1.
Yves Klein
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Yves Klein was a French artist considered an important figure in post-war European art. He is the member of the French artistic movement of Nouveau réalisme founded in 1960 by art critic Pierre Restany. Klein was a pioneer in the development of art, and is seen as an inspiration to. Klein was born in Nice, in the Alpes-Maritimes department of France and his parents, Fred Klein and Marie Raymond, were both painters. From 1942 to 1946, Klein studied at the École Nationale de la Marine Marchande, at this time, he became friends with Arman and Claude Pascal and started to paint. During the years 1948 to 1952, he traveled to Italy, Great Britain, Spain, and Japan. In Japan, at the age of 25, he became a master at judo receiving the rank of yodan from the Kodokan and he also stayed in Japan in 1953. Klein later wrote a book on judo called Les Fondements du judo, in 1954, Klein settled permanently in Paris and began in earnest to establish himself in the art world. Parodying a traditional Catalogue raisonné, the featured a series of intense monochromes linked to various cities he had lived in during the previous years. Yves Peintures anticipated his first two shows of oil paintings, at the Club des Solitaires, Paris, October 1955 and Yves, Proposition monochromes at Gallery Colette Allendy, February 1956. From the reactions of the audience, realized that. viewers thought his various, uniformly colored canvases amounted to a new kind of bright, abstract interior decoration. Discovered with the help of Edouard Adam, a Parisian paint dealer, the optical effect retained the brilliance of the pigment which, Klein later deposited a Soleau envelope for this recipe to maintain the authenticity of the pure idea. This colour, reminiscent of the lapis lazuli used to paint the Madonnas robes in medieval paintings, was to become known as International Klein Blue, the paintings were attached to poles placed 20 cm away from the walls to increase their spatial ambiguities. The show was a critical and commercial success, traveling to Paris, Düsseldorf, the Parisian exhibition, at the Iris Clert Gallery in May 1957, became a seminal happening. To mark the opening,1001 blue balloons were released and blue postcards were sent out using IKB stamps that Klein had bribed the postal service to accept as legitimate, concurrently, an exhibition of tubs of blue pigment and fire paintings was held at Galerie Collette Allendy. Thanks to a publicity drive,3,000 people queued up. The art historian Olivier Berggruen situates Klein as one who strove for total liberation, Klein had studied judo in Japan between 1952 and 1954, and also displayed an interest in Zen Buddhism. Recently my work with color has led me, in spite of myself, to search little by little, with assistance, for the realization of matter
2.
Arman
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Arman was a French-born American artist. Born Armand Fernandez in Nice, France, Arman was a painter who moved from using objects for the ink or paint traces they leave to using them as the painting itself and he is best known for his accumulations and destruction/recomposition of objects. Armans father, Antonio Fernandez, a dealer from Nice, was also an amateur artist, photographer. From his father, Arman learned oil painting and photography, after receiving his bachelors degree in philosophy and mathematics in 1946, Arman began studying at the École Nationale des Arts Décoratifs in Nice. He also started judo at a school in Nice where he met Yves Klein. The trio bonded closely on a subsequent hitch-hiking tour around Europe, completing his studies in 1949, Arman enrolled as a student at the École du Louvre in Paris, where he concentrated on the study of archaeology and oriental art. In 1951, he became a teacher at the Bushido Kai Judo Club in Madrid, during this time he also served in the French military, completing his tour of duty as a medical orderly during the Indo-China War. Early on, it was apparent that Armans concept of the accumulation of vast quantities of the objects was to remain a significant component of his art. Ironically, he had focused more attention on his abstract paintings. Only when he witnessed viewer reaction to his first accumulation in 1959 did he fully recognize the power of such art, in 1962, he began welding together accumulations of the same kinds of metal objects, such as axes. Inspired by an exhibition for the German Dadaist Kurt Schwitters in 1954, Arman began working on Cachets, at his third solo exhibition held in Pariss Galerie Iris Clert in 1958, Arman showed some of his first 2D accumulations he called cachets. These stamps on paper and fabric proved a success and provided an important change of course for the artists career. At the time, he was signing with his first name as an homage to Van Gogh, and, thus, in 1957, Arman chose to change his name from Armand to Arman. On January 31,1973, upon becoming a citizen of the United States, he took the American civil name, nevertheless, he continued to use Arman as his public persona. From 1959 to 1962, Arman developed his most recognizable style, accumulations were collections of common and identical objects which he arranged in polyester castings or within Plexiglas cases. His first welded accumulations were created in 1962, the Poubelles were collections of strewn refuse. In 1960, he filled the Galerie Iris Clert in Paris with garbage and these works began to garner the attention of the European art community. Joined later by Cesar, Mimmo Rotella, Niki de Saint Phalle, and Christo and they were reassessing the concept of art and the artist for a 20th-century consumer society by reasserting the humanistic ideals in the face of industrial expansion
3.
Niki de Saint Phalle
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Niki de Saint Phalle was a French sculptor, painter, and filmmaker. She was one of the few women artists known for monumental sculpture. Niki de Saint Phalle was born on October 29,1930 in Neuilly-sur-Seine, Hauts-de-Seine and her father was Count André-Marie Fal de Saint Phalle, a French banker, and her mother was an American, named Jeanne Jacqueline Harper. She was the second of five children, and her double first cousin was French novelist Thérèse de Saint Phalle and her birth was one year after Black Tuesday, and the French economy was also suffering in the aftermath of the infamous stock market crash that initiated the Great Depression. Within months, her fathers company closed, and her parents moved with her oldest brother to New York City. Niki was left with her grandparents in Nièvre, around 1933, she rejoined her parents in New York, where her father worked as manager of the American branch of the Saint Phalle familys bank. Niki grew up in a strict Catholic environment, which she would later reject and her mother was temperamental and violent, beating the younger children, and forcing them to eat even if they were not hungry. Both Elizabeth and Richard de Saint Phalle, younger siblings, would commit suicide as adults. Decades later, Niki would reveal that she had suffered years of abuse from her father. Saint Phalle returned frequently to France to visit relatives and she studied at the Brearley School in New York City from 1942-1944, but was dismissed for painting red fig leaves on the schools classical statuary. Despite this, she would say it was there “ I became a feminist. They inculcated in us that women can and must accomplish great things. ”She was then enrolled in a convent school in Suffern, New York, and then Oldfields School in Glencoe, Maryland, where she graduated in 1947. During her late years, Saint Phalle became a fashion model, at the age of 18, she appeared on the cover of Life and. At the age of 18, Saint Phalle married writer Harry Mathews, although her parents accepted the union, her husbands family objected to her Catholic background, and cut them off financially. Mathews served briefly in the Navy, and then moved to Cambridge. Saint Phalle began to paint, but aimed to pursue a career in acting and their first child, Laura, was born in April 1951. The new parents were casual, even negligent, but their children would benefit from better financial circumstances after Mathews received an inheritance, Saint Phalle rejected the staid, conservative values of her family, which dictated domestic positions for wives and particular rules of conduct. Poet John Ashbery recalled that Saint Phalles artistic pursuits were rejected by members of Saint Phalle clan, reportedly takes a dim view of her artistic activities, Ashbery observed
4.
Christo and Jeanne-Claude
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Christo Vladimirov Javacheff and Jeanne-Claude were a married couple who created environmental works of art. Christo and Jeanne-Claude were born on the day, June 13,1935, Christo in Gabrovo, Bulgaria. They first met in Paris in October 1958 when Christo painted a portrait of Jeanne-Claudes mother and they then fell in love through creating art work together. Credit was given to Christo only, until 1994, when the works and large indoor installations were retroactively credited to Christo. They flew in separate planes, in case one crashed, the other could continue their work, Jeanne-Claude died, aged 74, on November 18,2009, from complications of a brain aneurysm. The purpose of their art, they contend, is simply to create works of art for joy and beauty, Art critic David Bourdon has described Christos wrappings as a revelation through concealment. To his critics Christo replies, I am an artist, and I have to have courage, do you know that I dont have any artworks that exist. They all go away when theyre finished, only the preparatory drawings, and collages are left, giving my works an almost legendary character. I think it takes much greater courage to create things to be gone than to things that will remain. Christo was born in Gabrovo, Bulgaria and his father, Vladimir Javacheff, was a businessman and ran a fabric factory, and his mother, Tsveta Dimitrova, was the secretary at the Academy of Fine Arts in Sofia. Professors from the Academy who visited his family observed Christos artistic talent while he was still of a young age. Christo quickly settled in Vienna and enrolled at the Vienna Academy of Fine Arts, after only one semester there, he traveled to Geneva and moved to Paris in 1958. His life in Paris was characterized by hardship and social isolation. He earned money by painting portraits, which he likened to prostitution, in 1973, after 17 stateless years, Christo became a United States citizen. Jeanne-Claude was born in Casablanca, Morocco, where her French military father was stationed and her mother, Précilda, was 17 when she married Jeanne-Claudes father, Major Léon Denat. Précilda and Léon Denat divorced shortly after Jeanne-Claude was born, Jeanne-Claude earned a baccalauréat in Latin and philosophy in 1952 from the University of Tunis. During World War II, Jeanne-Claude lived with her fathers family while her mother fought in the French Resistance, in 1946, Précilda married the influential General Jacques de Guillebon. The family lived in Berne from 1948 to 1951, then in Tunisia from 1952 to 1957 and she was described as extroverted and with natural organizational abilities
5.
Pop art
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Pop art is an art movement that emerged in the mid-1950s in Britain and the late 1950s in the United States. Pop art presented a challenge to traditions of art by including imagery from popular culture such as advertising. In pop art, material is sometimes removed from its known context, isolated. Pop art employs aspects of culture, such as advertising, comic books. One of its aims is to use images of popular culture in art, emphasizing the banal or kitschy elements of any culture and it is also associated with the artists use of mechanical means of reproduction or rendering techniques. Pop art is interpreted as a reaction to the then-dominant ideas of abstract expressionism. Due to its utilization of found objects and images, it is similar to Dada, Pop art and minimalism are considered to be art movements that precede postmodern art, or are some of the earliest examples of postmodern art themselves. Pop art often takes imagery that is currently in use in advertising, product labeling and logos figure prominently in the imagery chosen by pop artists, seen in the labels of Campbells Soup Cans, by Andy Warhol. Even the labeling on the outside of a box containing food items for retail has been used as subject matter in pop art. The origins of pop art in North America developed differently from Great Britain, in the United States, pop art was a response by artists, it marked a return to hard-edged composition and representational art. They used impersonal, mundane reality, irony, and parody to defuse the personal symbolism, in the U. S. some artwork by Larry Rivers, Alex Katz and Man Ray anticipated pop art. By contrast, the origins of pop art in post-War Britain, while employing irony, early pop art in Britain was a matter of ideas fueled by American popular culture when viewed from afar. Similarly, pop art was both an extension and a repudiation of Dadaism, among those artists in Europe seen as producing work leading up to pop art are, Pablo Picasso, Marcel Duchamp, and Kurt Schwitters. During the 1920s, American artists Gerald Murphy, Charles Demuth and Stuart Davis created paintings that contained pop culture imagery, the Independent Group, founded in London in 1952, is regarded as the precursor to the pop art movement. They were a gathering of young painters, sculptors, architects, writers and their group discussions centered on pop culture implications from elements such as mass advertising, movies, product design, comic strips, science fiction and technology. This material of found objects such as advertising, comic characters, magazine covers. One of the collages in that presentation was Paolozzis I was a Rich Mans Plaything, following Paolozzis seminal presentation in 1952, the IG focused primarily on the imagery of American popular culture, particularly mass advertising. Nevertheless, Alloway was one of the critics to defend the inclusion of the imagery of mass culture in the fine arts
6.
Fluxus
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Fluxus is an international and interdisciplinary group of artists, composers, designers and poets that took shape in the 1960s and 1970s. Dutch gallerist and art critic Harry Ruhé describes Fluxus as the most radical and experimental art movement of the sixties, Fluxus is known for experimental contributions to different artistic media and disciplines. Fluxus is also known for generating art forms that were new when Fluxus artists created them, Fluxus participants included artists, composers, designers, and architects, as well as economists, mathematicians, ballet dancers, chefs, and even a would-be theologian. Equally significant, they represented nations on three continents – Asia, Europe, and North America, many Fluxus artists share an anti-commercial and anti-art sensibility. Fluxus is sometimes described as intermedia, the process of creating was privileged over the finished product. Another influence was the readymades of Marcel Duchamp, a French artist who was active in Dada, George Maciunas, a co-founder of this fluid movement, coined the name Fluxus in 1961 to title a proposed magazine. The broad and varied nature of the involved in Fluxus involved a community of friends who worked together. They had different ideas about art and the role of art in society, the overlapping communities within Fluxus and the way that Fluxus developed in overlapping stages meant that participants had very different ideas about what Fluxus was. One Fluxus co-founder – George Maciunas – proposed a well known manifesto, but none of the artists agreed with it. Instead, a series of festivals in Wiesbaden, Copenhagen, Stockholm, Amsterdam, and New York, gave rise to a loose but robust community. In keeping with the reputation Fluxus earned as a forum of experimentation, Fluxus played an important role in the opening up of definitions of art. The origins of Fluxus lie in many of the concepts explored by composer John Cage in his music of the 1930s through the 1960s. After attending courses on Zen Buddhism taught by D. T, a major influence is found in the work of Marcel Duchamp. Also of importance was Dada Poets and Painters, edited by Robert Motherwell, the term anti-art, a precursor to Dada, was coined by Duchamp around 1913, when he created his first readymades from found objects. Indifferently chosen, readymades and altered readymades challenged the notion of art as an inherently optical experience, the most famous example is Duchamps infamous altered readymade Fountain, a work which he signed R. Mutt. While taking refuge from WWI in New York, in 1915 Duchamp formed a Dada group with Francis Picabia, Other key members included Arthur Craven, Florine Stettheimer, and the Baroness Elsa von Freytag-Loringhoven, credited by some with proposing the idea for Fountain to Duchamp. By 1916 these artists, especially Duchamp, Man Ray, and their artworks would inform Fluxus and conceptual art in general. A number of contemporary events are credited as either anticipating Fluxus
7.
Nice
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Nice is the fifth most populous city in France and the capital of the Alpes-Maritimes département. The urban area of Nice extends beyond the city limits. Nice is about 13 kilometres from the principality of Monaco, the city is nicknamed Nice la Belle, which means Nice the Beautiful, which is also the title of the unofficial anthem of Nice, written by Menica Rondelly in 1912. The area of todays Nice contains Terra Amata, a site which displays evidence of a very early use of fire. Around 350 BC, Greeks of Marseille founded a permanent settlement and called it Nikaia, after Nike, through the ages, the town has changed hands many times. Its strategic location and port significantly contributed to its maritime strength, for centuries it was a dominion of Savoy, and was then part of France between 1792 and 1815, when it was returned to Piedmont-Sardinia until its re-annexation by France in 1860. The citys main seaside promenade, the Promenade des Anglais owes its name to visitors to the resort, for decades now, the picturesque Nicean surroundings have attracted not only those in search of relaxation, but also those seeking inspiration. The clear air and soft light have particularly appealed to some of Western cultures most outstanding painters, such as Marc Chagall, Henri Matisse, Niki de Saint Phalle and Arman. Their work is commemorated in many of the museums, including Musée Marc Chagall, Musée Matisse. Nice has the second largest hotel capacity in the country and it is one of its most visited cities and it also has the third busiest airport in France, after the two main Parisian ones. It is the capital city of the County of Nice. Nice was probably founded around 350 BC by the Greeks of Massalia, the ruins of Cemenelum are in Cimiez, now a district of Nice. In the 7th century, Nice joined the Genoese League formed by the towns of Liguria. In 729 the city repulsed the Saracens, but in 859 and again in 880 the Saracens pillaged and burned it, during the Middle Ages, Nice participated in the wars and history of Italy. As an ally of Pisa it was the enemy of Genoa, during the 13th and 14th centuries the city fell more than once into the hands of the Counts of Provence, but it regained its independence even though related to Genoa. The medieval city walls surrounded the Old Town, the landward side was protected by the River Paillon, which was later covered over and is now the tram route towards the Acropolis. The east side of the town was protected by fortifications on Castle Hill, another river flowed into the port on the east side of Castle Hill. Engravings suggest that the area was also defended by walls
8.
French Riviera
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The Côte dAzur, often known in English as the French Riviera, is the Mediterranean coastline of the southeast corner of France, also including the sovereign state of Monaco. There is no boundary, but it is usually considered to extend from the Italian border in the east to Saint-Tropez, Hyères, Toulon. This coastline was one of the first modern resort areas and it began as a winter health resort for the British upper class at the end of the 18th century. In the summer, it played home to many members of the Rothschild family. After World War II, it became a popular tourist destination and convention site, many celebrities, such as Elton John and Brigitte Bardot, have homes in the region. Officially, the Côte dAzur is home to 163 nationalities with 83,962 foreign residents and its largest city is Nice, which has a population of 347,060. The city is the center of a communauté urbaine – Nice-Côte dAzur – bringing together 24 communes, Nice is home to Nice Côte dAzur Airport, Frances third-busiest airport, which is on an area of partially reclaimed coastal land at the western end of the Promenade des Anglais. A second airport at Mandelieu was once the commercial airport. The A8 autoroute runs through the region, as does the old main road known as the Route nationale 7. Trains serve the region and inland to Grasse, with the TGV Sud Est service reaching Nice-Ville station in five. The French Riviera has a population of more than two million. The region has 35,000 students, of whom 25 percent are working toward a doctorate, the French Riviera is a major yachting and cruising area with several marinas along its coast. As a tourist center, French Riviera benefits from 310 to 330 days of sunshine per year,115 kilometres of coastline, the name Côte dAzur was given to the coast by the writer Stéphen Liégeard in his book, La Côte d’azur, published in December 1887. Liégeard was born in Dijon, in the French department of Côte-dOr, the term French Riviera is typical of English use. It was built by analogy with the term Italian Riviera, which extends east of the French Riviera. As early as the 19th century, the British referred to the region as the Riviera or the French Riviera, usually referring to the part of the coast. Originally, riviera is an Italian noun which means coastline, in Occitan and French, the only usual names are Còsta dAzur in Occitan and Côte dAzur in French. A name like French Riviera is unusual and sounds odd, it could work as a word-to-word translation of the British point of view
9.
Dada
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Dada or Dadaism was an art movement of the European avant-garde in the early 20th century, with early centers in Zürich, Switzerland at the Cabaret Voltaire, in New York, and after 1920, in Paris. The art of the movement spanned visual, literary, and sound media, including collage, sound poetry, cut-up writing, Dadaist artists expressed their discontent with violence, war, and nationalism, and maintained political affinities with the radical left. Others note that it suggests the first words of a child, evoking a childishness, still others speculate that the word might have been chosen to evoke a similar meaning in any language, reflecting the movements internationalism. The roots of Dada lay in pre-war avant-garde, the term anti-art, a precursor to Dada, was coined by Marcel Duchamp around 1913 to characterize works which challenge accepted definitions of art. Cubism and the development of collage and abstract art would inform the movements detachment from the constraints of reality, the work of French poets, Italian Futurists and the German Expressionists would influence Dadas rejection of the tight correlation between words and meaning. Works such as Ubu Roi by Alfred Jarry, and the ballet Parade by Erik Satie would also be characterized as proto-Dadaist works, the Dada movements principles were first collected in Hugo Balls Dada Manifesto in 1916. The movement influenced later styles like the avant-garde and downtown music movements, Dada was an informal international movement, with participants in Europe and North America. The beginnings of Dada correspond to the outbreak of World War I, avant-garde circles outside France knew of pre-war Parisian developments. Futurism developed in response to the work of various artists, many Dadaists believed that the reason and logic of bourgeois capitalist society had led people into war. They expressed their rejection of that ideology in artistic expression that appeared to reject logic and embrace chaos, for example, George Grosz later recalled that his Dadaist art was intended as a protest against this world of mutual destruction. According to Hans Richter Dada was not art, it was anti-art, Dada represented the opposite of everything which art stood for. Where art was concerned with aesthetics, Dada ignored aesthetics. If art was to appeal to sensibilities, Dada was intended to offend, as Hugo Ball expressed it, For us, art is not an end in itself. But it is an opportunity for the perception and criticism of the times we live in. A reviewer from the American Art News stated at the time that Dada philosophy is the sickest, most paralyzing and most destructive thing that has ever originated from the brain of man. Art historians have described Dada as being, in large part, a systematic work of destruction and demoralization. In the end it became nothing but an act of sacrilege, to quote Dona Budds The Language of Art Knowledge, Dada was born out of negative reaction to the horrors of the First World War. This international movement was begun by a group of artists and poets associated with the Cabaret Voltaire in Zürich, Dada rejected reason and logic, prizing nonsense, irrationality and intuition
10.
Abstract art
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Abstract art uses a visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world. Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective, the arts of cultures other than the European had become accessible and showed alternative ways of describing visual experience to the artist. By the end of the 19th century many artists felt a need to create a new kind of art which would encompass the fundamental changes taking place in technology, science and philosophy. The sources from which individual artists drew their theoretical arguments were diverse, Abstract art, non-figurative art, non-objective art, and nonrepresentational art are loosely related terms. They are similar, but perhaps not of identical meaning, Abstraction indicates a departure from reality in depiction of imagery in art. This departure from accurate representation can be slight, partial, or complete, even art that aims for verisimilitude of the highest degree can be said to be abstract, at least theoretically, since perfect representation is likely to be exceedingly elusive. Artwork which takes liberties, altering for instance color and form in ways that are conspicuous, total abstraction bears no trace of any reference to anything recognizable. In geometric abstraction, for instance, one is unlikely to find references to naturalistic entities, Figurative art and total abstraction are almost mutually exclusive. But figurative and representational art often contains partial abstraction, both geometric abstraction and lyrical abstraction are often totally abstract. It is at level of visual meaning that abstract art communicates. One can enjoy the beauty of Chinese calligraphy or Islamic calligraphy without being able to read it, in Chinese painting, abstraction can be traced to the Tang dynasty painter Wang Mo, who is credited to have invented the splashed-ink painting style. While none of his paintings remain, this style is seen in some Song Dynasty Paintings. A late Song painter named Yu Jian, adept to Tiantai buddhism and his paintings show heavily misty mountains in which the shapes of the objects are barely visible and extremely simplified. This type of painting was continued by Sesshu Toyo in his later years, another instance of abstraction in Chinese painting is seen in Zhu Deruns Cosmic Circle. The painting is a reflection of the Daoist metaphysics in which chaos, in Tokugawa Japan some zen monk-painters created Enso, a circle who represents the absolute enlightenment. Usually made in one spontaneous brush stroke, it became the paradigm of the minimalist aesthetic that guided part of the zen painting, three art movements which contributed to the development of abstract art were Romanticism, Impressionism and Expressionism. Artistic independence for artists was advanced during the 19th century, patronage from the church diminished and private patronage from the public became more capable of providing a livelihood for artists. Expressionist painters explored the use of paint surface, drawing distortions and exaggerations
11.
Socialist realism
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Socialist realism is a style of realistic art that was developed in the Soviet Union and became a dominant style in that country as well as in other socialist countries. Socialist realism is characterized by the depiction of communist values, such as the emancipation of the proletariat. Although related, it should not be confused with social realism, Socialist realism was the predominant form of approved art in the Soviet Union from its development in the early 1920s to its eventual fall from popularity in the late 1960s. While other countries have employed a prescribed canon of art, socialist realism in Soviet Union persisted longer and was more restricted than elsewhere in Europe, Socialist realism was developed by many thousands of artists, across a diverse society, over several decades. Early examples of realism in Russian art include the work of the Peredvizhnikis, while these works do not have the same political connotation, they exhibit the techniques exercised by their successors. After the Bolsheviks took control of Russia on October 25,1917, there had been a short period of artistic exploration in the time between the fall of the Tsar and the rise of the Bolsheviks. In 1917, Russian artists began to return to traditional forms of art. Shortly after the Bolsheviks took control, Anatoly Lunacharsky was appointed as head of Narkompros and this put Lunacharsky in the position of deciding the direction of art in the newly created Soviet state. Lunacharsky created a system of aesthetics based on the body that would become the main component of socialist realism for decades to come. He believed that the sight of a body, intelligent face or friendly smile was essentially life-enhancing. He concluded that art had an effect on the human organism. By depicting the perfect person, Lunacharsky believed art could educate citizens on how to be the perfect Soviets, there were two main groups debating the fate of Soviet art, futurists and traditionalists. Russian Futurists, many of whom had been creating abstract or leftist art before the Bolsheviks, believed communism required a complete rupture from the past and, therefore, traditionalists believed in the importance of realistic representations of everyday life. By 1928, the Soviet government had enough strength and authority to end private enterprises, at this point, although the term socialist realism was not being used, its defining characteristics became the norm. The first time the term socialist realism was officially used was in 1932, the term was settled upon in meetings that included politicians of the highest level, including Stalin himself. Maxim Gorky, a proponent of literary socialist realism, published an article titled Socialist Realism in 1933. During the Congress of 1934 four guidelines were laid out for socialist realism, the work must be, Proletarian, art relevant to the workers and understandable to them. Typical, scenes of life of the people
12.
Collage
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Collage is a technique of an art production, primarily used in the visual arts, where the artwork is made from an assemblage of different forms, thus creating a new whole. The origins of collage can be traced back hundreds of years, the term collage was coined by both Georges Braque and Pablo Picasso in the beginning of the 20th century when collage became a distinctive part of modern art. Techniques of collage were first used at the time of the invention of paper in China, around 200 BC. The use of collage, however, wasnt used by many people until the 10th century in Japan, when began to apply glued paper, using texts on surfaces. The technique of collage appeared in medieval Europe during the 13th century, gold leaf panels started to be applied in Gothic cathedrals around the 15th and 16th centuries. Gemstones and other metals were applied to religious images, icons. An 18th-century example of art can be found in the work of Mary Delany. In the 19th century, collage methods also were used among hobbyists for memorabilia, the exhibition later traveled to The Metropolitan Museum of Art and The Art Gallery of Ontario. For example, the Tate Gallerys online art glossary states that collage was first used as a technique in the twentieth century. The glued-on patches which Braque and Picasso added to their canvases offered a new perspective on painting when the patches collided with the plane of the painting. Collage in the modernist sense began with Cubist painters Georges Braque, according to some sources, Picasso was the first to use the collage technique in oil paintings. According to the Guggenheim Museums online article about collage, Braque took up the concept of collage itself before Picasso, applying it to charcoal drawings. Picasso adopted collage immediately after, It was Braque who purchased a roll of simulated oak-grain wallpaper and began cutting out pieces of the paper, Picasso immediately began to make his own experiments in the new medium. In 1912 for his Still Life with Chair Caning, Picasso pasted a patch of oilcloth with a design onto the canvas of the piece. Surrealist artists have made use of collage. Cubomania is a made by cutting an image into squares which are then reassembled automatically or at random. Collages produced using a similar, or perhaps identical, method are called etrécissements by Marcel Mariën from a method first explored by Mariën, surrealist games such as parallel collage use collective techniques of collage making. Many of these artists used techniques in their work
