History of Art, Architecture, and Archaeology Commons^™

Photographic Automatism: Surrealism And Feminist (Post?) Modernism In Susan Hiller's Sisters Of Menon, Katharine Conley

Arts & Sciences Book Chapters

Excerpt from book chapter: "Susan Hiller stated in a 2005 interview that what drew her ‘to look again at surrealism’ and ‘the repressed history of automatism within modernism’ was the experience she had drawing Sisters of Menon (1972) as part of a group project she initiated involving automatic practice. One reason for this reconsideration must surely have been the surrealists’ engagement in the countercultural ideals of her own generation as evidenced by their commitment to the May 1968 student protests in Paris..."

The Surrealist Collection: Ghosts In The Laboratory, Katharine Conley

Arts & Sciences Book Chapters

Excerpt from book chapter: "Surrealism was forged by poets and artists who intentionally surrounded themselves with objects of philosophical significance to them, objects whose arrangement refracted back to them elements of their own beliefs. André Breton, author of the manifestoes of Surrealism, was the movement’s exemplary collector and his practice of collection yielded the movement’s mystery‐laden backdrop to the development of the principles of Surrealism just as his apartment on the rue Fontaine in Paris provided the setting for gatherings of the group’s meetings..."

"Introduction" & "Modernisms And Authority", Charles J. Palermo

Arts & Sciences Book Chapters

Modernism and Authority presents a provocative new take on the early paintings of Pablo Picasso and the writings of Guillaume Apollinaire. Charles Palermo argues that references to theology and traditional Christian iconography in the works of Picasso and Apollinaire are not mere symbolic gestures; rather, they are complex responses to the symbolist art and poetry of figures important to them, including Paul Gauguin, Charles Morice, and Santiago Rusiñol. The young Picasso and his contemporaries experienced the challenges of modernity as an attempt to reflect on the lost relation to authority. For the symbolists, art held authority by revealing something compelling—something …

André Masson: Into The ‘Humus Humaine', Charles J. Palermo

Arts & Sciences Book Chapters

Much of how World War I is understood today is rooted in the artistic depictions of the brutal violence and considerable destruction that marked the conflict. Nothing but the Clouds Unchanged examines how the physical and psychological devastation of the war altered the course of twentieth-century artistic Modernism. Following the lives and works of fourteen artists before, during, and after the war, this book demonstrates how the conflict and the resulting trauma actively shaped artistic production. Featured artists include Georges Braque, Carlo Carrà, Otto Dix, Max Ernst, George Grosz, Ernst Ludwig Kirchner, Oskar Kokoschka, Käthe Kollwitz, Fernand Léger, Wyndham Lewis, …

Nature Discerned: Providence And Perspective In Gilles Van Coninxloo’S Sylva, Catherine Levesque

Arts & Sciences Book Chapters

No abstract provided.

Truth In Painting—Comedic Resolution In Bruegel’S Landscape With The Magpie On The Gallows, Catherine Levesque

Arts & Sciences Book Chapters

Dwelling on the rich interconnections between parody and festivity in humanist thought and popular culture alike, the essays in this volume delve into the nature and the meanings of festive laughter as it was conceived of in early modern art. The concept of 'carnival' supplies the main thread connecting these essays. Bound as festivity often is to popular culture, not all the topics fit the canons of high art, and some of the art is distinctly low-brow and occasionally ephemeral; themes include grobianism and the grotesque, scatology, popular proverbs with ironic twists, and a wide range of comic reversals, some …

Introduction To "Fixed Ecstasy: Joan Miro In The 1920s", Charles J. Palermo

Arts & Sciences Book Chapters

ixed Ecstasy advances a fundamentally new understanding of Miró’s enterprise in the 1920s and of the most important works of his career. Without a doubt, Joan Miró (1893–1983) is one of the leading artists of the early twentieth century, to be ranked alongside such artists as Picasso, Matisse, Mondrian, and Pollock in his contributions to modernist painting. Still, Miró’s work has eluded easy classification. He is best known as a Surrealist, but, as Charles Palermo demonstrates, Miró’s early years in Barcelona and Paris require a revisionist account of Miró’s development and his place in modernism.

Palermo’s arguments are based on …