourdain, Eugène Carrière issued a statement that if forced to choose, he would join the Salon dAutomne and resign from the Société Nationale des Beaux-Arts. The valuable publicity generated by the articles on the controversy worked in favor of the Salon dAutomne. Thus, Eugène Carrière saved the burgeoning salon, Henri Marcel, sympathetic to the Salon dAutomne, became director of the Beaux-Arts, and assured it would take place at the prestigious Grand Palais the following year. The success of the Salon dAutomne was not, however, due to such controversy, success was due to the tremendous impact of its exhibitions on both the art world and the general public, extending from 1903 to the outset of the First World War. He soon became known as a staunch critic of traditionalism and a fervent proponent of Modernism, yet even for him. The first Salon dAutumne exhibition opened 31 October 1903 at the Palais des Beaux-Arts de la Ville de Paris in Paris, Albert Gleizes exhibited two paintings, Vieux moulin à Montons-Villiers and Le matin à Courbevoie. A room at the 1904 Salon dAutome was dedicated to Paul Cézanne, with works, including various portraits, self-portraits, still lifes, flowers, landscapes. Another room presented works of Puvis de Chavannes, with 44 works, and another was dedicated to Odilon Redon with 64 works, including paintings, drawings and lithographs. Auguste Renoir and Henri de Toulouse-Lautrec too were represented in separate rooms with 35 and 28 works respectively, Vauxcelles described their work with the phrase Donatello chez les fauves, contrasting the orgy of pure tones with a Renaissance-style sculpture that shared the room with them
8.
National Assembly (France)
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The National Assembly is the lower house of the bicameral Parliament of France under the Fifth Republic. The upper house is the Senate, the National Assemblys members are known as députés. There are 577 députés, each elected by a constituency through a two-round voting system. Thus,289 seats are required for a majority, the assembly is presided over by a president, normally from the largest party represented, assisted by vice-presidents from across the represented political spectrum. The term of the National Assembly is five years, however and it is guarded by Republican Guards. The Constitution of the French Fifth Republic greatly increased the power of the executive at the expense of Parliament, the President of the Republic can decide to dissolve the National Assembly and call for new legislative elections. This is meant as a way to resolve stalemates where the Assembly cannot decide on a political direction. The National Assembly can overthrow the government by a vote of no confidence. For this reason, the minister and his cabinet are necessarily from the dominant party or coalition in the assembly. The Government used to set the priorities of the agenda for the Assemblys sessions and this, however, was amended on 23 July 2008. Under the amended constitution, the Government sets the priorities for two weeks in a month, another week is designated for the Assemblys control prerogatives. And the fourth one is set by the Assembly, also, one day per month is set by a minority or opposition group. Members of the assembly can ask written or oral questions to ministers, the Wednesday afternoon 3 p. m. session of questions to the Government is broadcast live on television. Like Prime Ministers Questions in Britain, it is largely a show for the viewers, with members of the majority asking flattering questions, while the opposition tries to embarrass the government. Since 1988, the 577 deputies are elected by universal suffrage with a two-round system by constituency, for a five-year mandate. The constituencies each have approximately 100,000 inhabitants, however, districts were not redrawn between 1982 and 2009. As a result of population movements over that period, there were inequalities between the less populous rural districts and the urban districts, the constituencies were redrawn in 2009, but this redistribution was controversial. Among other controversial measures, it created eleven constituencies and seats for French residents overseas, albeit without increasing the overall number of seats beyond 577
9.
Symbolism (art)
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Symbolism was a late nineteenth-century art movement of French, Russian and Belgian origin in poetry and other arts. In literature, the style originates with the 1857 publication of Charles Baudelaires Les Fleurs du mal, the works of Edgar Allan Poe, which Baudelaire admired greatly and translated into French, were a significant influence and the source of many stock tropes and images. The aesthetic was developed by Stéphane Mallarmé and Paul Verlaine during the 1860s and 1870s, in the 1880s, the aesthetic was articulated by a series of manifestos and attracted a generation of writers. The name symbolist itself was first applied by the critic Jean Moréas, distinct from, but related to, the style of literature, symbolism in art is related to the gothic component of Romanticism and Impressionism. In ancient Greece, the symbolon was a shard of pottery which was inscribed, Symbolism was a reaction in favour of spirituality, the imagination, and dreams. Some writers, such as Joris-Karl Huysmans, began as naturalists before becoming symbolists, for Huysmans, the Symbolist poets have a more complex relationship with Parnassianism, a French literary style that immediately preceded it. The Symbolists continued to admire Théophile Gautiers motto of art for arts sake, many Symbolist poets, including Stéphane Mallarmé and Paul Verlaine, published early works in Le Parnasse contemporain, the poetry anthologies that gave Parnassianism its name. One of Symbolisms most colourful promoters in Paris was art and literary critic Joséphin Péladan, a number of Symbolists were associated with the Salon. Symbolists believed that art should represent absolute truths that could only be described indirectly, thus, they wrote in a very metaphorical and suggestive manner, endowing particular images or objects with symbolic meaning. Jean Moréas published the Symbolist Manifesto in Le Figaro on 18 September 1886, the Symbolist Manifesto names Charles Baudelaire, Stéphane Mallarmé, and Paul Verlaine as the three leading poets of the movement. In a nutshell, as Mallarmé writes in a letter to his friend Cazalis, to not the thing. Symbolist poems were attempts to evoke, rather than primarily to describe, – both poets seek to identify one sense experience with another. The earlier Romanticism of poetry used symbols, but these symbols were unique, the symbolists were more extreme, investing all things, even vowels and perfumes, with potential symbolic value. The physical universe, then, is a kind of language that invites a privileged spectator to decipher it, Symbolist symbols are not allegories, intended to represent, they are instead intended to evoke particular states of mind. The nominal subject of Mallarmés Le cygne is of a trapped in a frozen lake. Significantly, in French, cygne is a homophone of signe, un cygne d’autrefois se souvient que c’est lui Magnifique mais qui sans espoir se délivre. They were also portrayed as at odds with society, having tragic lives and these traits were not hindrances but consequences of their literary gifts. Schopenhauers aesthetics represented shared concerns with the symbolist programme, they tended to consider Art as a contemplative refuge from the world of strife and will
10.
Art Nouveau
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Art Nouveau is an international style of art, architecture and applied art, especially the decorative arts, that was most popular between 1890 and 1910. A reaction to the art of the 19th century, it was inspired by natural forms and structures, particularly the curved lines of plants. English uses the French name Art Nouveau, according to the philosophy of the style, art should be a way of life. For many well-off Europeans, it was possible to live in an art nouveau-inspired house with art nouveau furniture, silverware, fabrics, ceramics including tableware, jewellery, cigarette cases, artists desired to combine the fine arts and applied arts, even for utilitarian objects. By 1910, Art Nouveau was already out of style and it was replaced as the dominant European architectural and decorative style first by Art Deco and then by Modernism. Art Nouveau took its name from the Maison de lArt Nouveau, in France, Art Nouveau was also sometimes called by the British term Modern Style due to its roots in the Arts and Crafts Movement, Style moderne, or Style 1900. It was also sometimes called Style Jules Verne, Le Style Métro, Art Belle Époque, in Belgium, where the architectural movement began, it was sometimes termed Style nouille or Style coup de fouet. In Britain, it was known as the Modern Style, or, because of the arts and crafts movement led by Charles Rennie Mackintosh in Glasgow, as the Glasgow style. In Italy, because of the popularity in Italy of designs from Londons Liberty & Co department store, in the United States, due to its association with Louis Comfort Tiffany, it was often called the Tiffany style. In Germany and Scandinavia, a style emerged at about the same time, it was called Jugendstil. In Catalonia the related style was known as Modernisme, in Spain as Modernismo, Arte joven, in Russia, it was called Modern, and Jugendstil, and Nieuwe Kunst in the Netherlands. Some names refer specifically to the forms that were popular with the Art Nouveau artists, Stile Floreal in France, Paling Stijl in the Netherlands. The new art movement had its roots in Britain, in the designs of William Morris. Early prototypes of the include the Red House of Morris. In France, the style combined several different tendencies, in architecture, it was influenced by the architectural theorist and historian Eugène Viollet-le-Duc, a declared enemy of the historical Beaux-Arts architectural style. For each function its material, for each material its form and this book influenced a generation of architects, including Louis Sullivan, Victor Horta, Hector Guimard, and Antoni Gaudí. The French painters Maurice Denis, Pierre Bonnard and Édouard Vuillard played an important part in integrating fine arts painting with decoration, I believe that before everything a painting must decorate, Denis wrote in 1891. The choice of subjects or scenes is nothing and it is by the value of tones, the colored surface and the harmony of lines that I can reach the spirit and wake up the emotions
11.
Groupe de femmes
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This sculpture formerly known from a black and white photograph had been erroneously entitled Deux Femmes, as the image captured on an angle showed only two figures. An additional photograph found in the Csaky family archives shows a view of the work. Csakys sculpture was exhibited at the 1912 Salon dAutomne, and the 1913 Salon des Indépendants, the whereabouts of Groupe de femmes is unknown and the sculpture is presumed to have been destroyed. Groupe de femmes is a sculpture, carved in a vertical format with unknown dimensions. The dominating central figure is flanked by a woman to her left and another to the right, two of the women are holding drapery that flows rigidly down to their legs to the base of the sculpture. The figures are constructed with a robust, muscular build, distilled in the form of almost androgynous stature, Csakys Groupe de femmes and the Head are lost sculptures that testify to Csakys early immersion in cubism. This works was likely realized at Csakys studio in La Ruche, petersburg, Jacques Lipchitz from Vilna, Piet Mondrian from Amsterdam, Moïse Kisling from Kraków, Pablo Picasso from Barcelona, Louis Marcoussis from Kraków, Chaim Soutine from Vilnius. During his proto-Cubist phase Csaky had already separated himself from the past, by 1911-12 Csaky participation in the avant-garde milieu was complete. Csaky was one of the first artists to apply Cubist principles to sculpture, michel Seuphor has written, Csaky, after Archipenko, was the first sculptor to join the cubists, with whom he exhibited from 1911 on. They were followed by Duchamp-Villon, brother of Marcel Duchamp and of Jacques Villon, in Groupe de femmes Csaky already showed a new way of representing nature, and the unwillingness to revert to classical, academic or traditional methods of representation. Csaky wrote of the direction his art had taken during the crucial years, true, I was not alone, but in the company of several artists who came from Eastern Europe. I joined the cubists in the Académie de La Palette, which became the sanctuary of the new direction in art, on my part I did not want to imitate anyone or anything. This is why I joined the cubists movement, Joseph Csaky exhibited the sculptures Groupe de femmes, 1911-1912, Portrait de M. S. H. 91, and Danseuse no.405 Jean Metzinger entered three works, Dancer in a café, La Plume Jaune, Femme à lÉventail, hung in the arts section inside La Maison Cubiste. Albert Gleizes, lHomme au Balcon,1912, also exhibited at the Armory show, New York, Chicago, andré Lhote, Le jugement de Paris,1912 František Kupka, Amorpha, Fugue à deux couleurs,1912, and Amorpha Chromatique Chaude. Alexander Archipenko, Family Life,1912, sculpture Amedeo Modigliani, exhibited four sculptures of elongated and highly stylized heads Salon dAutomne, Salon des Indépendants, Paris,1913, listed in the catalogue as Groupe de femmes. René Reichard, Joseph Csaky, Frankfurt,1988, n, billy Klüver and Julie Martin, Kiki de Montparnasse, Flammarion,1989, salle XI, rep. p.47. Edith Balas, Joseph Csaky, A Pioneer of Modern Sculpture, American Philosophical Society, Philadelphia,1998, fig.5, rep. p.23
12.
Pierre Puvis de Chavannes
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Pierre Puvis de Chavannes was a French painter best known for his mural painting, who came to be known as the painter for France. He became the co-founder and president of the Société Nationale des Beaux-Arts, Puvis de Chavannes was a prominent painter in the early Third Republic. Émile Zola described his work as an art made of reason, passion, Puvis de Chavannes was born Pierre-Cécile Puvis in a suburb of Lyon, France. He was the son of a mining engineer, being descended from an old noble family of Burgundy, he later added the ancestral de Chavannes to his name. Throughout his life, however, he spurned his Lyon origins, preferring to identify himself with the blood of the Burgundians. Puvis de Chavannes was educated at the Amiens College and at the Lycée Henri IV in Paris and he intended to follow his fathers profession until a serious illness compelled him to convalesce at Mâcon with his brother and sister-in-law in 1844 and 1845, interrupting his studies. A journey to Italy opened his mind to fresh ideas, and he studied first under Eugène Delacroix, but only very briefly, as Delacroix closed his studio shortly afterwards due to ill health. He studied subsequently under Henri Scheffer and then Thomas Couture and his training was not classical as he found that he preferred to work alone. He took a studio near the Gare de Lyon and attended anatomy classes at the Académie des Beaux Arts. It was not until a number of later, when the government of France acquired one of his works. Puvis de Chavannes made his Salon debut in 1850 with Dead Christ, Negro Boy, The Reading Lesson, and Portrait of a Man. In Montmartre, he had an affair with one of his models, Suzanne Valadon, who would one of the leading artists of the day as well as the mother, teacher. One of his protégés was Georges de Feure, Puvis de Chavannes is best known for his mural painting, and came to be known as the painter for France. His first commission was for his brothers chateau, Le Brouchy, the principal decorations take the four seasons as their theme. His first public commissions came early in the 1860s, with work at the Musée de Picardie at Amiens, the first four works were Concordia, Bellum, Le Travail and Le Repos. Over the course of his career, Puvis received a number of commissions for works to be carried out in public. His early work at the Musée de Picardie had helped him to develop his style. Among his public works are the later cycles completed at Amiens, at Marseille, at Lyon, of particular importance is the cycle at the Palais de Beaux Arts in Lyon, which includes three significant works, filling the wall space in the main staircase
13.
Auguste Rodin
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François Auguste René Rodin, known as Auguste Rodin, was a French sculptor. Although Rodin is generally considered the progenitor of modern sculpture, he did not set out to rebel against the past and he was schooled traditionally, took a craftsman-like approach to his work, and desired academic recognition, although he was never accepted into Pariss foremost school of art. Sculpturally, Rodin possessed an ability to model a complex, turbulent. Many of his most notable sculptures were roundly criticized during his lifetime and they clashed with predominant figurative sculpture traditions, in which works were decorative, formulaic, or highly thematic. Rodins most original work departed from traditional themes of mythology and allegory, modeled the human body with realism, Rodin was sensitive to the controversy surrounding his work, but refused to change his style. Successive works brought increasing favor from the government and the artistic community, by 1900, he was a world-renowned artist. Wealthy private clients sought Rodins work after his Worlds Fair exhibit and he married his lifelong companion, Rose Beuret, in the last year of both their lives. His sculptures suffered a decline in popularity after his death in 1917, Rodin remains one of the few sculptors widely known outside the visual arts community. Rodin was born in 1840 into a family in Paris, the second child of Marie Cheffer and Jean-Baptiste Rodin. He was largely self-educated, and began to draw at age ten, between ages 14 and 17, Rodin attended the Petite École, a school specializing in art and mathematics, where he studied drawing and painting. His drawing teacher, Horace Lecoq de Boisbaudran, believed in first developing the personality of his students so that they observed with their own eyes, Rodin still expressed appreciation for his teacher much later in life. It was at Petite École that he first met Jules Dalou, in 1857, Rodin submitted a clay model of a companion to the École des Beaux-Arts in an attempt to win entrance, he did not succeed, and two further applications were also denied. Given that entrance requirements at the Grande École were not particularly high, Rodins inability to gain entrance may have been due to the judges Neoclassical tastes, while Rodin had been schooled in light, 18th-century sculpture. Leaving the Petite École in 1857, Rodin earned a living as a craftsman, Rodins sister Maria, two years his senior, died of peritonitis in a convent in 1862. Rodin was anguished and felt guilty because he had introduced Maria to an unfaithful suitor, turning away from art, he briefly joined a Catholic order, the Congregation of the Blessed Sacrament. Saint Peter Julian Eymard, founder and head of the congregation, recognized Rodins talent and, sensing his lack of suitability for the order and he returned to work as a decorator, while taking classes with animal sculptor Antoine-Louis Barye. The teachers attention to detail – his finely rendered musculature of animals in motion – significantly influenced Rodin, in 1864, Rodin began to live with a young seamstress named Rose Beuret, with whom he would stay – with ranging commitment – for the rest of his life. The couple had a son, Auguste-Eugène Beuret and that year, Rodin offered his first sculpture for exhibition, and entered the studio of Albert-Ernest Carrier-Belleuse, a successful mass producer of objets dart
14.
Gustave Courbet
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Jean Désiré Gustave Courbet was a French painter who led the Realism movement in 19th-century French painting. Committed to painting only what he could see, he rejected academic convention and his independence set an example that was important to later artists, such as the Impressionists and the Cubists. Courbet occupies an important place in 19th-century French painting as an innovator, Courbets paintings of the late 1840s and early 1850s brought him his first recognition. They challenged convention by depicting unidealized peasants and workers, often on a grand scale traditionally reserved for paintings of religious or historical subjects, Courbets subsequent paintings were mostly of a less overtly political character, landscapes, seascapes, hunting scenes, nudes and still lifes. He was imprisoned for six months in 1871 for his involvement with the Paris Commune, Gustave Courbet was born in 1819 to Régis and Sylvie Oudot Courbet in Ornans. Being a prosperous farming family, anti-monarchical feelings prevailed in the household, Courbets sisters, Zoé, Zélie and Juliette, were his first models for drawing and painting. After moving to Paris he often returned home to Ornans to hunt, fish and he went to Paris in 1839 and worked at the studio of Steuben and Hesse. An independent spirit, he left, preferring to develop his own style by studying the paintings of Spanish, Flemish and French masters in the Louvre. Among his paintings of the early 1840s are several self-portraits, Romantic in conception, trips to the Netherlands and Belgium in 1846–47 strengthened Courbets belief that painters should portray the life around them, as Rembrandt, Hals and other Dutch masters had. By 1848, he had gained supporters among the younger critics, Courbet achieved his first Salon success in 1849 with his painting After Dinner at Ornans. The work, reminiscent of Chardin and Le Nain, earned Courbet a gold medal and was purchased by the state, the gold medal meant that his works would no longer require jury approval for exhibition at the Salon—an exemption Courbet enjoyed until 1857. In 1849-50, Courbet painted Stone-Breakers, which Proudhon admired as an icon of peasant life, the painting was inspired by a scene Courbet witnessed on the roadside. He later explained to Champfleury and the writer Francis Wey, It is not often that one encounters so complete an expression of poverty and so, right then, I told them to come to my studio the next morning. Courbets work belonged neither to the predominant Romantic nor Neoclassical schools, instead, he maintained that the only possible source for living art is the artists own experience. He and Jean-Francois Millet would find inspiration painting the life of peasants, Courbet painted figurative compositions, landscapes, seascapes, and still lifes. He courted controversy by addressing issues in his work, and by painting subjects that were considered vulgar, such as the rural bourgeoisie, peasants. His work, along with that of Honoré Daumier and Jean-François Millet and he depicted the harshness in life, and in so doing challenged contemporary academic ideas of art. The Salon of 1850–1851 found him triumphant with The Stone Breakers, the Burial, one of Courbets most important works, records the funeral of his grand uncle which he attended in September 1848
15.
Paul Gauguin
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Eugène Henri Paul Gauguin was a French post-Impressionist artist. Underappreciated until after his death, Gauguin is now recognized for his use of color. His work was influential to the French avant-garde and many artists, such as Pablo Picasso. Many of his paintings were in the possession of Russian collector Sergei Shchukin and he was an important figure in the Symbolist movement as a painter, sculptor, printmaker, ceramist, and writer. He was also a proponent of wood engraving and woodcuts as art forms. Gauguin was born in Paris, France to Clovis Gauguin and Alina Maria Chazal on June 7,1848 and his birth coincided with revolutionary upheavals throughout Europe that year. His father, a 34-year-old liberal journalist, came from a family of petit-bourgeoisie entrepreneurs residing in Orléans and he was compelled to flee France when the newspaper for which he wrote was suppressed by French authorities. Gauguins mother, the 22-year-old Aline Marie Chazal, was the daughter of Andre Chazal, an engraver, and Flora Tristan and their union ended when Andre assaulted his wife Flora and was sentenced to prison for attempted murder. Paul Gauguins maternal grandmother, Flora Tristan, was the daughter of Thérèse Laisnay. Details of Thérèses family background are not known, her father, Don Mariano, was a Spanish nobleman, members of the wealthy Tristan Moscoso family held powerful positions in Peru. Nonetheless, Don Marianos unexpected death plunged his mistress and daughter Flora into poverty, when Floras marriage with Andre failed, she petitioned for and obtained a small monetary settlement from her fathers Peruvian relatives. She sailed to Peru in hopes of enlarging her share of the Tristan Moscoso family fortune and this never materialized, but she successfully published a popular travelogue of her experiences in Peru which launched her literary career in 1838. An active supporter of early socialist societies, Gauguins maternal grandmother helped to lay the foundations for the 1848 revolutionary movements, placed under surveillance by French police and suffering from overwork, she died in 1844. Her grandson Paul idolized his grandmother, and kept copies of her books with him to the end of his life. In 1850, Clovis Gauguin departed for Peru with his wife Alina and he died of a heart attack en route, and Alina arrived in Peru a widow with the 18-month-old Paul and his 2 ½ year-old sister, Marie. Gauguins mother was welcomed by her granduncle, whose son-in-law would shortly assume the presidency of Peru. To the age of six, Paul enjoyed an upbringing, attended by nursemaids. He retained a vivid memory of period of his childhood which instilled indelible impressions of Peru that haunted him the rest of his life
16.
Georges Seurat
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Georges-Pierre Seurat was a French post-Impressionist painter and draftsman. He is noted for his use of drawing media and for devising the painting techniques known as chromoluminarism and pointillism. His large-scale work, A Sunday Afternoon on the Island of La Grande Jatte, altered the direction of art by initiating Neo-impressionism. Seurat was born 2 December 1859 in Paris, at 60 rue de Bondy, the Seurat family moved to 136 boulevard de Magenta in 1862 or 1863. His father, Antoine Chrysostome Seurat, originally from Champagne, was a legal official who had become wealthy from speculating in property. Georges had a brother, Émile Augustin, and a sister, Marie-Berthe and his father lived in Le Raincy and visited his wife and children once a week at boulevard de Magenta. Georges Seurat first studied art at the École Municipale de Sculpture et Dessin, near his familys home in the boulevard Magenta, Seurats studies resulted in a well-considered and fertile theory of contrasts, a theory to which all his work was thereafter subjected. His formal artistic education came to an end in November 1879, after a year at the Brest Military Academy, he returned to Paris where he shared a studio with his friend Aman-Jean, while also renting a small apartment at 16 rue de Chabrol. For the next two years, he worked at mastering the art of monochrome drawing and his first exhibited work, shown at the Salon, of 1883, was a Conté crayon drawing of Aman-Jean. He also studied the works of Eugène Delacroix carefully, making notes on his use of color and he spent 1883 working on his first major painting—a large canvas titled Bathers at Asnières, a monumental work showing young men relaxing by the Seine in a working-class suburb of Paris. Seurat also departed from the Impressionist ideal by preparing for the work with a number of drawings, Bathers at Asnières was rejected by the Paris Salon, and instead he showed it at the Groupe des Artistes Indépendants in May 1884. Seurats new ideas on pointillism were to have a strong influence on Signac. In the summer of 1884, Seurat began work on A Sunday Afternoon on the Island of La Grande Jatte, the painting shows members of each of the social classes participating in various park activities. The tiny juxtaposed dots of multi-colored paint allow the eye to blend colors optically. It took Seurat two years to complete this 10-foot-wide painting, much of which he spent in the park sketching in preparation for the work and it is now in the permanent collection of the Art Institute of Chicago. The painting was the inspiration for James Lapine and Stephen Sondheims musical, Seurat concealed his relationship with Madeleine Knobloch, an artists model whom he portrayed in his painting Jeune femme se poudrant. In 1889 she moved in with Seurat in his studio on the 7th floor of 128bis Boulevard de Clichy, when Madeleine became pregnant, the couple moved to a studio at 39 passage de lÉlysée-des-Beaux-Arts. There she gave birth to their son, who was named Pierre-Georges,16 February 1890, Seurat died in Paris in his parents home on 29 March 1891 at the age of 31
17.
Grand Palais
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The structure was built in the style of Beaux-Arts architecture as taught by the École des Beaux-Arts of Paris. One of its pediments calls it a “monument dedicated by the Republic to the glory of French art”, reflecting its original purpose, a monumental bronze quadriga by Georges Récipon tops each wing of the main façade. The one on the Champs-Élysées side depicts Immortality prevailing over Time, the grand inauguration took place 1 May 1900, and from the very beginning the palace was the site of different kinds of shows in addition to the intended art exhibitions. These included a competition that took place annually from 1901 to 1957, but were mainly dedicated to innovation and modernity, the automobile, aviation, household appliances. The golden age of the art exhibitions as such lasted for thirty years. The builders attempted to compensate for this subsidence, and for a tendency of the ground to shift, by sinking supporting posts down to firmer soil and these measures were only partially successful. Further damage occurred once the building was in use, additional problems due to the construction of the building itself revealed themselves over the course of time. Differential rates of expansion and contraction between cast iron and steel members, for example, allowed for water to enter, leading to corrosion and further weakening. When finally one of the ceiling panels fell in 1993, the main space had to be closed for restoration work. The Palais served as a hospital during World War I. The Nazis put the Palais to use during the Occupation of France in World War II, first used as a truck depot, the Palais then housed two Nazi propaganda exhibitions. The Parisian resistance used the Grand Palais as a headquarters during the Liberation of Paris, on 23 August 1944 an advancing German column was fired upon from a window on the Avenue de Sèlves, and the Germans responded with a tank attack upon the Palais. The attack ignited hay that was set up for a circus show, by 26 August, American jeeps were parked in the nave, followed by tanks from the French 2nd Armored Division, completing the liberation of the building. The buildings west wing contains a science museum, the Palais de la Découverte. The couture fashion house Chanel annually hosts many of its fashion shows here, setting up elaborate and expensive surroundings for its models and it was the host venue of the 2010 World Fencing Championships. This article contains material abridged and translated from the French and Spanish Wikipedia, official Grand Palais website The Grand Palais, current photographs, and photographs from the 1900s. New recent pictures and great information on the Grand Palais Paris Félix Charpentier, photos from the rooftops of the Grand Palais
18.
Albert Gleizes
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Albert Gleizes was a French artist, theoretician, philosopher, a self-proclaimed founder of Cubism and an influence on the School of Paris. Albert Gleizes and Jean Metzinger wrote the first major treatise on Cubism, Gleizes was a founding member of the Section dOr group of artists. He was also a member of Der Sturm, and his theoretical writings were originally most appreciated in Germany. Gleizes spent four years in New York, and played an important role in making America aware of modern art. He was a member of the Society of Independent Artists, founder of the Ernest-Renan Association, Gleizes exhibited regularly at Léonce Rosenberg’s Galerie de l’Effort Moderne in Paris, he was also a founder, organizer and director of Abstraction-Création. From the mid-1920s to the late 1930s much of his energy went into writing, La Peinture et ses lois, Vers une conscience plastique, La Forme et l’histoire and Homocentrisme. Born Albert Léon Gleizes and raised in Paris, he was the son of a designer who ran a large industrial design workshop. He was also the nephew of Léon Comerre, a portrait painter who won the 1875 Prix de Rome. The young Albert Gleizes did not like school and often skipped classes to idle away the time writing poetry, finally, after completing his secondary schooling, Gleizes spent four years in the 72nd Infantry Regiment of the French army then began pursuing a career as a painter. Gleizes began to paint self-taught around 1901 in the Impressionist tradition and his first landscapes from around Courbevoie appear particularly inspired by Sisley or Pissarro. The density with which these works are painted and their solid framework suggest affinities with Divisionism which were noted by early critics. Gleizes was only years of age when his work titled La Seine à Asnières was exhibited at the Société Nationale des Beaux-Arts in 1902. The following year Gleizes exhibited two paintings at the Salon dAutomne, in 1905 Gleizes was among the founders of lAssociation Ernest-Renan, a union of students opposed to military propaganda. Gleizes was in charge of the Section littéraire et artistique, organizing theater productions, at the Musée des Beaux-Arts de Lyon, Gleizes exhibited Jour de marché en banlieue. Tending towards 1907 his work evolved into a Post-Impressionist style with strong Naturalist and Symbolist components, Gleizes and others decide to create an association fraternelle dartistes and rent a large house in Créteil. The Abbaye de Créteil was a community of artists that aimed to develop their art free of any commercial concerns. For nearly a year, Gleizes along with painters, poets, musicians and writers. A lack of income forced them to give up their cherished Abbaye de Créteil in early 1908 and Gleizes moved to rue du Delta near Montmartre, in 1908 Gleizes exhibited at the Toison dOr in Moscow
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Impressionism
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Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s. The Impressionists faced harsh opposition from the art community in France. The development of Impressionism in the arts was soon followed by analogous styles in other media that became known as impressionist music. Radicals in their time, early Impressionists violated the rules of academic painting and they constructed their pictures from freely brushed colours that took precedence over lines and contours, following the example of painters such as Eugène Delacroix and J. M. W. Turner. They also painted scenes of modern life, and often painted outdoors. Previously, still lifes and portraits as well as landscapes were painted in a studio. The Impressionists found that they could capture the momentary and transient effects of sunlight by painting en plein air, the Impressionists, however, developed new techniques specific to the style. The public, at first hostile, gradually came to believe that the Impressionists had captured a fresh and original vision, even if the art critics and art establishment disapproved of the new style. In the middle of the 19th century—a time of change, as Emperor Napoleon III rebuilt Paris, the Académie was the preserver of traditional French painting standards of content and style. Historical subjects, religious themes, and portraits were valued, landscape, the Académie preferred carefully finished images that looked realistic when examined closely. Paintings in this style were made up of brush strokes carefully blended to hide the artists hand in the work. Colour was restrained and often toned down further by the application of a golden varnish, the Académie had an annual, juried art show, the Salon de Paris, and artists whose work was displayed in the show won prizes, garnered commissions, and enhanced their prestige. The standards of the juries represented the values of the Académie, represented by the works of artists as Jean-Léon Gérôme. In the early 1860s, four young painters—Claude Monet, Pierre-Auguste Renoir, Alfred Sisley and they discovered that they shared an interest in painting landscape and contemporary life rather than historical or mythological scenes. A favourite meeting place for the artists was the Café Guerbois on Avenue de Clichy in Paris, where the discussions were led by Édouard Manet. They were soon joined by Camille Pissarro, Paul Cézanne, during the 1860s, the Salon jury routinely rejected about half of the works submitted by Monet and his friends in favour of works by artists faithful to the approved style. In 1863, the Salon jury rejected Manets The Luncheon on the Grass primarily because it depicted a woman with two clothed men at a picnic. While the Salon jury routinely accepted nudes in historical and allegorical paintings, the jurys severely worded rejection of Manets painting appalled his admirers, and the unusually large number of rejected works that year perturbed many French artists
20.
Louis Vauxcelles
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Louis Vauxcelles was an influential French art critic. He is credited with coining the terms Fauvism, and Cubism, Vauxcelles coined the phrase les fauves in a 1905 review of the Salon dAutomne exhibit to describe in a mocking, critical manner a circle of painters associated with Matisse. Henri Matisses Blue Nude appeared at the 1907 Indépendants, entitled Tableau no, Vauxcelles writes on the topic of Nu bleu, I admit to not understanding. An ugly nude woman is stretched out upon grass of an opaque blue under the palm trees and this is an artistic effect tending toward the abstract that escapes me completely. Vauxcelles described the group of Fauves, A movement I consider dangerous is taking shape among a clan of youngsters. A chapel has been established, two haughty priests officiating, MM Derain and Matisse, a few dozen innocent catechumens have received their baptism. Their dogma amounts to a wavering schematicism that proscribes modeling and volumes in the name of I-dont-know-what pictorial abstraction and this new religion hardly appeals to me. I dont believe in this Renaissance, M. Matisse, fauve-in-chief, M. Derain, fauve deputy, MM. Othon Friesz and Dufy, fauves in attendance, in 1906 Jean Metzinger formed a close friendship with Robert Delaunay, with whom he would share an exhibition at Berthe Weills gallery early in 1907. The two of them were singled out by Vauxcelles in 1907 as Divisionists who used large, mosaic-like cubes to construct small, Vauxcelles recounts how Matisse told him at the time, Braque has just sent in a painting made of little cubes. The critic Charles Morice relayed Matisses words and spoke of Braques little cubes, the motif of the viaduct at lEstaque had inspired Braque to produce three paintings marked by the simplification of form and deconstruction of perspective. On 25 May 1909, Vauxcelles qualifies the works of Braque exhibited at the Salon des Indépendants as «bizarreries cubiques». In neither case notes Daniel Robbins, did the use of the word cube lead to the identification of the artists with a new pictorial attitude. The term Cubism emerged for the first time at the inauguration of the 1911 Salon des Indépendants, Vauxcelles acknowledged the importance of Cézanne to the Cubists in his article titled From Cézanne to Cubism. For Vauxcelles the influence had a character, both architectural and intellectual. He stressed the statement made by Émile Bernard that Cézannes optics were not in the eye, in 1911 he coined the less well-known term Tubism in describing the style of Fernand Léger. Towards the end of his life, in 1932, Vauxcelles published an essay about Marek Szwarc. His art, which plunges its roots into the past of the ghettos, ISBN 0-7924-5848-6 Works by or about Louis Vauxcelles at Internet Archive
21.
Man on a Balcony
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Man on a Balcony, is a large oil painting created in 1912 by the French artist, theorist and writer Albert Gleizes. The painting was exhibited in Paris at the Salon dAutomne of 1912, the Cubist contribution to the salon created a controversy in the French Parliament about the use of public funds to provide the venue for such barbaric art. Gleizes was a founder of Cubism, and demonstrates the principles of the movement in this painting with its projecting planes. The large size of the painting reflects Gleizess ambition to show it in the annual salon exhibitions in Paris. In February 1913, Gleizes and other artists introduced the new style of art known as Cubism to an American audience at the Armory Show in New York City, Chicago. In addition to Man on a balcony, Gleizes exhibited his 1910 painting Femme aux Phlox, Man on a Balcony was reproduced in LExcelsior, Au Salon dAutomne, Les Indépendants,2 October 1912. Man on a Balcony was purchased at the 1913 Armory show by the lawyer, author, art critic, private art collector, Gleizes Man on a Balcony was the frontispiece of Arthur Jerome Eddys book Cubists and Post-Impressionism, March 1914. The painting later formed part of the Louise and Walter Conrad Arensberg Collection,1950 and it is currently in the permanent collection of the Philadelphia Museum of Art. Man on a Balcony is an oil painting on canvas with dimensions 195.6 x 114.9 cm signed and dated Albert Gleizes 12. Studies for this began in the spring of 1912 while the full-figure portrait was probably completed during the late summer of 1912. A study for LHomme au balcon was exhibited at the 1912 Salon des Indépendants, Gleizes deliberately contrasts angular and curved shapes, while the tubular, block-like forms of the figure and head are derived directly from the principled of Cubism, as laid out in Du Cubisme. Lhote replied that such preoccupations were literary and psychological, and outside the interests of the French Cubists and he was wrong for, although not primarily concerned with the reality of visual sensations, Gleizes was, nevertheless, deeply committed to symbolic and psychological relationships. The figure of Dr. Théo Morinaud is intentionally still identifiable, unlike the degree of abstraction present within Marcel Duchamp’s Nude Descending a Staircase No. 2, on view in the gallery at the Armory Show. Essentially, the emphasis on simplified form—particularly those that comprise the Dr. Théo Morinaud—does not overwhelm the representational interest of the painting and that is not to say that Gleizes sought to make a portrait of the Doctor Morinaud as he actually appeared. In Du Cubisme, Gleizes and Metzinger attempted to clarify the distinction between the picture and decorative painting, as we can see straightaway, it is not a matter of describing, nor is it a matter of abstracting from, anything that is external to itself. Every artist of the Section dOr agreed that no longer had to be imitative. All were in agreement too that the value of modern art lay in that conception synthesized from experience could be recreated in the mind of the observer
22.
Armory Show
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Among the many exhibitions that have been held in the vast spaces of U. S. The three-city exhibition started in New York Citys 69th Regiment Armory, on Lexington Avenue between 25th and 26th Streets, from February 17 until March 15,1913. The exhibition went on to show at the Art Institute of Chicago and then to The Copley Society of Art in Boston, the show served as a catalyst for American artists, who became more independent and created their own artistic language. On 14 December 1911 an early meeting of what would become the Association of American Painters and Sculptors was organized at Madison Gallery in New York, the meeting included Henry Fitch Taylor, Jerome Myers, Elmer Livingston MacRae and Walt Kuhn. In January 1912, Walt Kuhn, Walter Pach, and Arthur B, Davies joined together with some two dozen of their colleagues to reinforce a professional coalition, AAPS. They intended the organization to lead the public taste in art, other founding AAPS members included D. Putnam Brinley, Gutzon Borglum, John Frederick Mowbray-Clarke, Leon Dabo, William J. Glackens, Ernest Lawson, Jonas Lie, George Luks, Karl Anderson, James E. Fraser, Allen Tucker, Davies served as president of AAPS, with Kuhn acting as secretary. The AAPS members spent more than a year planning their first project, the International Exhibition of Modern Art, a show of giant proportions, unlike any New York had seen. The 69th Regiment Armory was settled on as the site for the exhibition in the spring of 1912, rented for a fee of $5,000. It was confirmed that the show would travel to Chicago. While in Paris Kuhn met up with Pach, who knew the art scene there intimately, only after Davies and Kuhn returned to New York in December did they issue an invitation for American artists to participate. Pach was responsible for securing loans from these painters for the Armory Show, most of the artists in Paris who sent works to the Armory Show knew Pach personally and entrusted their works to him. The Armory Show was the first, and, ultimately, the only exhibition mounted by the AAPS and it displayed some 1,300 paintings, sculptures, and decorative works by over 300 avant-garde European and American artists. Impressionist, Fauvist, and Cubist works were represented, news reports and reviews were filled with accusations of quackery, insanity, immorality, and anarchy, as well as parodies, caricatures, doggerels and mock exhibitions. About the modern works, former President Theodore Roosevelt declared, Thats not art, the civil authorities did not, however, close down or otherwise interfere with the show. Julian Street, an art critic, wrote that the work resembled an explosion in a shingle factory, the painting was purchased from the Armory Show by Fredric C. The exhibition went on to show at the Art Institute of Chicago and then to The Copley Society of Art in Boston, while in Chicago, the exhibition created a scandal that reached the governors office. Several articles in the press recounted the issue, a visit of an investigator to the show and his report on the pictures caused Lieutenant Governor Barratt OHara to order an immediate examination of the entire exhibition
23.
Jean Metzinger
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Jean Dominique Antony Metzinger was a major 20th-century French painter, theorist, writer, critic and poet, who along with Albert Gleizes wrote a theoretical work on Cubism. His earliest works, from 1900 to 1904, were influenced by the Neo-impressionism of Georges Seurat, between 1904 and 1907 Metzinger worked in the Divisionist and Fauvist styles with a strong Cézannian component, leading to some of the first proto-Cubist works. From 1908 Metzinger experimented with the faceting of form, a style that would become known as Cubism. His early involvement in Cubism saw him both as an influential artist and an important theorist of the movement. The idea of moving around an object in order to see it from different view-points is treated, for the first time, in Metzingers Note sur la Peinture, before the emergence of Cubism, painters worked from the limiting factor of a single view-point. Jean Metzinger and Albert Gleizes wrote the first major treatise on Cubism in 1912, Metzinger was a founding member of the Section dOr group of artists. During the First World War Metzinger furthered his role as a leading Cubist with his co-founding of the phase of the movement. He recognized the importance of mathematics in art, through a radical geometrization of form as an underlying basis for his wartime compositions. As post-war reconstruction began, a series of exhibitions at Léonce Rosenbergs Galerie de LEffort Moderne were to highlight order, the collective phenomenon of Cubism—now in its advanced revisionist form—became part of a widely discussed development in French culture, with Metzinger at its helm. In terms of the separation of culture and life, this period emerges as the most important in the history of Modernism, for Metzinger, the classical vision had been an incomplete representation of real things, based on an incomplete set of laws, postulates and theorems. He believed the world was dynamic and changing in time, that it appeared different depending on the point of view of the observer, each of these viewpoints were equally valid according to underlying symmetries inherent in nature. Jean Metzinger came from a prominent military family and his great-grandfather, Nicolas Metzinger, Captain in the 1st Horse Artillery Regiment, and Chevalier of the Legion of Honour, had served under Napoleon Bonaparte. A street in the Sixième arrondissement of Nantes was named after Jeans grandfather, Jeans younger brother Maurice would become a musician, excelling as a cellist. By 1900 Jean was a student at Académie Cours Cambronne in Nantes, working under Hippolyte Touront, Metzinger, however, was interested in the current trends in painting. Metzinger sent three paintings to the Salon des Indépendants in 1903, and subsequently moved to Paris with the proceeds from their sale, from the age of 20, Metzinger supported himself as a professional painter. He would show four times at Weills gallery,17 January-1 February 1913, March 1913, June 1914. It is at Berthe Weills that he would meet Max Jacob for the first time, Berthe Weill was also the first Parisian art dealer to sell works of Picasso. Along with Picasso and Metzinger, she helped discover Matisse, Derain, Amedeo Modigliani, in 1904 Metzinger exhibited six paintings in the Divisionist style at the Salon des Indépendants and the Salon d’Automne
24.
Francis Picabia
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Francis Picabia was a French avant-garde painter, poet and typographist. After experimenting with Impressionism and Pointillism, Picabia became associated with Cubism and his highly abstract planar compositions were colourful and rich in contrasts. He was one of the major figures of the Dada movement in the United States. He was later associated with Surrealism, but would soon turn his back on the art establishment. Francis Picabia was born in Paris of a French mother and a Cuban father who was an attaché at the Cuban legation in Paris and his mother died of tuberculosis when he was seven. Some sources would have his father as of aristocratic Spanish descent, whereas others consider him of non-aristocratic Spanish descent, financially independent, Picabia studied under Fernand Cormon and others at the École des Arts Decoratifs in the late 1890s. Fernand Cormon took him into his academy at 104 boulevard de Clichy, from the age of 20, he lived by painting, he subsequently inherited money from his mother. In the beginning of his career, from 1903 to 1908, little churches, lanes, roofs of Paris, riverbanks, wash houses, lanes, barges—these were his subject matter. Some however, began to question his sincerity and said he copied Sisley, or that his cathedrals looked like Monet, from 1909, he came under the influence of those that would soon be called Cubists and later form the Golden Section. The same year, he married Gabrielle Buffet, around 1911 Picabia joined the Puteaux Group, members of which he met at the studio of Jacques Villon in Puteaux, a commune in the western suburbs of Paris. There he became friends with artist Marcel Duchamp and close friends with Guillaume Apollinaire, other group members included Albert Gleizes, Roger de La Fresnaye, Fernand Léger and Jean Metzinger. From 1913 to 1915 Picabia traveled to New York City several times and took part in the avant-garde movements. The magazine 291 devoted an issue to him, he met Man Ray, Gabrielle and Duchamp joined him, drugs and alcohol became a problem. He suffered from dropsy and tachycardia and these years can be characterized as Picabias proto-Dada period, consisting mainly of his portraits mécaniques. He continued the periodical with the help of Marcel Duchamp in the United States, in Zurich, seeking treatment for depression and suicidal impulses, he had met Tristan Tzara, whose radical ideas thrilled Picabia. Picabia, the provocateur, was back home, Picabia continued his involvement in the Dada movement through 1919 in Zürich and Paris, before breaking away from it after developing an interest in Surrealist art. He denounced Dada in 1921, and issued an attack against Breton in the final issue of 391. The same year, he put in an appearance in the René Clair surrealist film Entracte, the film served as an intermission piece for Picabias avant-garde ballet, Relâche, premiered at the Théâtre des Champs-Élysées, with music by Erik Satie
25.
Roger de La Fresnaye
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Roger de La Fresnaye was a French cubist painter. La Fresnaye was born in Le Mans where his father, an officer in the French army, was temporarily stationed, the La Fresnayes were an aristocratic family whose ancestral home, the Château de La Fresnaye, is in Falaise. His education was based, and was followed from 1903 to 1904 by studies at the Académie Julian in Paris. From 1908 he studied at the Académie Ranson under Maurice Denis and Paul Sérusier and this demonstrates the dreamlike symbolist ambience and stylistic character of work by the Les Nabis group. From 1912 to 1914 La Fresnaye was a member of the Section dOr group of artists and he was influenced by Georges Braque and Pablo Picasso, but his work has a more decorative than structural feel and his prismatic colours reflect the influence of Robert Delaunay. He was a member of the Puteaux Group, an orphist offshoot of cubism led by Jacques Villon and his most famous work is The Conquest of the Air,1913, which depicts himself and his brother outdoors with a balloon in the background. La Fresnaye enlisted in the French army in World War I and his health deteriorated rapidly after the war. He never recovered the physical energy to undertake sustained work, in the later paintings that he did create, he abandoned cubist spatial analysis for a more linear style. He ceased painting in 1922 but continued to draw, de la Fresnaye died in Grasse in 1925 at the age of 40. Artcyclopedia - Links to Fresnayes works Roger de La Fresnaye in American public collections, on the French Sculpture Census website
26.
Henri Le Fauconnier
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Henri Victor Gabriel Le Fauconnier was a French Cubist painter born in Hesdin. Le Fauconnier was seen as one of the leading figures among the Montparnasse Cubists, at the 1911 Salon des Indépendants Le Fauconnier and colleagues Jean Metzinger, Albert Gleizes, Fernand Léger and Robert Delaunay caused a scandal with their Cubist paintings. His paintings were exhibited in Moscow reproduced as examples of the latest art in Der Blaue Reiter Almanach. In 1901 Henri Le Fauconnier moved from northern France to Paris and he changed his from Fauconnier to Le Fauconnier and exhibited at the Salon des Indépendants in 1904 and 1905, implementing bold colors in line with Henri Matisse. He explored a style and put it into practice, painting nudes or portraits (such as that of the poet Pierre Jean Jouve in 1909. Under the influence of Paul Cézanne he developed his own form of Cubism, back in Paris, he mingles with the artistic and literary gathered around Paul Fort at the Closerie des Lilas in Montparnasse. At the 1909 Salon d’Automne Le Fauconnier exhibited alongside Constantin Brâncuși, Jean Metzinger, Metzinger had written in 1910 of mobile perspective as an interpretation of what would soon become known as Cubism with respect to Picasso, Braque, Delaunay and Le Fauconnier. At the invitation of Wassily Kandinsky, Le Fauconnier published a text in the catalog of the Neue Künstlervereinigung. He opened his Rue Visconti studio in Paris to artists eager like him to apply the lessons of Cézanne, with Jean Metzinger, Albert Gleizes, Fernand Léger, Robert Delaunay, he contributed to the Cubist scandal of the 1911 Salon des Indépendants. Le Fauconnier exhibited his vast Les Montagnards attaqués par des ours at the Salon dAutomne of 1912, february 1912 Henri Le Fauconnier was appointed to succeed Jacques-Émile Blanche as chef datelier of the avant-garde school of art Académie de La Palette. Le Fauconnier commissioned Jean Metzinger and André Dunoyer de Segonzac as full-time instructors for the sessions, Eugeniusz Żak. Le Fauconnier was a member of the Section dOr. At the outset of World War I Le Fauconnier moved to the Netherlands where he stayed for six years and his work at this time combined Cubism and Expressionism, which generated considerable success and influence in the Netherlands. He returned to France in 1920 where his paintings became more realistic and he died of a heart attack in Paris.1910, Little Schoolgirl,1907, The Signal,1915 The Huntsman,1912 Henri le Fauconnier The Modernist Journals Project
27.
Alexander Archipenko
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Alexander Porfyrovych Archipenko was a Ukrainian-born American avant-garde artist, sculptor, and graphic artist. Alexander Archipenko was born in Kiev, in 1887, to Porfiry Antonowych Archipenko and Poroskowia Vassylivna Machowa Archipenko, he was the younger brother of Eugene Archipenko. From 1902 to 1905 he attended the Kiev Art School, after which he continued his education in the arts as the student of S. Svyatoslavsky in 1906, in the same year he had an exhibition, together with Alexander Bogomazov, in Kiev. Later that same year he moved to Moscow where he had a chance to exhibit his work in group shows. Archipenko moved to Paris in 1908 and was a resident in the artists colony La Ruche, among émigré Russian artists, Wladimir Baranoff-Rossine, Sonia Delaunay-Terk and Nathan Altman. In 1912 Archipenko had his first personal exhibition at the Museum Folkwang at Hagen in Germany, four of Archipenkos Cubist sculptures, including Family Life and five of his drawings, appeared in the controversial Armory Show in 1913 in New York City. These works were caricatured in the New York World, Archipenko moved to Nice in 1914. In 1920 he participated in Twelfth Biennale Internazionale dellArte di Venezia in Italy, in 1922 Archipenko participated in the First Russian Art Exhibition in the Gallery van Diemen in Berlin together with Aleksandra Ekster, Kazimir Malevich, Solomon Nikritin, El Lissitzky and others. In 1923 he emigrated to the United States, and participated in an exhibition of Russian Paintings and he became a US citizen in 1929. In 1933 he exhibited at the Ukrainian pavilion in Chicago as part of the Century of Progress Worlds Fair, Alexander Archipenko contributed the most to the success of the Ukrainian pavilion. His works occupied one room and were valued at $25,000 dollars, in 1936 Archipenko participated in an exhibition Cubism and Abstract Art in New York as well as numerous exhibitions in Europe and other places in the U. S. He was elected to the American Academy of Arts and Letters in 1962, Alexander Archipenko died on February 25,1964, in New York City. He is interred at Woodlawn Cemetery in The Bronx, New York City, the sculptor Ann Weaver Norton apprenticed with Archipenko for a number of years. O. P. Museum de Fundatie, Zwolle, Netherlands Archipenkos statue of King Solomon, at the University of Pennsylvania campus, dominates the walk from 36th and its creation began in 1964 when, shortly before he died, the artist completed a four–foot sculpture designed for enlargement. His wife oversaw its first casting, in 1968, the 14. 5-foot 1. 5-ton statue was produced. In 1985, it was given to the University by Mr, Cubist in form, it has been described as evoking the feeling of smallness in the face of power that one must have felt standing before King Solomon himself. National Gallery of Art, The Tel Aviv Museum, karshan, Donald H. Archipenko, International Visionary. Alexander Archipenko, A Memorial Exhibition 1967–1969, Александр Архипенко //Прогресс-Традиция,2011,624 стр
28.
Amedeo Modigliani
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Amedeo Clemente Modigliani was an Italian Jewish painter and sculptor who worked mainly in France. He is known for portraits and nudes in a style characterized by elongation of faces and figures, that were not received well during his lifetime. Modigliani spent his youth in Italy, where he studied the art of antiquity, there he came into contact with prominent artists such as Pablo Picasso and Constantin Brâncuși. Modiglianis œuvre includes paintings and drawings, from 1909 to 1914, however, he devoted himself mainly to sculpture. His main subject was portraits and full figures of humans, both in the images and in the sculptures, during his life, Amedeo Modigliani had little success, but after his death he achieved greater popularity and his works of art achieved high prices. He died at age 35 in Paris of tubercular meningitis, Modigliani was born into a Sephardic Jewish family in Livorno, Italy. A port city, Livorno had long served as a refuge for those persecuted for their religion and his maternal great-great-grandfather, Solomon Garsin, had immigrated to Livorno in the 18th century as a refugee. Fluent in many languages, her ancestors were authorities on sacred Jewish texts and had founded a school of Talmudic studies, family legend traced the family lineage to the 17th-century Dutch philosopher Baruch Spinoza. The family business was an agency with branches in Livorno, Marseille, Tunis. Modigliani’s father, Flaminio, was a member of an Italian Jewish family of successful businessmen, while not as culturally sophisticated as the Garsins, they knew how to invest in and develop thriving business endeavors. When the Garsin and Modigliani families announced the engagement of their children and he managed the mine in Sardinia and also managed the almost 30,000 acres of timberland the family owned. A reversal in fortune occurred to this family in 1883. An economic downturn in the price of metal plunged the Modiglianis into bankruptcy, ever resourceful, Modigliani’s mother used her social contacts to establish a school and, along with her two sisters, made the school into a successful enterprise. Modigliani was the child, whose birth coincided with the disastrous financial collapse of his fathers business interests. Amedeos birth saved the family from ruin, according to an ancient law, the bailiffs entered the familys home just as Eugenia went into labour, the family protected their most valuable assets by piling them on top of her. Modigliani had a relationship with his mother, who taught him at home until he was 10. Beset with health problems after an attack of pleurisy when he was about 11, when he was 16 he was taken ill again and contracted the tuberculosis which would later claim his life. After Modigliani recovered from the bout of pleurisy, his mother took him on a tour of southern Italy, Naples, Capri, Rome and Amalfi
29.
Raymond Duchamp-Villon
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Raymond Duchamp-Villon was a French sculptor. Duchamp-Villon was born Pierre-Maurice-Raymond Duchamp in Damville, Eure, in the Haute-Normandie region of France, of the six Duchamp children, four would become successful artists. He was the brother of Jacques Villon, painter, printmaker, Marcel Duchamp, painter, sculptor and author, Suzanne Duchamp-Crotti, from 1894 to 1898 Raymond Duchamp-Villon lived in the Montmartre Quarter of Paris with his brother Jacques and studied medicine at the Sorbonne. Rheumatic fever forced him to abandon his studies in 1898 and it left him incapacitated for a time. This unforeseen event altered the course of his life as he began to pursue an interest in sculpture and he started by creating small statuettes and essentially became self-taught, achieving a high level of mastery and acumen. In 1902 and 1903, he exhibited at the Salon de la Société Nationale des Beaux-Arts but to himself from his artist brother. In 1905 Duchamp-Villon had his first exhibition at the Salon dAutomne, raymonds reputation was such that he was made a member of the jury of the sculpture section of the Salon dAutomne in 1907 and was instrumental in promoting the Cubist movement. All three of the Duchamp brothers then showed their work at the important Armory Show in New York City that helped introduce modern art to America, in 1913 he took part in exhibitions at the Galerie André Groult in Paris, the Galerie S. V. U. Mánes in Prague, and in 1914 at Der Sturm Gallery in Berlin, during World War I Raymond Duchamp-Villon served in the French army in a medical capacity, but still worked on his major cubist sculpture, The Horse. In late 1916, Raymond Duchamp-Villon contracted typhoid fever while stationed at the quarters in Champagne. As a result, he was taken to the hospital at Cannes where his burgeoning career came to an end with his death. In 1967, in Rouen, his last surviving artist brother Marcel helped organize an exhibition called Les Duchamp, Jacques Villon, Raymond Duchamp-Villon, Marcel Duchamp, some of this family exhibition was later shown at the Musée National dArt Moderne in Paris. Henry Holt and Company, Inc.1996, ISBN 0-8050-5789-7 Cubism La Maison Cubiste Tomkins, Calvin, Duchamp, A Biography. Henry Holt and Company, Inc.1996, ISBN 0-8050-5789-7 Raymond Duchamp-Villons Horse Smarthistory Raymond Duchamp-Villon in American public collections, on the French Sculpture Census website
30.
Orphism (art)
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The meaning of the term Orphism was elusive when it first appeared and remains to some extent vague. The Orphists were rooted in Cubism but moved toward a pure lyrical abstraction, more concerned with the expression and significance of sensation, this movement began with recognizable subjects but was rapidly absorbed by increasingly abstract structures. Orphism aimed to dispense with recognizable subject matter and to rely on form, the movement also aimed to express the ideals of Simultanism, the existence of an infinitude of interrelated states of being. The decomposition of spectral light expressed in Neo-Impressionist color theory of Paul Signac, Robert Delaunay, Albert Gleizes, and Gino Severini, all knew Henry personally. Henry would take the step in bringing emotional associational theory into the world of artistic sensation. The underlying theory behind Neo-Impressionsim would have an effect on the works produced in the coming years by the likes of Robert Delaunay. Indeed, the Neo-Impressionists had succeeded in establishing a scientific basis for their painting in the domain of color. The Cubists were to do so in both the domain of form and dynamics, and the Orphists would do so with color too, the Symbolists had used the word orphique in relation to the Greek myth of Orpheus, who they perceived as the ideal artist. Apollinaire had written a collection of quatrains in 1907 entitled Bestiaire ou cortège d’Orphée, within which Orpheus was symbolized as a poet, for both Apollinaire and the Symbolists who preceded him, Orpheus was associated with mysticism, something that would inspire artistic endeavors. The voice of light that Apollinaire mentioned in his poems was a metaphor for inner experiences, though not fully articulated in his poems, the voice of light is identified as a line that could be colored and become a painting. The Orphic metaphor thus represented the power to create new structures and color harmonies. The term Orphism was coined by poet and art critic Guillaume Apollinaire at the Salon de la Section dOr in 1912, during his lecture at the Section dOr exhibit Apollinaire presented three of Kupkas abstract works as perfect examples of pure painting, as anti-figurative as music. An Orphic painters works should convey an aesthetic pleasure, but at the same time a meaningful structure. According to Apollinaire Orphism represented a move towards a completely new art-form, kandinskys detailed theoretical essays described the correlations between color and sound. Fernand Léger and Marcel Duchamp, as they tended towards abstraction, were included as Orphists in the writings of Apollinaire. Apollinaire stayed with the Delaunays during the winter of 1912, becoming close friends, Apollinaire wrote several texts discussing their work to promote the concept of Orphism. In March 1913 Orphism was exhibited to the public at the Salon des Indépendants, and in Montjoie Apollinaire argued for the abolition of Cubism in favour of Orphism, ‘If Cubism is dead, long live Cubism. The kingdom of Orpheus is at hand and this exhibition marked a turning-point in Apollinaire’s relation with R. Delaunay, following some remarks in an argument with Umberto Boccioni about the ambiguity of the term ‘simultaneity’
31.
Robert Delaunay
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Robert Delaunay was a French artist who, with his wife Sonia Delaunay and others, cofounded the Orphism art movement, noted for its use of strong colours and geometric shapes. His later works were abstract, reminiscent of Paul Klee. His key influence related to use of colour and a clear love of experimentation with both depth and tone. Robert Delaunay was born in Paris, the son of George Delaunay, while he was a child, Delaunays parents divorced, and he was raised by his mothers sister Marie and her husband Charles Damour, in La Ronchère near Bourges. When he failed his exam and said he wanted to become a painter. At age 19, he left Ronsin to focus entirely on painting and contributed six works to the Salon des Indépendants in 1904. He traveled to Brittany, where he was influenced by the group of Pont-Aven, and, in 1906, he contributed works he painted in Brittany to the 22nd Salon des Indépendants, where he met Henri Rousseau. Delaunay formed a friendship at this time with Jean Metzinger. The two of them were singled out by the art critic Louis Vauxcelles in 1907 as Divisionists who used large, mosaic-like cubes to construct small, Robert Herbert writes, Metzingers Neo-Impressionist period was somewhat longer than that of his close friend Delaunay. The height of his Neo-Impressionist work was in 1906 and 1907, piet Mondrian developed a similar mosaic-like Divisionist technique circa 1909. The Futurists later would incorporate the style, under the influence of Gino Severinis Parisian works, into their dynamic paintings, Delaunay is most closely identified with Orphism. From 1912 to 1914, he painted nonfigurative paintings based on the characteristics of brilliant colors that were so dynamic they would function as the form. Apollinaire was strongly influenced by Delaunay’s theories of color and often quoted from them to explain Orphism, Delaunay’s fixations with color as the expressive and structural means were sustained with his study of color. He believes painting is a visual art that depends on intellectual elements. The contrasts and harmonies of color produce in the eye simultaneous movements, vision becomes the subject of painting. His early paintings are deeply rooted in Neoimpressionism, night Scene for example has vigorous activity with the use of lively brushstrokes in bright colors against a dark background. It doesn’t define solid object but the areas that surround them, spectral colors of Neoimpressionism were later abandoned, the Eiffel Tower series, were fragmentation of solid objects and their merging with space was learned. Influences in this series were Cézanne, Analytical Cubism, and Futurism, in the Eiffel Tower the interpenetration of tangible objects and surrounding space is accompanies by intense movement of geometric plans that are more dynamic than static equilibrium of Cubist forms
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Sonia Delaunay
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Her work extends to painting, textile design and stage set design. She was the first living female artist to have an exhibition at the Louvre in 1964. Her work in modern design included the concepts of abstraction, the integration of furniture, fabrics, wall coverings. Sarah Ilinitchna Stern was probably born on 14 November 1885 in Hradyzk, then Ukraine was part of the Russian Empire and her father was foreman of a nail factory. At a young age she moved to St. Petersburg, where she was cared for by her mothers brother, Henri, a successful and affluent Jewish lawyer, and his wife Anna wanted to adopt her but her mother would not allow it. Finally in 1890 she was adopted by the Terks and she assumed the name Sonia Terk and received a privileged upbringing with the Terks. They spent their summers in Finland and traveled widely in Europe introducing Sonia to art museums, when she was 16 she attended a well-regarded secondary school in St. Petersburg, where her skill at drawing was noted by her teacher. When she was 18, at her teachers suggestion, she was sent to art school in Germany where she attended the Academy of Fine Arts in Karlsruhe and she studied in Germany until 1905 when she decided to move on to Paris. When she arrived in Paris she enrolled at the Académie de La Palette in Montparnasse, unhappy with the mode of teaching, which she thought was too critical, she spent less time at the Académie and more time in galleries around Paris. During her first year in Paris she met, and in 1908 married, German art gallery owner Wilhelm Uhde. Little is known about their union, but it is assumed to have been a marriage of convenience to escape the demands of her parents, who disliked her artistic career, for her to return to Russia. Sonia gained entrance into the art world via exhibitions at Uhdes gallery and benefitted from his connections, comtesse de Rose, mother of Robert Delaunay, was a regular visitor to Uhdes gallery, sometimes accompanied by her son. Sonia met Robert Delaunay in early 1909 and they became lovers in April of that year and it was decided that she and Uhde should divorce. The divorce was finalised in August 1910, Sonia was pregnant and she and Robert married on November 15,1910. Their son Charles was born on January 18,1911 and they were supported by an allowance sent from Sonias aunt in St. Petersburg. Sonia said about Robert, In Robert Delaunay I found a poet, a poet who wrote not with words but with colours. In 1911, Sonia Delaunay made a quilt for Charless crib. This quilt was created spontaneously and uses geometry and colour, about 1911 I had the idea of making for my son, who had just been born, a blanket composed of bits of fabric like those I had seen in the houses of Ukrainian peasants
33.
Patrick Henry Bruce
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Patrick Henry Bruce was an American cubist painter. A descendant of Patrick Henry, Bruce was born in Campbell County, Virginia and his family had once owned a huge plantation, Berry Hill, worked by over 3,000 slaves. Berry Hill Estate originally was part of a 105, 000-acre tract granted by the English Crown in 1728 to William Byrd II, the Civil War left the Bruces wealth greatly diminished. Bruce began taking evening classes at the Art Club of Richmond in 1898 and his earliest known extant painting dates from 1900. In 1902 he moved to New York, where he studied with William Merritt Chase, Robert Henri, by February 1904 he was in Paris, where he would live until 1933. Although his evolution toward a modernist style was gradual, his works of 1908 reveal the influence of Renoir and Cézanne, Bruce exhibited regularly in the Salon dAutomne, and met many of the leading artists of the early twentieth century avant garde. During a period of friendship with Sonia and Robert Delaunay in 1912–14 his paintings were influenced by Orphism. The style of his work anticipated the Purism developed by Léger. In his paintings of 1918 and later, hard-edged geometric forms are arranged as on a tabletop and rendered in evenly applied and his work was admired by Marcel Duchamp and may have influenced the style adopted by his former teacher, Matisse, in his mural La Danse. Intensely self-critical, Bruce destroyed a great many of his paintings and he committed suicide with the drug Veronal in New York City on November 12,1936. Rose, Barbara,1979, Patrick Henry Bruce, American Modernist, Houston, Museum of Fine Arts
34.
A. B. Frost
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Arthur Burdett Frost, was an American illustrator, graphic artist and comics writer. He was also known as a painter. Frosts work is known for its dynamic representation of motion. Frost is considered one of the great illustrators in the Golden Age of American Illustration, Frost illustrated over 90 books and produced hundreds of paintings, in addition to his work in illustrations, he is renowned for realistic hunting and shooting prints. Frost was born on January 17,1851, in Philadelphia, Pennsylvania, the eldest of ten children, his father was a literature professor. In 1876, Frost joined the art department at the publisher Harper & Brothers, while there, he learned a wide variety of techniques, from cartooning to what later came to be called photorealistic painting. Frosts color blindness may have helped his excellent use of grayscale, in 1877 and 1878, Frost went to London to study with some of the great cartoonists of the time. Later, he returned to Philadelphia and studied under painters Thomas Eakins, soon after returning, he published several stories formed of sequential drawings with captions, pioneering the form that would later develop into comic strips and comic books. In 1884, Frost published Stuff and Nonsense, an anthology of his works that advanced the concept of time-stop drawings, Frost married another artist, illustrator Emily Louise Phillips, in 1883. From 1906 until May 1914, Frost and his family lived in France, returning to the United States, he continued work as an illustrator and comics artist, mainly for Life magazine. Frost died on June 22,1928, out of the Hurly Burly, illustrations Rhyme. Frost at Project Gutenberg Works by A. B, Frost at Faded Page Works by or about A. B. Frost at Internet Archive Morristown, A. B, Frost Collection Lambiek Comiclopedia Bedford Fine Art Gallery, A. B. Frost at Library of Congress Authorities, with 229 catalog records
35.
Marcel Duchamp
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Duchamp has had an immense impact on twentieth-century and twenty first-century art. By World War I, he had rejected the work of many of his artists as retinal art. Instead, Duchamp wanted to use art to serve the mind, Marcel Duchamp was born at Blainville-Crevon in Normandy, France, and grew up in a family that enjoyed cultural activities. The art of painter and engraver Émile Frédéric Nicolle, his grandfather, filled the house, and the family liked to play chess, read books, paint. Of Eugene and Lucie Duchamps seven children, one died as an infant, Marcel Duchamp was the brother of, Jacques Villon, painter, printmaker Raymond Duchamp-Villon, sculptor Suzanne Duchamp-Crotti, painter. At 8 years old, Duchamp followed in his brothers footsteps when he left home and began schooling at the Lycée Pierre-Corneille, two other students in his class also became well-known artists and lasting friends, Robert Antoine Pinchon and Pierre Dumont. For the next 8 years, he was locked into a regime which focused on intellectual development. Though he was not a student, his best subject was mathematics. He also won a prize for drawing in 1903, and at his commencement in 1904 he won a coveted first prize and he learned academic drawing from a teacher who unsuccessfully attempted to protect his students from Impressionism, Post-Impressionism, and other avant-garde influences. However, Duchamps true artistic mentor at the time was his brother Jacques Villon, whose fluid, at 14, his first serious art attempts were drawings and watercolors depicting his sister Suzanne in various poses and activities. That summer he painted landscapes in an Impressionist style using oils. Duchamps early art works align with Post-Impressionist styles and he experimented with classical techniques and subjects. He studied art at the Académie Julian from 1904 to 1905, during this time Duchamp drew and sold cartoons which reflected his ribald humor. Many of the drawings use verbal puns, visual puns, or both, such play with words and symbols engaged his imagination for the rest of his life. In 1905, he began his military service with the 39th Infantry Regiment. There he learned typography and printing processes—skills he would use in his later work, due to his eldest brother Jacques membership in the prestigious Académie royale de peinture et de sculpture Duchamps work was exhibited in the 1908 Salon dAutomne. The following year his work was featured in the Salon des Indépendants, of Duchamps pieces in the show, critic Guillaume Apollinaire—who was to become a friend—criticized what he called Duchamps very ugly nudes. The group came to be known as the Puteaux Group, or the Section dOr, uninterested in the Cubists seriousness or in their focus on visual matters, Duchamp did not join in discussions of Cubist theory, and gained a reputation of being shy
36.
Frantz Jourdain
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Frantz Jourdain was a Belgian architect and author. He is best known for La Samaritaine, an Art Nouveau department store built in the 1st arrondissement of Paris in three stages between 1904 and 1928 and he was respected as an authority on Art Nouveau. Frantz Jourdain was born in 1847, in the 1860s he studied in Paris at the École des Beaux-Arts. He obtained French citizenship in 1870, Jourdain was a theoretician of Art Nouveau. Some of these were gathered into collections in 1886 and 1931, apart from writing on artistic questions he published a picareque romance, two collections of short stories, a novel, a play and two collections of portraits of artists. Between 1880 and 1910 Jourdain was at the forefront of the movement to renew and synthesize the arts and he discovered unknown painters of the late 19th century and was a great admirer of the Galerie des machines of the Exposition Universelle, designed by Ferdinand Dutert and Victor Contamin. In 1887 he was admitted to the Société des gens de lettres and he had become a prominent and often quoted art critic by the 1890s, an opponent of academic training and of the English Arts and Crafts movement. La Samaritaine, a department store, was founded by Ernest Cognacq in 1870 when he leased a part of a building for commercial use. He then bought the building, and in stages bought the building faces it on the rue de la Monnaie. In 1885 he engaged Jourdain to redesign the building. In 1904 Cognacq decided to expand the store, Jourdain was given the job of creating the maximum amount of space as quickly and cheaply as possible, and designed a radical steel structure. The flamboyant exterior decoration was executed by his son, the decorator Francis Jourdain, the painter Eugène Grasset, the metalworker Edouard Schenck, La Semeuse de Paris was built between 1910 and 1912 to house the credit department of La Samaritaine department stores for lending to the poorest customers. The art nouveau building also contained apartments and it was listed as a historical monument on 11 December 2000. In 1925 Cognacq was authorized to construct a second building, Jourdain and Henri Sauvage began work in January 1926, and completed it in September 1928 after many changes from the original plan. At the request of the prefecture the steel frame was given a stone exterior. Jourdain built Store 3 on the lot bounded by the rues de Rivoli, Pont-Neuf, the interior is best preserved in Store 2, with a glass roof, wide staircases and characteristic bright blue, green and orange colors. From 1903 Jourdain was president of the Salon dAutomne and he was a founding member of the Société du Nouveau Paris, a group that promoted modernization of Paris. His son Francis Jourdain was a designer, writer and painter, Francis Jourdain said of the society in which he grew up that it was dominated by people who were highly opionated and quick to take sides
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International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
