Outsider art is art by self-taught or naïve art makers. Those labeled as outsider artists have little or no contact with the mainstream art world or art institutions. In many cases, their work is discovered only after their deaths. Outsider art illustrates extreme mental states, unconventional ideas, or elaborate fantasy worlds; the term outsider art was coined by art critic Roger Cardinal in 1972 as an English synonym for art brut, a label created by French artist Jean Dubuffet to describe art created outside the boundaries of official culture. Outsider art has emerged as a successful art marketing category; the term is sometimes misapplied as a catch-all marketing label for art created by people who are outside the mainstream "art world" or "art gallery system", regardless of their circumstances or the content of their work. A more specific term, "outsider music", was adapted for musicians. Interest in the art of the mentally ill, along with that of children and the makers of "peasant art", was first demonstrated by "Der Blaue Reiter" group: Wassily Kandinsky, Auguste Macke, Franz Marc, Alexej Jawlensky, others.
What the artists perceived in the work of these groups was an expressive power born of their perceived lack of sophistication. Examples of this were reproduced in 1912 in the first and only issue of their publication, Der Blaue Reiter Almanac. During World War I, Macke was killed at Champagne in 1914 and Marc was killed at Verdun in 1916. Interest in the art of insane asylum inmates continued to grow in the 1920s. In 1921, Dr. Walter Morgenthaler published his book Ein Geisteskranker als Künstler about Adolf Wölfli, a psychotic mental patient in his care. Wölfli had spontaneously taken up drawing, this activity seemed to calm him, his most outstanding work was an illustrated epic of 45 volumes in which he narrated his own imaginary life story. With 25,000 pages, 1,600 illustrations, 1,500 collages, it is a monumental work. Wölfli produced a large number of smaller works, some of which were sold or given as gifts, his work is on display at the Adolf Wölfli Foundation in the Museum of Bern. A defining moment was the publication of Bildnerei der Geisteskranken in 1922, by Dr. Hans Prinzhorn.
This was the first formal study of psychiatric works, based upon a compilation of thousands of examples from European institutions. The book and the art collection gained much attention from avant-garde artists of the time, including Paul Klee, Max Ernst, Jean Dubuffet. People with some formal artistic training as well as well-established artists are not immune from mental illness, may be institutionalized. For example, William Kurelek awarded the Order of Canada for his artistic life work, as a young man was admitted to the Maudsley Psychiatric Hospital where he was treated for schizophrenia. In hospital he painted, producing a dark depiction of his tortured youth, he was transferred from the Maudsley to Netherne Hospital from November 1953 to January 1955, to work with Edward Adamson, a pioneer of art therapy, creator of the Adamson Collection. French artist Jean Dubuffet was struck by Bildnerei der Geisteskranken and began his own collection of such art, which he called art brut or raw art.
In 1948 he formed the Compagnie de l'Art Brut along including André Breton. The collection he established became known as the Collection de l'art brut, it is now permanently housed in Lausanne, Switzerland. Dubuffet characterized art brut as: "Those works created from solitude and from pure and authentic creative impulses – where the worries of competition and social promotion do not interfere – are, because of these facts, more precious than the productions of professionals. After a certain familiarity with these flourishings of an exalted feverishness, lived so and so intensely by their authors, we cannot avoid the feeling that in relation to these works, cultural art in its entirety appears to be the game of a futile society, a fallacious parade." — Jean Dubuffet. Place à l'incivisme. Art and Text no.27. P.36 Dubuffet's writing on art brut was the subject of a noted program at the Art Club of Chicago in the early 1950s. Dubuffet argued that'culture', mainstream culture, managed to assimilate every new development in art, by doing so took away whatever power it might have had.
The result was to asphyxiate genuine expression. Art brut was his solution to this problem – only art brut was immune to the influences of culture, immune to being absorbed and assimilated, because the artists themselves were not willing or able to be assimilated; the interest in "outsider" practices among twentieth-century artists and critics can be seen as part of a larger emphasis on the rejection of established values within the modernist art milieu. The early part of the 20th century gave rise to Cubism and the Dada and Futurist movements in art, all of which involved a dramatic movement away from cultural forms of the past. Dadaist Marcel Duchamp, for example, abandoned "painterly" technique to allow chance operations a role in determining the form of his works, or to re-contextualize existing "readymade" objects as art. Mid
Lille is a city at the northern tip of France, in French Flanders. On the Deûle River, near France's border with Belgium, it is the capital of the Hauts-de-France region, the prefecture of the Nord department, the main city of the European Metropolis of Lille; as of 2015, Lille had a population of 232,741 within its administrative limits. Lille is the first city of the Métropole Européenne de Lille with a population of 1,182,127, making it the fourth largest urban area in France after Paris and Marseille. Archeological digs seem to show the area as inhabited by as early as 2000 BC, most notably in the modern-day quartiers of Fives and Vieux Lille; the original inhabitants of this region were the Gauls, such as the Menapians, the Morins, the Atrebates, the Nervians, who were followed by Germanic peoples: the Saxons, the Frisians and the Franks. The legend of "Lydéric and Phinaert" puts the foundation of the city of Lille at 640. In the 8th century, the language of Old Low Franconian was spoken here, as attested by toponymic research.
Lille's Dutch name is Rijsel. The French equivalent has the same meaning: Lille comes from l'île. From 830 until around 910, the Vikings invaded Flanders. After the destruction caused by Norman and Magyar invasion, the eastern part of the region was ruled by various local princes; the first mention of the town dates from 1066: apud Insulam. At the time, it was controlled by the County of Flanders; the County of Flanders thus extended to the left bank of the Scheldt, one of the richest and most prosperous regions of Europe. A notable local in this period was Évrard, who lived in the 9th century and participated in many of the day's political and military affairs. There was an important Battle of Lille in 1054. From the 12th century, the fame of the Lille cloth fair began to grow. In 1144 Saint-Sauveur parish was formed, which would give its name to the modern-day quartier Saint-Sauveur; the counts of Flanders and Hainaut came together with England and East Frankia and tried to regain territory taken by Philip II of France following Henry II of England's death, a war that ended with the French victory at Bouvines in 1214.
Infante Ferdinand, Count of Flanders was imprisoned and the county fell into dispute: it would be his wife, Countess of Flanders and Constantinople, who ruled the city. She was said to be well loved by the residents of Lille, who by that time numbered 10,000. In 1225, the street performer and juggler Bertrand Cordel, doubtlessly encouraged by local lords, tried to pass himself off as Baldwin I of Constantinople, who had disappeared at the battle of Adrianople, he pushed the counties of Flanders and Hainaut towards sedition against Jeanne in order to recover his land. She called her cousin, Louis VIII, he unmasked the imposter, whom Countess Jeanne had hanged. In 1226 the King agreed to free Infante Count of Flanders. Count Ferrand died in 1233, his daughter Marie soon after. In 1235, Jeanne granted a city charter by which city governors would be chosen each All Saint's Day by four commissioners chosen by the ruler. On 6 February 1236, she founded the Countess's Hospital, which remains one of the most beautiful buildings in Old Lille.
It was in her honour that the hospital of the Regional Medical University of Lille was named "Jeanne of Flanders Hospital" in the 20th century. The Countess died in 1244 in the Abbey of Marquette; the rule of Flanders and Hainaut thus fell to her sister, Margaret II, Countess of Flanders to Margaret's son, Guy of Dampierre. Lille fell under the rule of France after the Franco-Flemish War; the county of Flanders fell to the Duchy of Burgundy next, after the 1369 marriage of Margaret III, Countess of Flanders, Philip the Bold, Duke of Burgundy. Lille thus became one of the three capitals of said along with Brussels and Dijon. By 1445, Lille counted some 25,000 residents. Philip the Good, Duke of Burgundy, was more powerful than the King of France, made Lille an administrative and financial capital. On 17 February 1454, one year after the taking of Constantinople by the Turks, Philip the Good organised a Pantagruelian banquet at his Lille palace, the still-celebrated "Feast of the Pheasant". There the Duke and his court undertook an oath to Christianity.
In 1477, at the death of the last duke of Burgundy, Charles the Bold, Mary of Burgundy married Maximilian of Austria, who thus became Count of Flanders. The 16th and 17th centuries were marked by a boom in the regional textile industry, the Protestant revolts, outbreaks of the Plague. Lille came under the rule of the Holy Roman Emperor Charles V in 1519; the Low Countries fell to his eldest son Philip II of Spain in 1555. The city remained under Spanish Habsburg rule until 1668. Calvinism first appeared in the area in 1542. In 1566 the countryside around Lille was affected by the Iconoclastic Fury. In 1578, the Hurlus, a group of Protestant rebels, stormed the castle of the Counts of Mouscron, they were removed four months by a Catholic Wallon regiment, after which they tried several times between 1581 and 1582 to take the city of Lille, all in vain. The Hurlus were notably held back by the legendary Jeanne Maillotte. At the same time, at the call of Elizabeth I of England, the north of the Seventeen Provinces, having gained a Protestant majority, su
Sculpture is the branch of the visual arts that operates in three dimensions. It is one of the plastic arts. Durable sculptural processes used carving and modelling, in stone, ceramics and other materials but, since Modernism, there has been an complete freedom of materials and process. A wide variety of materials may be worked by removal such as carving, assembled by welding or modelling, or molded or cast. Sculpture in stone survives far better than works of art in perishable materials, represents the majority of the surviving works from ancient cultures, though conversely traditions of sculpture in wood may have vanished entirely. However, most ancient sculpture was brightly painted, this has been lost. Sculpture has been central in religious devotion in many cultures, until recent centuries large sculptures, too expensive for private individuals to create, were an expression of religion or politics; those cultures whose sculptures have survived in quantities include the cultures of the ancient Mediterranean and China, as well as many in Central and South America and Africa.
The Western tradition of sculpture began in ancient Greece, Greece is 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 Michelangelo's David. Modernist sculpture moved away from traditional processes and the emphasis on the depiction of the human body, with the making of constructed sculpture, the presentation of found objects as finished art works. A basic distinction is between sculpture in the round, free-standing sculpture, such as statues, not attached to any other surface, the various types of relief, which are at least attached to a background surface. Relief is classified by the degree of projection from the wall into low or bas-relief, high relief, sometimes an intermediate mid-relief. Sunk-relief is a technique restricted to ancient Egypt. Relief is the usual sculptural medium for large figure groups and narrative subjects, which are difficult to accomplish in the round, is the typical technique used both for architectural sculpture, attached to buildings, for small-scale sculpture decorating other objects, as in much pottery and jewellery.
Relief sculpture may decorate steles, upright slabs of stone also containing inscriptions. Another basic distinction is between subtractive carving techniques, which remove material from an existing block or lump, for example of stone or wood, modelling techniques which shape or build up the work from the material. Techniques such as casting and moulding use an intermediate matrix containing the design to produce the work; the term "sculpture" is used to describe large works, which are sometimes called monumental sculpture, meaning either or both of sculpture, large, or, attached to a building. But the term properly covers many types of small works in three dimensions using the same techniques, including coins and medals, hardstone carvings, a term for small carvings in stone that can take detailed work; the 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, a representation of a person from the chest up. Small forms of sculpture include the figurine a statue, no more than 18 inches tall, for reliefs the plaquette, medal or coin. Modern and contemporary art have added a number of non-traditional forms of sculpture, including sound sculpture, light sculpture, environmental art, environmental sculpture, street art sculpture, kinetic sculpture, land art, site-specific art. 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 some form of association with religion. Cult images are common in many cultures, though they are not the colossal statues of deities which characterized ancient Greek art, like the Statue of Zeus at Olympia; the actual cult images in the innermost sanctuaries of Egyptian temples, of which none have survived, were evidently rather small in the largest temples.
The same is true in Hinduism, where the simple and ancient form of the lingam is the most common. Buddhism brought the sculpture of religious figures to East Asia, where there seems to have been no earlier equivalent tradition, though again simple shapes like the bi and cong had religious significance. Small sculptures as personal possessions go back to the earliest prehistoric art, the use of large sculpture as public art to impress the viewer with the power of a ruler, goes back at least to the Great Sphinx of some 4,500 years ago. In archaeology and art history the appearance, sometimes disappearance, of large or monumental sculpture in a culture is regarded as of great significance, though tracing the emergence is complicated by the presumed existence of sculpture in wood and other perishable materials of which no record remains; the ability to s
Joan Miró i Ferrà was a Spanish painter and ceramicist born in Barcelona. A museum dedicated to his work, the Fundació Joan Miró, was established in his native city of Barcelona in 1975, another, the Fundació Pilar i Joan Miró, was established in his adoptive city of Palma de Mallorca in 1981. Earning international acclaim, his work has been interpreted as Surrealism, a sandbox for the subconscious mind, a re-creation of the childlike, a manifestation of Catalan pride. In numerous interviews dating from the 1930s onwards, Miró expressed contempt for conventional painting methods as a way of supporting bourgeois society, declared an "assassination of painting" in favour of upsetting the visual elements of established painting. Born into a family of a goldsmith and a watchmaker, Miró grew up in the Barri Gòtic neighborhood of Barcelona; the Miró surname indicates Jewish roots. His father was Miquel Miró Adzerias and his mother was Dolors Ferrà, he began drawing classes at the age of seven at a private school at Carrer del Regomir 13, a medieval mansion.
To the dismay of his father, he enrolled at the fine art academy at La Llotja in 1907. He studied at the Cercle Artístic de Sant Lluc and he had his first solo show in 1918 at the Galeries Dalmau, where his work was ridiculed and defaced. Inspired by Fauve and Cubist exhibitions in Barcelona and abroad, Miró was drawn towards the arts community, gathering in Montparnasse and in 1920 moved to Paris, but continued to spend his summers in Catalonia. Miró went to business school as well as art school, he began his working career as a clerk when he was a teenager, although he abandoned the business world for art after suffering a nervous breakdown. His early art, like that of the influenced Fauves and Cubists, was inspired by Vincent van Gogh and Paul Cézanne; the resemblance of Miró's work to that of the intermediate generation of the avant-garde has led scholars to dub this period his Catalan Fauvist period. A few years after Miró's 1918 Barcelona solo exhibition, he settled in Paris where he finished a number of paintings that he had begun on his parents’ summer home and farm in Mont-roig del Camp.
One such painting, The Farm, showed a transition to a more individual style of painting and certain nationalistic qualities. Ernest Hemingway, who purchased the piece, compared the artistic accomplishment to James Joyce's Ulysses and described it by saying, "It has in it all that you feel about Spain when you are there and all that you feel when you are away and cannot go there. No one else has been able to paint these two opposing things." Miró annually returned to Mont-roig and developed a symbolism and nationalism that would stick with him throughout his career. Two of Miró's first works classified as Surrealist, Catalan Landscape and The Tilled Field, employ the symbolic language, to dominate the art of the next decade. Josep Dalmau arranged Miró's first Parisian solo exhibition, at Galerie la Licorne in 1921. In 1924, Miró joined the Surrealist group; the symbolic and poetic nature of Miró's work, as well as the dualities and contradictions inherent to it, fit well within the context of dream-like automatism espoused by the group.
Much of Miró's work lost the cluttered chaotic lack of focus that had defined his work thus far, he experimented with collage and the process of painting within his work so as to reject the framing that traditional painting provided. This antagonistic attitude towards painting manifested itself when Miró referred to his work in 1924 ambiguously as "x" in a letter to poet friend Michel Leiris; the paintings that came out of this period were dubbed Miró's dream paintings. Miró did not abandon subject matter, though. Despite the Surrealist automatic techniques that he employed extensively in the 1920s, sketches show that his work was the result of a methodical process. Miró's work dipped into non-objectivity, maintaining a symbolic, schematic language; this was most prominent in the repeated Head of a Catalan Peasant series of 1924 to 1925. In 1926, he collaborated with Max Ernst on designs for ballet impresario Sergei Diaghilev. With Miró's help, Ernst pioneered the technique of grattage, in which one trowels pigment onto a canvas scrapes it away.
Miró returned to a more representational form of painting with The Dutch Interiors of 1928. Crafted after works by Hendrik Martenszoon Sorgh and Jan Steen seen as postcard reproductions, the paintings reveal the influence of a trip to Holland taken by the artist; these paintings share more in common with Tilled Field or Harlequin's Carnival than with the minimalistic dream paintings produced a few years earlier. Miró married Pilar Juncosa in Palma on 12 October 1929, their daughter, María Dolores Miró, was born on 17 July 1930. In 1931, Pierre Matisse opened an art gallery in New York City; the Pierre Matisse Gallery became an influential part of the Modern art movement in America. From the outset Matisse represented Joan Miró and introduced his work to the United States market by exhibiting Miró's work in New York; until the outbreak of the Spanish Civil War, Miró habitually returned to Spain in the summers. Once the war began, he was unable to return home. Unlike many of his surrealist contemporaries, Miró had preferred to stay away from explicitly political commentary in his work.
Though a sense of nationalism pervaded his earliest surreal landscapes and Head of a Catalan Peasant, it was not until Spain's Republican government commissioned him to paint the mural, The Reaper, for the Spanis
Maurice Utrillo, born Maurice Valadon, was a French painter who specialized in cityscapes. Born in the Montmartre quarter of Paris, Utrillo is one of the few famous painters of Montmartre, born there. Utrillo was the son of the artist Suzanne Valadon, an eighteen-year-old artist's model, she never revealed, the father of her child. In 1891 a Spanish artist, Miguel Utrillo y Molins, signed a legal document acknowledging paternity, although the question remains as to whether he was in fact the child's father. Valadon, who became a model after a fall from a trapeze ended her chosen career as a circus acrobat, found that posing for Berthe Morisot, Pierre-Auguste Renoir, Henri de Toulouse-Lautrec, others provided her with an opportunity to study their techniques, she taught herself to paint, when Toulouse-Lautrec introduced her to Edgar Degas, he became her mentor. She became a peer of the artists she had posed for. Meanwhile, her mother was left to raise the young Maurice, who soon showed a troubling inclination toward truancy and alcoholism.
When a mental illness took hold of the 21-year-old Utrillo in 1904, his mother encouraged him to take up painting. He soon showed real artistic talent. With no training beyond what his mother taught him, he painted what he saw in Montmartre. After 1910 his work attracted critical attention, by 1920 he was internationally acclaimed. In 1928, the French government awarded him the Cross of the Légion d'honneur. Throughout his life, however, he was interned in mental asylums repeatedly. Today, tourists to the area will find many of his paintings on post cards, one of, his popular 1936 painting entitled, Montmartre Street Corner or Lapin Agile. In middle age Utrillo became fervently religious and in 1935, at the age of fifty-two, he married Lucie Valore and moved to Le Vesinet, just outside Paris. By that time, he was too ill to work in the open air and painted landscapes viewed from windows, from post cards, from memory. Although his life was plagued by alcoholism, he lived into his seventies. Maurice Utrillo died on 5 November 1955 in Hotel Splendid in Dax of a lung disease, was buried in the Cimetière Saint-Vincent in Montmartre.
An apocryphal anecdote told by Diego Rivera concerning Utrillo's paternity is related in the unpublished memoirs of one of his American collectors, Ruth Bakwin: "After Maurice was born to Suzanne Valadon, she went to Renoir, for whom she had modeled nine months previously. Renoir looked at the baby and said,'He can't be mine, the color is terrible!' Next she went to Degas, for whom she had modeled. He said,'He can't be mine, the form is terrible!' At a cafe, Valadon saw an artist. The man told her to call the baby Utrillo:'I would be glad to put my name to the work of either Renoir or Degas!'" In 2010, several retrospective exhibitions were staged, at Oglethorpe University Museum of Art and in Montmartre that culminated in an auction of 30 of Utrillo's works on 30 November 2010 from the collection of Paul Pétridès, Utrillo's art dealer, whose Galerie Pétridès dealt with the likes of Jacques Thévenet. This follows the exhibition of Suzanne Valadon and Maurice Utrillo's works held in Paris in 2009.
Jean Fabris, Claude Wiart, Alain Buquet, Jean-Pierre Thiollet, Jacques Birr, Catherine Banlin-Lacroix, Joseph Foret: Utrillo, sa vie, son oeuvre, Editions Frédéric Birr, Paris, 1982. Longstreet and Ethel, Man of Montmartre, A Novel based on the Life of Maurice Utrillo, New York, Funk & Wagnalls, 403 pages. Warnod, Jeanine. Suzanne Valadon. New York: Crown. ISBN 0-517-54499-7 Hecht Museum site of Utrillo Estate ArtCyclopedia - Maurice Utrillo Works by Maurice Utrillo
Electronic media are media that use electronics or electromechanical audience to access the content. This is in contrast to static media, which today are most created electronically, but do not require electronics to be accessed by the end user in the printed form; the primary electronic media sources familiar to the general public are video recordings, audio recordings, multimedia presentations, slide presentations, CD-ROM and online content. Most new media are in the form of digital media. However, electronic media may be in either analogue electronics data or digital electronic data format. Although the term is associated with content recorded on a storage medium, recordings are not required for live broadcasting and online networking. Any equipment used in the electronic communication process may be considered electronic media. Electronic media are ubiquitous in most of the developed world. Electronic media devices have found their way into all parts of modern life; the term is relevant to media ecology for studying its impact compared to printed media and broadening the scope of understanding media beyond a simplistic aspect of media such as one delivery platform aside from many other options.
The term is relevant to professional career development regarding related skill set. Media states various means of communication like communication devices which are used to interact and communicate among people. Electronic media is media that uses electromechanical device to access the content Broadcast or storage media that take advantage of electronic technology, they may include television, Internet, fax, CD-ROMs, DVD, any other medium that requires electricity or digital encoding of information. The term'electronic media' is used in contrast with print media. Electronic media uses media such as television and internet enabled computers made possible by technology. Electronic media plays a crucial role promoting communication in the society through various ways. First, electronic media contributes to the advancement of the business environment. Use of electronic media & communications: Early childhood to teenage years June 2009 Use of electronic media and communications: Early childhood to teenage years brings together the ACMA's research on media use by eight- to 17-year-olds and new findings about three- to four- and seven- to eight-year-olds from the Australian Institute of Family Studies study Growing Up in Australia.