The Artist’s Experience of Migration

2017 ◽  
Author(s):  
Sharon Hecker
Keyword(s):  
Nineteenth Century ◽  
Modern Art ◽  
Avant Garde ◽  
Transnational Mobility ◽  
Art Scene

This chapter looks at the shift in Medardo Rosso's position from an outsider in his own country to a foreigner in France. Rosso's move to Paris belongs to the wider phenomenon of increased migration by artists to the principal metropolis of modern art toward the end of the century. It also confirms his awareness of a new kind of transnational mobility. Tracing Rosso's trajectory as a form of self-exile characteristic of cultural anarchists, the chapter examines his hopeful but obstacle-ridden expatriation and his struggle to make avant-garde sculpture in the epoch and city dominated by Rodin. Paris at the end of the nineteenth-century offered Rosso new opportunities, such as a vibrant art scene, a burgeoning market for serial sculpture, and a network of sophisticated artists, collectors, and critics.

Segal, Arthur (1875–1944)

2018 ◽  
Author(s):  
Erwin Kessler
Keyword(s):  
Modern Art ◽  
Political Engagement ◽  
Color Theory ◽  
Van Gogh ◽  
Traditional Art ◽  
Avant Garde ◽  
Vincent Van Gogh ◽  
Tristan Tzara ◽  
Art Scene ◽  
Art Colony

Arthur Segal was a Romanian artist born as Aron Sigalu to Jewish parents. He shifted his attention away from post-impressionist modernism around 1900 to focus on the radical avant-garde in the early 1920s, and then back to classicizing modernism in the 1940s. His work moved from traditional art-craft (painting, engraving) to modern and avant-garde practices (political engagement, teaching, curatorship, manifestos, theoretical writings, art-therapy). From 1892 to 1900 he studied in Berlin, Paris, and Munich. Segal was a student of Adolf Hölzel (founder of the art colony Neues Dachau), and much of his work was shaped by Hölzel’s color theory, where landscapes were formally structured as decorative grids rather than as phenomenal transcripts of ocular perception. In 1902–1903 he visited Italy and France, where he was influenced by the work of Vincent Van Gogh and Giovanni Segantini, whose naturalism and light-seeking divisionism he sought to appropriate in his own work. He exhibited with the Berliner Secession from 1909 onward, and co-founded the Neue Secession in 1910. Segal remained connected to the Romanian art scene, exhibiting with the TinerimeaArtistica group in 1910–1913. His 1910 Bucharest exhibition was heralded as ‘‘the first exhibition of modern art’’ in Romania (Segal 1974: 133). In 1914 Segal moved to Ascona, Switzerland, where he met Hans Arp, Hugo Ball, and Alexei Jawlensky, who were linked with the Monte Verita community. In 1916 Segal exhibited at Cabaret Voltaire alongside fellow Romanian Dadaists Tristan Tzara and Marcel Janco. In 1919 he joined the Novembergruppe, becoming one of its leaders.

Afterword

2017 ◽  
Author(s):  
Sharon Hecker
Keyword(s):  
Nineteenth Century ◽  
Modern Art ◽  
Art Scene ◽  
The World ◽  
Art Historians ◽  
The Many

This concluding chapter explains how Medardo Rosso's posthumous reputation is another story that remains to be told. Except for a handful of enlightened art historians, such as Carola Giedion-Welcker and H. W. Janson, who included Rosso in their histories of modern art, Rosso was forgotten by the world after his death. In 1963 he was suddenly propelled back onto the international art scene by Margaret Scolari Barr, who wrote the first English monograph on Rosso. Since the 1970s, Rosso has been fully reclaimed by Italy and reframed within the nineteenth-century Italian Scapigliatura movement, a tale of local origins that Rosso himself had denied. Today, due to the many international artists inspired by Rosso's work, he has become the only Italian sculptor of his time to be globalized.

Pavel Chistiakov and Jan Ciągliński: New Approaches to Art Pedagogy in Nineteenth- and Early Twentieth-Century Russia

2019 ◽  
Vol 46 (4) ◽  
pp. 305-319
Author(s):  
Isabel Wünsche
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Art Education ◽  
Modern Art ◽  
Fine Arts ◽  
Avant Garde ◽  
The Arts ◽  
Academic System ◽  
Imperial Academy ◽  
Art Pedagogy

Abstract This essay looks at art education in Russia in the nineteenth century, specifically at artist-training practices at institutions such as the Imperial Academy of Fine Arts and the Imperial Society for the Encouragements of the Arts in St. Petersburg. Particular emphasis is on the role and significance of Pavel Chistiakov and Jan Ciągliński, charismatic teachers who developed their distinct art-pedagogical systems as an alternative to the existing academic system and paved the way for the emergence of modern art and the avant-garde in Russia.

The Spanish Reception of Le Sacre du Printemps (1913–1936)

2018 ◽  
Vol 36 (1) ◽  
pp. 48-66
Author(s):  
Idoia Murga Castro
Keyword(s):  
Nineteenth Century ◽  
Civil War ◽  
Spanish Civil War ◽  
Original Work ◽  
Silver Age ◽  
Avant Garde ◽  
Ballets Russes ◽  
Rite Of Spring ◽  
Le Sacre Du Printemps ◽  
Cultural Expansion

Centenary celebrations are being held between 2016 and 2018 to mark the first consecutive tours of Diaghilev's Ballets Russes in Spain. This study analyses the Spanish reception of Le Sacre du Printemps (The Rite of Spring) (1913), one of its most avant-garde pieces. Although the original work was never performed in Spain as a complete ballet, its influence was felt deeply in the work of certain Spanish choreographers, composers, painters and intellectuals during the so-called Silver Age, the period of modernisation and cultural expansion which extended from the end of the nineteenth century to the beginning of the Spanish Civil War.

The internationalization of musical life at the end of the nineteenth century in modernized Paris and Rome

Urban History ◽  
2013 ◽  
Vol 40 (4) ◽  
pp. 663-680
Author(s):  
GESA ZUR NIEDEN
Keyword(s):  
Nineteenth Century ◽  
Musical Theatre ◽  
Musical Life ◽  
Avant Garde ◽  
Limited Availability ◽  
Urban Renovation ◽  
The Relationship

ABSTRACT:This article examines the relationship between the processes of urban renovation in European capitals and the internationalization of musical theatre productions, using the example of theatres constructed in Paris and Rome at the end of the nineteenth century. Due to the limited availability of governmental and municipal funding, the more popular theatres in both capitals came to provide an important space for musical productions on an avant-garde level, with international repertoires and casts.

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.

Is Medieval Music the New Avant-Garde? The Wilful, the Wayward and the Playful

2017 ◽  
Author(s):  
Graham Coatman
Keyword(s):  
Nineteenth Century ◽  
Case Studies ◽  
Creative Process ◽  
Point Of View ◽  
Early Music ◽  
Avant Garde ◽  
Medieval Music ◽  
Starting Point ◽  
New Research

In his masterful exposé, The Modern Invention of Medieval Music, Daniel Leech-Wilkinson deliciously debunks much traditional thinking about medieval music, arguing that changing perspectives on this increasingly re-discovered and available body of work may be more dependent on the personality of the scholars and performers involved in its dissemination than the findings of new research. In this chapter, writing from the point of view of a composer and musician equally involved in the performance of both new and early music, Graham Coatman examines the work of contemporary composers who have chosen medieval models as their starting point. Is their use of medieval material a means to establish identity and authenticity, or a reaction against the harmonic and formal legacy of the nineteenth century? How is the use of pre-existent material integrated into the contemporary creative process? With reference to selective case studies, Coatman finds parallels with their medieval counterparts that make their work all the more compelling.

Intersectional Avant-Garde: Paul Leni’s Rebus-Film Series and the Confluence of Experimental Visual Styles

2021 ◽  
pp. 97-115
Author(s):  
Erica Tortolani
Keyword(s):  
Modern Art ◽  
Short Film ◽  
Close Reading ◽  
Avant Garde ◽  
Starting Point ◽  
Short Films ◽  
Film Series ◽  
Magazine Articles ◽  
The City

This chapter focuses on Leni’s eight-part short film series, Rebus-Film (1925-26), and the ways that it relates to various avant-garde art movements of the 1910s and 1920s. Using Rebus-Film Nr. 1 as a starting point, the essay analyses the series’ connections to contemporaneous artistic movements such as Cubism, Futurism, and Dada and to cinematic styles and genres of the time, including Soviet montage and the ‘City Symphony’ films. To supplement this analysis, the essay draws upon reviews, trade magazine articles, and other written records from the period. This chapter sheds light on the ways that critics and audiences received the films and regarded Leni’s use of experimental aesthetic styles. While it is debatable as to whether Leni considered himself a modern art practitioner, a close reading of these short films shows that they are in dialogue with the visual avant-garde. This chapter also discusses the ways that the series fits into, and extends, Leni’s German and American careers.

Avant-garde

2018 ◽  
Author(s):  
Irene Gammel
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Radical Innovation ◽  
Late Nineteenth Century ◽  
Avant Garde ◽  
Early American ◽  
Dialectical Relationship ◽  
English Speaking ◽  
Late Nineteenth ◽  
Different Cultures

The term "avant-garde" has a double meaning, denoting first, the historical movements that started in the late nineteenth century and ended in the 1920s and 1930s, and second, the ongoing practices of radical innovation in art, literature, and fashion in the later twentieth century (often inspired by the historical avant-garde and referred to as the neo-avant-garde). Within the context of modernism, historical avant-garde movements (such as Dada, Futurism, Vorticism, Anarchism, and Constructivism) radicalized innovations in aesthetic forms and content, while also engaging viewers and readers in deliberately shocking new ways. Locked in a dialectical relationship between the avant-garde and modernism, as Richard Murphy has written (1999: 3), the historical avant-garde accelerated the advent of modernism, which routinely appropriated and repackaged avant-garde experimentation in tamer forms. As the Latinate term "avant-garde" took root first France and Italy, and later in Germany and English-speaking countries, the trajectory of the avant-garde’s relationship with, or opposition to, modernism has been theorized in a myriad of different, even conflicting, ways across different cultures. Is the avant-garde an extension of, or a synonym for, modernism (as suggested in some early American criticism) or are the two concepts in opposition to each other (as proposed in Italian and Spanish criticism)?

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