Surrealism 1913 1940 Hannah Hoch Russian Constructivism Surrealism Dada Not Photography movements but movements happening in the Art World that heavily relied on the camera Other Art Movements that Influenced Constructivism Surrealism and Dada ID: 786448
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Slide1
Constructivism Dada Surrealism
1913 - 1940
Hannah Hoch
Slide2Russian ConstructivismSurrealism. Dada
Not Photography movements, but movements happening in the Art World that heavily relied on the camera.
Slide3Slide4Slide5Other Art Movements that Influenced Constructivism, Surrealism, and Dada
Cubism
ExpressionismFuturism
Slide6Cubism was one of the most influential visual art styles of the early twentieth century.
Created by Pablo Picasso (Spanish, 1881–1973) and Georges Braque (French, 1882–1963) in Paris between 1907 and 1914.
Art critic described the work of this time as being made up of "cubes." Cubism (France) 1907 – 1914
Picasso
Georges Braque
Slide7Avant-garde Movement
- new and experimental ideas and methods in art, music, or literature
The key concept underlying Cubism is that the essence of an object can only be captured by showing it from multiple points of view simultaneously
The Cubist painters rejected the concept that art should copy nature, or that they should adopt the traditional techniques of perspective, modelling, and foreshortening.
Slide8Wassily Kandinsky, 1923
An artistic style
Depict subjective emotions and responses that objects and events arouse in himPersonal, spontaneous self-expression
Use of distortion and exaggeration for emotional effectExaggeration, primitivism (basic/simple),
and f
antasy
Use of intense colour, agitated brushstrokes, and disjointed space
Seen in dance, cinema, literature and the theatre
Expressionism 1905 – 1930 Germany
Slide9Edvard
Munch, 1893
August Macke, 1913
Slide10Ernst Ludwig
Kirchner, 1912
Erich Heckel, 1919
The artists vision of the object or scene
Not representing the real world, but rather an impression
They wanted instead to emphasize the two-dimensionality of the canvas.
T
hey reduced and fractured objects into geometric forms
Slide11The Futurists rejected anything old and looked towards a new Italy.
Past culture in Italy was felt as particularly oppressive.
It emphasized and glorified themes of the future, speed, technology, youth and violence, and objects such as the car, the aeroplane and the industrial city.
Futurists proposed instead was an art that celebrated the modern world of industry and technology
Futurism 1909 –
1916,
Italy
Umberto Boccioni
Slide12painting, sculpture, ceramics, graphic design, industrial design, interior
design, urban design, theatre, film, fashion, textiles, literature, music, architecture
The Futurists practiced in every medium of art, including:
Umberto
Boccioni 1882 - 1916
Slide13Giacomo
Balla
Slide14Dada was born out of a pool of avant-garde painters, poets and filmmakers who flocked to neutral Switzerland before and during WWI.
Dada sounded the same in every language, and it didn’t make any sense
Dadaists were always opposed to authoritarianism, and to any form of group leadership or guiding ideology. Rebelled against what they saw as cultural snobbery, bourgeois convention, and political support for the war.
Held events, spontaneous readings, performances, and exhibitions.
Dada 1916 – 1924
George
Grosz
Raoul
Hausmann
Marcel
Duchamp
Slide15Hugo
Ball
Max Ernst
Influenced by ideas and innovations from Cubism, Futurism, Constructivism, and Expressionism
Slide16John
Heartfield
Medium/methods was wildly diverse
Slide17Kurt
Schwitters
Francis
Picabia
Slide18Ranging from performance art to poetry, photography, sculpture, painting and collage
Dada's aesthetic, marked by its mockery of materialistic and nationalistic attitudes, proved a powerful influence on artists in many cities, including Berlin, Hanover, Paris, New York and Cologne, all of which generated their own groups.
After the war, many of the artists who had participated in the Dada movement began to practice in a Surrealist mode.
Similar to Dada, Surrealism was characterized by a profound disillusionment with and condemnation of the Western emphasis on logic and reason.
Slide19“We had lost confidence in our culture. Everything had to be demolished. At the Cabaret Voltaire we began by shocking common sense, public opinion, education, institutions, museums, good taste, in short, the prevailing order.”
- Marcel Janco
Slide20René MagritteAndré Masson
Joan Miró
László Moholy-Nagy Meret Oppenheim Francis Picabia
Man Ray Hans Richter Kurt
Schwitters
Yves
Tanguy
Tristan
Tzara
Hans
Arp
Hugo Ball
André
Breton
Salvador
Dalí
Giorgio
De Chirico
Marcel
Duchamp
Max
Ernst
Sigmund
Freud
George
Grosz
Raoul
Hausmann
John
Heartfield
Hannah
Höch
Well known Dadaists/Surrealists:
Slide21Most of these artists were very young and had “opted out” of the war, seeking refuge in New York, Zurich and Barcelona
Word was spread by publications/manifestos rather than organized exhibitions
Used all forms of expression – cabaret performances, meetings, visual art, writing and riotsAvant-garde, rebelsMore focused on political and social concerns
Migrated also to New York, where it was more theoretical, less political
Slide22Collage: Pasting cut pieces of objects together such as train tickets, maps, rubbish – found objects
Photomontage: similar to collage, but using actual photographs from the mediaReadymades
: manufactured objects as “art” – turning into sculptureAssemblage: 3D versions of collage
A movement where we saw artists using photography and the camera in their work.They were not trained photographers, they had no allegiance to photography.
They didn’t care if photography was art or not.
They recognized the camera as a symbol of progress and industrialization.
Why is this important to photography?
DADAISTS HEAVILY USED THE CAMERA: WE SEE THE FIRST INSTANCE OF COLLAGE!
Slide23Outspoken DadaistList to stir up controversyQuestion, what is art?
Break down barriers of high art!Redefining art
“To all appearances, the artist acts like a mediumistic being who, from the labyrinth beyond time and space, seeks his way out to a clearing.”
Marcel Duchamp
C
reated
a personal brand of
Cubism
combining earthy colours, mechanical and visceral forms, and a depiction of movement which owes as much to Futurism as to Cubism.
Slide24Duchamp did very little painting after 1912, creating the first of his 'readymades' in 1913.
Slide25These were ordinary objects of everyday use, sometimes slightly altered, and designated works of art by the artist.
T
he concept of the readymade became associated with an assault on the conventional understanding of the nature and status of art.
Slide26Hannah Hoch
Slide27Known for her incisively political collage and photomontage
works
Hannah Höch
appropriated and rearranged images and text from the mass media to critique the failings of the Weimar German Government.
She
rejected the German government, but often focused her criticism more narrowly on gender issues, and is recognized as a pioneering feminist
artist.
Slide28Höch
drew inspiration from the collage work of Pablo Picasso and fellow Dada exponent Kurt Schwitters
, and her own compositions share with those artists a similarly dynamic and layered style.
Höch
preferred metaphoric imagery to the more direct, text-based confrontational approach.
Slide29Slide30Slide31Slide32John Heartfield, German
1891 –1968
A pioneer of modern photomontage. Worked in Germany and Czechoslovakia between WWI – WWII. He
developed a unique method of appropriating and reusing photographs to powerful political effect.
Heartfield's
images
forecasted and reflected the chaos Germany experienced in the 1920s and '30s as it slipped toward social and political catastrophe.
The impact of
Heartfield's
images was so great that they helped transform photomontage into a powerful form of mass communication.
Slide33Heartfield devised photo-based symbols for the Communist Party of Germany, allowing the organization to compete with the Nazis' swastika.
His images of clenched fists, open palms, and raised arms all implied bold action and determination.
Slide34H
e
chose recognizable press photographs of politicians or events from the mainstream illustrated press. He then disassembled and rearranged these images to radically alter their meaning.
Slide35Raoul
Hausmann
1886–1971
German Dada artist, poet, photographer and polemicist.
Slide36Influenced by the Cubists
Co-founder
of the Berlin Dada movement 1917Greatly
interested in photography and made photograms, rayograms and pictograms.
Slide37C
onsistently
blurring the boundaries between visual art, poetry, music, and dance.
Slide38Branched out of Dadaism
Started in Paris, 1924 by Andre Breton
Surrealism became an international intellectual and political movement.Drew upon the private world of the mind, traditionally restricted by reason and societal limitations, to produce surprising, unexpected imagery.
Influenced by dream studies of Freud and political ideas of Marx
Surrealism – Early
1920’s
Joan
Miró
Picasso
Slide39The surrealist movement originated in Paris in the 1920s, drawing its members from many countries in Europe and beyond.
… desire, the sole motivating principle of the world, the only master humans must recognise
.
- André Breton
Although it began as a literary movement, it soon developed to encompass the visual arts, engaging with ideas from psychoanalysis, philosophy and politics as well.
The surrealists opposed what they saw as the stultifying and oppressive aspects of society, and celebrated a vision of the world in which men’s imaginations and desires were set free.
Slide40Surrealism: Pure psychic automation by which one intends to express verbally, in writing or by other method, the real functioning of the mind. Dictation by thought or in the absence of any other control exercised by reason, and beyond any aesthetic or moral preoccupation.
“Surrealism is based on the belief … in the omnipotence of dreams, in the undirect play of thoughts.”
Manifesto of Surrealism
Slide41Photography came to occupy a central role in Surrealist activity. In the works of Man Ray and Maurice
Tabard. The use of such procedures as double exposure, combination printing, montage, and solarization dramatically evoked the union of dream and reality.
Photography and Surrealism
Maurice Tabard
Man Ray
Slide42Other photographers used techniques such as rotation or distortion to
render their images uncanny. Hans Bellmer obsessively
photographed the mechanical dolls he fabricated himself, creating strangely sexualized images
Umbo
André
Kertész
Hans
Bellmer
Slide43Solarization: image is reversed (negative) when exposed to white light in
darkroom
Uses of Photography Techniques within Surrealism
Distortion: used mirrors and lenses to distort the human form
Photograms: camera-less images
Assemblage: 3D versions of collage
Slide44Man Ray 1890-1976Rayograph – said he invented it.
Surrealism – had a range. Some was realistic, some was pure fantasy PhotogramsSolarization
The photograph was taken with a two-hour-long exposure that beautifully captures the complex texture and diversity of materials that lay atop the glass surface.
Slide45Man Ray, the master of experimental and fashion photography was also a painter, a filmmaker, a poet, an essayist, a philosopher, and a leader of American modernism. Known for documenting the cultural elite living in France, Man Ray spent much of his time fighting the formal constraints of the visual arts.
“I do not photograph nature. I photograph my visions.”–Man Ray
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