For “A Positive and Feasible Architecture”. The Contribution of Mario Chiattone to the Avant-Garde Movements of the Early 20th Century

2021 ◽  
pp. 553-575
Author(s):  
Denise Ulivieri ◽  
Marco Giorgio Bevilacqua ◽  
Mattia Patti ◽  
Alessia Domenichini
Keyword(s):  
20Th Century ◽  
Early 20Th Century ◽  
Avant Garde

Steeped in Modernism: The Teapot as Manifesto in Early 20th Century Art

2016 ◽  
Author(s):  
Maya Bielinski
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Political History ◽  
Modern Art ◽  
The Other ◽  
Early 20Th Century ◽  
Avant Garde ◽  
Small Window ◽  
Time Period ◽  
20Th Century Art

The art manifesto, a written political, social, and artistic proclamation of an artistic movement, surged in popularity among avant‐garde art groups in the first half of the twentieth century. Many of the manifestos featured declarations for the synthesis of art and life as well as a call for social and political power for artists of both 'high' and 'low' art forms. Concurrently, new artistic interpretations of the humble teapot became suddenly ubiquitous. This inquiry explores how the teapot emerged as a dominant symbol for the goals of Modern Art movements, and includes an analysis of the teapot's socio‐political history, its ambiguous status between high and low art, and its role in the commercial sphere. By examining the teapots of Suprematism's Kazimir Malevich, Constructivism's Mariane Brandt,and Surrealism's Meret Oppenheim, this presentation will track ideas of functionality, the teapot as symbol, and aesthetics from 1923 to 1936. This small window in time offers an analysis of the extraordinary developments in teapots, and perhaps a glimpse of the paralleled momentum that occurred more generally in design, architecture, and the other arts in this time period.

Davis, Stuart (1892–1964)

2018 ◽  
Author(s):  
Annika Marie
Keyword(s):  
New York ◽  
20Th Century ◽  
Urban Life ◽  
Abstract Art ◽  
Early 20Th Century ◽  
Street Life ◽  
American Modernism ◽  
Urban Street ◽  
Avant Garde ◽  
Ashcan School

Stuart Davis was a painter, printmaker, muralist, and arts activist who played a prominent role in the development of American modernism in the first half of the 20th century. Visually, he brought the formal and technical experimentation of the European avant-garde to depictions of the modernity of the American metropolis. As a prolific writer and powerful spokesman, Davis was a committed cultural advocate, working to explain and defend modern abstract art, promoting artists’ rights, and arguing for the democratization of culture and art’s formative impact on society. Davis’s early style relates to the Ashcan School, an early 20th-century brand of realism that combines a direct, spontaneous, journalistic naturalism with everyday scenes of urban street life. The turning point for the young Davis was the New York Armory Show of 1913. Through the exhibit Davis was exposed to Fauvism, Expressionism, Cubism, and Dada. However, Davis’s embrace of the formal rigor of European abstraction did not lead him to purely non-objective painting. Maintaining that form and content were equally important, he argued that European modernism’s visual fragmentation, instability, and simultaneity provided the visual means by which to express contemporary American urban life.

scholarly journals Material Atmospheres: Theorising Recent Shifts in Interior Visualisation

Interiority ◽  
2019 ◽  
Vol 2 (1) ◽  
pp. 63-78
Author(s):  
Gregory Marinic
Keyword(s):  
Built Environment ◽  
20Th Century ◽  
Political Instability ◽  
Resource Depletion ◽  
Early 20Th Century ◽  
Collective Consciousness ◽  
Dynamic Conditions ◽  
Avant Garde ◽  
Interior Spaces ◽  
Political Economic

Much like Walter Benjamin's analysis of the Parisian arcades during the interwar years of the early 20th century, emerging methods of seeing interior spaces reveal a deeper gaze into the contextual, material, and phenomenological conditions that produce more nuanced visions of interiority. A collective consciousness surrounding these constructed narratives is reflected in charged associations with the most salient imperatives of our time—globalisation, resource depletion, ecological degradation, and political instability—as well as their corresponding effects on the built environment. These visual provocations have incrementally percolated up to embody an expanding field of design activism for educators, theorists, practitioners, and students. How do these avant-garde techniques operate?  What do they reveal about socio-political, economic, and consumptive forces shaping the global built environment?  How do these speculative methods offer more critical ways to communicate dynamic conditions? 

scholarly journals Avantgarde Suomessa

2021 ◽  
Keyword(s):  
20Th Century ◽  
Visual Arts ◽  
Women Artists ◽  
Early 20Th Century ◽  
Avant Garde ◽  
The Social ◽  
Role Of Women ◽  
First Time

Avant-garde in Finland is the first book to provide an overarching introduction to avant-garde art by Finnish artists. The articles in the book discuss the application and development of the cultural ideas of the avant-garde in Finnish art from the early 20th century till the present day. The book focusses on the social, political, and artistic characteristics of avant-garde art and their manifestation in Finnish avant-garde literature, visual arts, architecture, fashion, and music. The book shows the remarkable role of women artists in the development of the Finnish avant-garde. Many artists and groups are presented in the book for the first time. At the same time, the articles highlight connections between well-known Finnish artists and international avant-garde movements that have not been recognized in earlier research. A key theme of the book is the tension between the internationality of avant-garde and the nationalist elements of Finnish culture. The book is peer-reviewed, and its authors are eminent senior scholars and younger researchers.

Architecture in journals of the ‘avant~garde’. Part 2

1984 ◽  
Vol 9 (2) ◽  
pp. 40-65
Author(s):  
Isabella Pezzini ◽  
Jacques Gubler
Keyword(s):  
The Netherlands ◽  
20Th Century ◽  
Early 20Th Century ◽  
Special Issue ◽  
Alphabetical Order ◽  
Avant Garde ◽  
Selection Of

A selection of ‘avant-garde’ journals, from the early 20th century onwards, which have included architectural material. The journals are grouped into countries (which appear in alphabetical order), and are then arranged chronologically by date first published. Part 2 covers journals from the Netherlands, Poland, Romania, Spain, Switzerland, U.S.A., U.S.S.R. and Yugoslavia. Part 1 appeared in Art Libraries Journal, vol. 9, no. 1, Spring 1984. The journals are described by a number of contributors denoted by their initials: A3. (Antoine Baudin); A.R.G. (Antoni Ramon Graells); J.G. (Jacques Gubler); M.D.G. (Manolo De Giorgi); I.P. (Isabella Pezzini); P.G.T. (Piero G. Tanca).The article is the translation of a survey ‘La rete delle riviste’ which first appeared in Rassegna, no. 12, December 1982 – a special issue entitled ‘Architettura nelle riviste d’avanguardia’.

Cubo-Futurism

2018 ◽  
Author(s):  
Anthony Parton
Keyword(s):  
20Th Century ◽  
Early 20Th Century ◽  
Italian Futurism ◽  
Avant Garde ◽  
Art And Literature ◽  
History Of ◽  
Artistic Works ◽  
Transitional Phase ◽  
Innovative Approaches

Cubo-Futurism (Kubo-Futurizm) was a term used by the early 20th-century Russian avant-garde to describe literary and artistic works that represented a fusion of Cubist and Futurist styles and principles. The term surfaced in 1912, at a point when the Russian avant-garde were exposed simultaneously to Analytical Cubism and Italian Futurism. At this stage in their development, young Russian poets and painters were beginning to move away from forms of Expressionism and to explore more innovative approaches. Cubism and Futurism offered the ideological and practical means to engage with abstraction and, ultimately, non-objectivity, in a serious and distinctive manner. By 1915, however, Cubism and Futurism had exhausted their usefulness for these poets and painters, who had now passed into completely new territory in the form of Velimir Khlebnikov’s and Aleksei Krucheynykh’s zaum (transrational) poetry, Kazimir Malevich’s Suprematism and, subsequently, Vladimir Tatlin’s and Aleksandr Rodchenko’s Constructivism. A distinctive movement of the pre-war period, Cubo-Futurism possessed an episodic character and manifested as a transitional phase in the history of Russian avant-garde art and literature in the early 20th century. It was a bridge by which the Russians approached their radical non-objective conclusions of the 1920s.

Shingeki

2018 ◽  
Author(s):  
John D. Swain
Keyword(s):  
20Th Century ◽  
Early 20Th Century ◽  
Dramatic Works ◽  
Avant Garde ◽  
Sharp Distinction ◽  
Meiji Period ◽  
The 1960S ◽  
New Theater ◽  
Tsubouchi Shoyo

Shingeki (literally "new theater") is a word coined in late Meiji period Japan (1868–1912) referring to dramatic works and theater performance styles imported and adapted from late 19th- and early 20th-century Europe. Almost every Japanese theatre form created in the 20th and 21st centuries is influenced by shingeki, but after the 1960s it was no longer a term associated with the avant-garde. Shingeki existed as a distinct theatrical genre for just over a decade in the late Meiji and early Taisho (1912–1926) periods; however, its legacy remains in Japanese theater. During the Meiji period’s rapid modernization and Westernization kabuki and nō presentational forms were criticized; naturalist and realist staging by playwrights such as Ibsen, Chekhov, and Hauptmann were promoted; and the view of dramatic texts as literature rather than as a springboard for an actor’s virtuosity became dominant. During the first decades of the 20th century writers such as Tsubouchi Shōyō (1858–1935) and Osanai Kaoru (1881–1928) sought to create a sharp distinction between premodern and modern forms of performance. The result was shingeki.

Holst – Astrology and Modernism in ‘The Planets’

Tempo ◽  
1993 ◽  
pp. 15-24 ◽  
Author(s):  
Raymond Head
Keyword(s):  
World War I ◽  
20Th Century ◽  
Indian Philosophy ◽  
Early 20Th Century ◽  
World War ◽  
Avant Garde ◽  
British Music ◽  
The Subject ◽  
Modern Movement

The subject of modernism in early 20th-century British music is rarely examined: partly because it is often thought that British composers were not interested in the Modern Movement before World War I, and partly because in discussing Modernism (a convenient umbrella term for the whole cultural avant-garde whose components included Expressionism, Futurism, Primitivism and Surrealism) one must be prepared to engage subjects which, in this country, are normally considered Verboten. There is no doubt, for instance, that the development of the Modern Movement on the Continent was partly inspired by a widespread awareness of Theosophy, and the interest, which it encouraged, in such esoteric areas as Indian philosophy and astrology. In this article I want to look at this aspect of Modernism in relation to Gustav Hoist, and especially in The Planets (1914–16): his, and British music's, first striking testament to the Modernist outlook. The very bases of this work are Hoist's understanding of astrology, his friendships of the time, and his Theosophical upbringing.

scholarly journals Reception of Charles Baudelaire’s work in the poetry of Igor Severyanin

2020 ◽  
pp. 105-118
Author(s):  
E. V. Kuznetsova ◽  
Keyword(s):  
Public Opinion ◽  
20Th Century ◽  
Early 20Th Century ◽  
Avant Garde ◽  
Cultural Codes ◽  
Literary Heritage ◽  
Second Wave

The paper considers Igor Severyanin’s approaches to the retransmission of Charles Baude-laire’s creative heritage in his lyrics. In the late 19th – early 20th century, there was a surge of interest in the works of French symbolists and their predecessors, especially to the fate and literary heritage of the author of “Flowers of evil.” Severyanin addressed Baudelaire’s poetry later, at the turn of the 1910s, referring both to his original texts, and translations and critical articles by his older contemporaries (V. Bryusov, F. Sologub, Viach. Ivanov, Ellis, Andrej Belyj, etc.). The analysis covers the peculiarities of this second-wave “Baudelairianism,” its differences from senior and junior symbolists’ apprenticeship, namely, the ironic game in-volving both the image of the “pariah poet” and some of the key themes and motifs of his poetry. In 1909, Severyanin begins mastering Baudelaire’s style by translating his sonnets, but later these, not being entirely successful, are ironically reinterpreted and published in the col-lection “Poesoantract” as purposeful parodies. Another version of the reception is presented in the poem “Sextina” (1910). Weaving a web of verbal puns, the Russian poet inscribes himself in the Pantheon of the famous rulers of doom, while destroying Baudelaire’s tragic aura and placing himself in the vacant place of the poet persecuted by public opinion. Thus, the Severyanin’s reception is seen to reveal the evolution of pre-modernist and modernist cultural codes being a part of the mass discourse, ironic distancing from them, and their loss of philo-sophical and ideological foundations. A conclusion is drawn that the deferential attitude to Baudelaire’s legacy is due both to the change in the readers’ perception in general and to the Severyanin’s aspiration for new avant-garde poetics.

scholarly journals The Transformation of a Music Festival in St. Petersburg “The World of Art. Contrasts”

ICONI ◽  
2019 ◽  
pp. 159-171
Author(s):  
Anton А. Rovner ◽  
Keyword(s):  
20Th Century ◽  
Arnold Schoenberg ◽  
Early 20Th Century ◽  
Music Festival ◽  
Early 21St Century ◽  
Avant Garde ◽  
The World ◽  
History Of ◽  
Italian Music ◽  
The 19Th Century

The article presents the history of an extraordinary music festival organized in St. Petersburg by two composers Igor Rogalev and Igor Vorobyev. The festival was fi rst called “From the Avant-garde to the Present Day,” subsequently “From the Avant-garde to the Present Day. Continuation,” and during the last three years — “The World of Art. Contrasts.” This festival was founded in 1992, and its aim was to create a venue for performance of music by contemporary composers and representatives of the “forgotten generation” of the early 20th century Russian avant-garde movement, such as Nikolai Roslavetz, Alexander Mosolov, Arthur Lourie, etc. Many premieres of these and other composers were performed at this festival, as well as well-known works by such early 20th century established masters as Arnold Schoenberg, Alexander von Zemlinsky, Igor Stravinsky, Bela Bartok, etc. Some of the leading contemporary composers of the late 20th and early 21st century were invited to participate in the festival, as were numerous outstanding performances, ensembles and orchestras up to the St. Petersburg Mariinsky Theater, artists, poets and writers. At the present time the artistic goal of the festival is to connect the strata of music by contemporary composers with the masterpieces of the great classics of the previous centuries — from the Renaissance era to the 19th century. Each year the festival has a certain particularthemes, such as, for instance, Italian music or Japanese music, around which the program is built endowed with a broad stylistic and genre-related pallette.

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