Ο Tériade ως τεχνοκρίτης και εκδότης

2020 ◽  
Author(s):  
Καλλιόπη (Πόπη) Σφακιανάκη
Keyword(s):  
Pablo Picasso ◽  
Henri Matisse ◽  
Marc Chagall ◽  
Fernand Leger ◽  
Joan Miro

Αντικείμενο μελέτης και ανάλυσης της διδακτορικής διατριβής αποτελεί η δράση και το έργο του ελληνικής καταγωγής τεχνοκρίτη και εκδότη τέχνης Tériade (Στρατής Ελευθεριάδης, 1897-1983), ο οποίος διέγραψε μια σημαντική πορεία στον παρισινό κόσμο της τέχνης από τα μέσα της δεκαετίας του 1920 μέχρι τα μέσα της δεκαετίας του 1970. Θέτοντας στο επίκεντρο της ανάλυσης το ερώτημα πώς η σταδιοδρομία του Tériade εγγράφεται στον κόσμο της τέχνης του 20ού αιώνα, η ιστορική προσέγγιση της διατριβής εμπλουτίζεται με τη χρήση μεθοδολογικών εργαλείων από την κοινωνιολογία και την κοινωνιολογία της τέχνης, κυρίως των εννοιών της μεσολάβησης, των κοινωνικών δικτύων και του συμβολικού και οικονομικού κεφαλαίου. Μέσα από τα κείμενά του στον μεσοπολεμικό παρισινό καλλιτεχνικό τύπο και κυρίως μέσα από τις εκδόσεις του Verve, που ιδρύθηκαν το 1937, και εκμεταλλευόμενος ένα ισχυρό επαγγελματικό δίκτυο που δημιούργησε, ο Tériade λειτούργησε ως ένας σημαντικός μεσολαβητής της μοντέρνας τέχνης που συνεργάστηκε και προώθησε καλλιτέχνες όπως οι Henri Matisse, Pablo Picasso, Henri Laurens, Marc Chagall, Fernand Léger και Joan Miró, οι οποίοι ανταποκρίνονταν στο αισθητικό ιδεώδες του. Το ιδεώδες αυτό συνίστατο σε μια μετακυβιστική αισθητική και συγκεκριμένα σε εκείνο που ο ίδιος αποκαλούσε λυρική πλαστικότητα, έναν συγκερασμό των καθαρών μορφοπλαστικών ιδεών με το συναίσθημα του καλλιτέχνη. Την αντίληψη αυτή τη διαμόρφωσε ως νεαρός τεχνοκρίτης και την υλοποίησε αργότερα μέσα από τις επιλογές και τη στρατηγική του ως εκδότης, όταν πια οι καλλιτέχνες με τους οποίους συνεργαζόταν καθιερώθηκαν ως ο κλασικός κανόνας του μοντερνισμού. Η διατριβή αποτελείται από τέσσερα μέρη. Στο πρώτο παρουσιάζονται και αξιολογούνται τα μεθοδολογικά ερμηνευτικά εργαλεία της διατριβής. Το δεύτερο είναι αφιερωμένο στη δράση και τις ιδέες του Tériade ως τεχνοκρίτη, καθώς και στη συγκρότηση του επαγγελματικού του δικτύου. Θέμα του τρίτου μέρους είναι η εκδοτική δραστηριότητα του Tériade, η οποία αναλύεται σε ό,τι αφορά τόσο την αισθητική πτυχή όσο και τα δίκτυα μέσω των οποίων διαμορφωνόταν και διακινούνταν η μοντέρνα τέχνη και την ανταλλαγή συμβολικού και οικονομικού κεφαλαίου ανάμεσα στα μέλη τους. Στο τέταρτο μέρος αναλύονται η αναγνώριση της οποίας έτυχε ο Tériade στα ύστερα χρόνια του βίου του και η υστεροφημία του, καθώς και ο «επαναπατρισμός» του μέσω της ίδρυσης του Μουσείου Θεόφιλου και του Μουσείου-Βιβλιοθήκης Στρατή Ελευθεριάδη- Tériade στη Λέσβο. Συνολικά, στη διατριβή χρησιμοποιείται η περίπτωση του Tériade για να αναδειχθεί η σημασία του ρόλου των μεσολαβητών και των δικτύων στην παραγωγή και τη διακίνηση της μοντέρνας τέχνης, καθώς και οι περίπλοκες σχέσεις αλληλεπίδρασης και αλληλεξαρτήσεων μεταξύ των διαφόρων παραγόντων του κόσμου της τέχνης στη βάση αισθητικών αρχών αλλά και της επίτευξης στόχων όπως η οικονομική επιτυχία και η κοινωνική αναγνώριση.

Seurat, Georges-Pierre (1859–1891)

2018 ◽  
Author(s):  
Lynn M. Somers
Keyword(s):  
Pablo Picasso ◽  
Henri Matisse ◽  
Avant Garde ◽  
Sunday Afternoon ◽  
Paul Gauguin ◽  
Vincent Van Gogh ◽  
Painting Technique ◽  
French Painting ◽  
Gallery System ◽  
Figure Paintings

Born in Paris in 1859 to a bourgeois family, painter and draughtsman Georges-Pierre Seurat enjoyed a brief but mature career as the leading French Neo-Impressionist. His invention of Divisionism (or "chromo-luminarism"), a painting technique grounded in science and the study of optics, challenged the spontaneity and fluidity of Impressionism, which by the 1880s had been largely subsumed by a capitalist gallery system. In 1886, at the eighth and final Impressionist exhibition, Seurat debuted his monumental Sunday Afternoon on the Island of La Grande-Jatte (1884–1886), a "patient tapestry" of line and color that led the art critic and activist Félix Fénéon to coin the term néo-impressionisme. Equally shaped by the Renaissance frescoes of Piero della Francesca and the Baudelairean praise of the ephemerality of modern life, La Grande-Jatte symbolically closed a chapter in French painting. Seurat’s systematic aesthetic produced an indelible impact on fin de siècle artists such as Vincent van Gogh, Paul Gauguin, Henri de Toulouse-Lautrec, Henri Matisse, and later Pablo Picasso, Robert Delaunay, and André Breton’s Surrealism, firmly establishing him as integral to the 20th-century avant-garde. Seurat’s oeuvre includes approximately 500 drawings and 6 major figure paintings, an astonishing output for a career that lasted only 11 years.

Giacometti, Giovanni Alberto (1901–1966)

2018 ◽  
Author(s):  
John Finlay
Keyword(s):  
Twentieth Century ◽  
Physical Violence ◽  
Pablo Picasso ◽  
Henri Matisse ◽  
Constantin Brancusi

Alberto Giacometti was a titan of twentieth-century art. His rich oeuvre of sculpture, painting and drawing ranks alongside pioneering artists such as Pablo Picasso, Henri Matisse and Constantin Brâncuşi. Giacometti arrived in Paris in 1922 to study at the Académie de la Grande Chaumière, principally creating drawings in a cubist manner. By the mid-to-late 1920s, Giacometti’s sculpture was intimately associated with Surrealism. Giacometti’s works of the late 1920s and early 1930s combine an exploration of forms with intimations of physical violence, onanistic sex and pain, and are an obvious reassessment of surrealist themes.

Desnos, Robert Pierre (1900-1945)

2018 ◽  
Author(s):  
Genevieve Amaral
Keyword(s):  
Lyric Poetry ◽  
Experimental Poetry ◽  
Pablo Picasso ◽  
Andre Breton ◽  
Internment Camp ◽  
André Breton ◽  
Automatic Writing ◽  
Narrative Prose ◽  
Joan Miro

Robert Pierre Desnos (1900-1945) was a surrealist French poet whose diverse work included scripts for film and stage; journalism; essays; advertisements; cantatas; children's fables; and political tracts. His principal works are of experimental poetry and prose, though after breaking with the Surrealists he often employed more classical forms and produced commercial works for radio and newspapers. His preferred themes included dreams, mythology, voyages, eroticism and love. Desnos died in an internment camp in 1945. From 1922-1927 Desnos contributed regularly to La Révolution Surreáliste and co-signed collective Surrealist tracts. He showed a gift for hypnogogic sleep and automatic writing, leading André Breton to call him the poet ‘closest to surrealist truth’. His longer surrealist works Deuil pour deuil (Mourning for Mourning, 1924) and La Liberté ou l'amour! (Liberty or Love!, 1927) combine narrative prose and lyric poetry, and involve extensive linguistic play, such as puns and homonyms. He often illustrated his own works, or collaborated with artists like André Masson, Joan Miró, and Pablo Picasso.

Rendón, Manuel (1894–1980)

2018 ◽  
Author(s):  
Maria C Tornatore-Loong
Keyword(s):  
Native Population ◽  
Youth Group ◽  
Henri Matisse ◽  
Avant Garde ◽  
Fernand Leger ◽  
Geometric Abstraction ◽  
The 1950S ◽  
De Chirico

The French-born Ecuadorian painter Manuel Rendón Seminario (also known as Manuel Rendón) is credited for introducing Geometric Abstraction to Ecuador together with compatriot Areceli Gilbert de Blomberg. As a member of the Post-Cubist L’École de Paris in the 1920s, Rendón’s early oeuvre synthesized avant-garde styles, notably Cubo-Futurism, Purism, and Surrealism, reminiscent of the techniques of modern masters such as Juan Gris, Fernand Léger, Amédée Ozenfant, and Giorgio de Chirico, artists whom he greatly admired. In 1911, Rendón exhibited at the Café de la Rotonde (whose curator was Henri Matisse), followed by the Société Nationale des Beaux-Arts in 1916, the Salon des Indépendants, Société du Salon d’Automne, Salon des Tuileries, and the Salon des Surindépendants. He also exhibited with the vanguard "La Horde de Montparnasse" and joined "Clarté," the pro-Communist youth group commanded by the French novelist Henri Barbusse. Rendón’s indigenist works of the 1930s and 1940s, however, were painted in a Neo-realist figurative mode, depicting the exotic Ecuadorian landscape and the plight of the native population, while his mature practice of the 1950s to 1970s was characterized by geometric abstraction and pure linearity, culminating in kaleidoscopic color and rhythmical kinetic qualities, as in the manner of the Divisionists.

Cézanne, Paul (1839–1906)

2018 ◽  
Author(s):  
Amy Kelly Hamlin
Keyword(s):  
Early History ◽  
Pablo Picasso ◽  
Henri Matisse ◽  
Paul Gauguin ◽  
Vincent Van Gogh ◽  
Paul Cezanne ◽  
Nicolas Poussin ◽  
History Of ◽  
Georges Seurat ◽  
Innovative Techniques

Paul Cézanne was a French painter, whose innovative techniques and original interpretations of traditional genres made him perhaps the most influential artist in the early history of modernism. Affiliated primarily with Post-Impressionism, Cézanne famously declared: ‘I wanted to make of Impressionism something solid and enduring like the art in the museums’. Along with his Post-Impressionist contemporaries Paul Gauguin, Vincent Van Gogh, and Georges Seurat, Cézanne advanced the lessons of the Impressionist painters with whom he was initially affiliated. His grasp of colour and composition, however, reflect his study of Éugene Delacroix and Nicolas Poussin. But it was Cézanne’s ability to represent underlying structures in nature, while retaining gestural but disciplined brushstrokes, that earned him the admiration of artists such as Henri Matisse and Pablo Picasso.

Apollinaire, Guillaume (1880–1918)

2018 ◽  
Author(s):  
Tara S. Thomson
Keyword(s):  
Twentieth Century ◽  
Early Years ◽  
Pablo Picasso ◽  
Visual Poetry ◽  
Henri Matisse ◽  
Avant Garde ◽  
Guillaume Apollinaire ◽  
Early Twentieth Century ◽  
Spanish Flu ◽  
Poetry Collection

Guillaume Apollinaire (1880–1918) was a poet, literary and art critic, playwright, novelist, editor, and journalist. Born in Rome to a Polish-Russian mother and an unknown father, Apollinaire’s birth name was Guglielmo Alberto Wladimiro Alessandro Apollinare de Kostrowitzky, though his family called him Wilhelm (the German form of the Italian Guglielmo). After spending his early years moving throughout Monaco, France, Belgium, and Germany, he finally settled in Paris in 1902, adopting the pen name Guillaume Apollinaire. Apollinaire became a prominent cultural figure in Paris and was a key player in the literary and artistic avant-garde movements of the early twentieth century, particularly Cubism and Surrealism. Apollinaire first gained literary recognition for his poetry collection Alcools (1913) but is best known for inventing calligrams, a form of visual poetry. While Apollinaire was primarily a poet, he earned his living as a journalist and art critic. In his articles and reviews he championed avant-garde art, and was friends with such artists as Pablo Picasso and Henri Matisse. Apollinaire fought for France in WWI and returned home in 1916 after receiving a head wound. He survived the war but died of Spanish Flu in 1918.

Eiffel Tower Through The Eyes of Painters

2017 ◽  
Vol 4 (11) ◽  
pp. 01
Author(s):  
Sibel Almelek Isman
Keyword(s):  
French Revolution ◽  
Diego Rivera ◽  
Marc Chagall ◽  
Fernand Leger ◽  
The World ◽  
International Exposition ◽  
Georges Seurat ◽  
The French Revolution

The Eiffel Tower, the global icon of France, was erected as the entrance to the Paris International Exposition in 1889. It was a suitable centrepiece for the World Fair, which celebrated the centennial of the French Revolution. Although the tower was a subject of controversy at the time of its construction, many European painters have been inspired by the majestic figure of the Eiffel Tower. They picturised the tower in their portraits and cityscapes. Paul Louis Delance, Georges Seurat, Paul Signac and Henri Rousseau were the first artists to depict this symbol of modernity. Robert Delaunay and Marc Chagall used the image of the tower most frequently. Maurice Utrillo, Raoul Dufy, Fernand Léger, Diego Rivera, Max Beckmann and Christian Schad can also be counted among the artists who picturised the tower. The Eiffel Tower appears differently in the eyes of pointillist, expressionist, orfist, cubist and abstract painters. Keywords: Eiffel Tower, European art, painting.

Evolution of Ink Drawing in History of Art

2015 ◽  
pp. 118
Author(s):  
Jeļena Koževņikova
Keyword(s):  
Da Vinci ◽  
Leonardo Da Vinci ◽  
Pablo Picasso ◽  
Salvador Dali ◽  
Marc Chagall ◽  
History Of Art ◽  
History Of ◽  
Drawing Technique

Drawings created by ink, have a long history of constant developing and evolving, in the result establishing itself as a self-contained drawing technique. Many giants of art, such as Leonardo da Vinci (1452 – 1519), Titian (~1488 – 1576), Albrecht Dürer (1471 – 1528), Marc Chagall (1887 - 1985), Pablo Picasso (1881- 1973) and Salvador Dalí (1904-1989) are well known for theirs artworks made with ink. The aim of the research: Trace and analyze evolution of ink drawing technique, through in ink created artworks of some well-known painters of 15-20 centuries.

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