Satie, Erik Alfred Leslie (1866–1925)

2018 ◽  
Author(s):  
Samuel N. Dorf
Keyword(s):  
Twentieth Century ◽  
Claude Debussy ◽  
Pablo Picasso ◽  
John Cage ◽  
Jean Cocteau ◽  
Avant Garde ◽  
Piano Works ◽  
Man Ray ◽  
Les Six ◽  
Francis Picabia

Erik Satie’s compositions, writings, and humor played an important role in many modernist movements of the twentieth century. Experimenting with simple forms, neoclassicism, mysticism, satire, and Dadaism, Satie collaborated with prominent artists, musicians, and institutions including Vincent Hypsa, Jean Cocteau, Pablo Picasso, Rene Clair, Francis Picabia, Claude Debussy, Man Ray, the Ballets Russe, the Ballets Suédois. Most recognized today for early his modal, pseudo-antique dances, the Gymnopédies and Gnossiennes, Satie also composed popular tunes, humorous piano works that mocked musical conventions, avant-garde ballets, as well as numerous mystical, irreverent, and nonsensical writings and drawings. His works and persona, sometimes whimsical, arcane, gothic, mystical, or Dadaistic inspired later generations of modernist artists and composers such as Les Six, Virgil Thomson, and John Cage.

John Cage (1921–1990)

2018 ◽  
Author(s):  
David W. Bernstein
Keyword(s):  
Twentieth Century ◽  
Shock Waves ◽  
John Cage ◽  
Twelve Tone ◽  
Avant Garde ◽  
The Future ◽  
Musical Sounds

A leading figure in the twentieth-century avant-garde, John Cage was a prolific composer, writer, and artist. His early works show Schoenberg’s influence in their use of a naive modification of the latter’s twelve-tone system. By the late 1930s Cage had begun to pursue his own compositional interests, embarking on a career as a musical innovator who, for fifty years, would send ‘shock waves’ throughout the music world. In ‘The Future of Music Credo’, a manifesto written in 1940, Cage declared that in the future the distinction between ‘noise’ and so-called ‘musical sounds’ would no longer exist.

Parade

2018 ◽  
Author(s):  
Juliet Bellow
Keyword(s):  
Popular Culture ◽  
Pablo Picasso ◽  
Jean Cocteau ◽  
Avant Garde ◽  
Production Team ◽  
Ballets Russes ◽  
Cabaret Songs ◽  
Erik Satie ◽  
One Act

A one-act ballet on the theme of a fairground sideshow, Parade was produced by Serge Diaghilev’s Ballets Russes, and premiered on May 18, 1917 at the Théâtre du Châtelet in Paris. According to Jean Cocteau, the poet who wrote the ballet’s libretto, the impetus for Parade originated in 1912 with Diaghilev’s command, ‘‘Astonish me!’’ To fulfill Diaghilev’s mandate, Cocteau assembled a production team drawn from the Parisian avant-garde: for the score, he recruited the composer Erik Satie, known for experimental piano compositions such as Gymnopédies (1888) and for cabaret songs performed at the Montmartre cabaret Le Chat Noir. In 1916, Cocteau secured the participation of Pablo Picasso, a painter associated with the Cubist movement of the early 1910s, to design the overture curtain, set, and costumes. Working with the choreographer Léonide Massine, this group produced a ballet-pantomime featuring familiar characters from the circus, variety shows, and cinema. Mixing various forms of art and entertainment, Parade used dance to explore the unstable relationship between elite and popular culture.

Post-War and Post-Apollinaire

Georges Auric ◽  
2020 ◽  
pp. 43-62
Author(s):  
Colin Roust
Keyword(s):  
World War I ◽  
Art Music ◽  
Jean Cocteau ◽  
Avant Garde ◽  
Louis Aragon ◽  
Tristan Tzara ◽  
Philippe Soupault ◽  
Les Six ◽  
Post War ◽  
The One

After World War I, Auric’s many friendships placed him in a unique position in the Parisian avant-garde. On the one hand, he was alongside Louis Aragon, André Breton, Philippe Soupault, and Tristan Tzara for the rise and fall of Paris dada. On the other, he was a member of Les Six, the group of composers led by Jean Cocteau who came to represent Parisian art music in the 1920s. Throughout the feuds between the dadaists and Cocteau, Auric preserved his friendships and functioned as an ambassador of sorts between rival avant-garde groups. In the meantime, his scores for Cocteau’s Les mariés de la Tour Eiffel (with the rest of Les Six) and Molière’s Les fâcheux would lead to bigger and better opportunities in the mid-1920s.

scholarly journals An Interdisciplinary Reading of the Film Entr’acte

2016 ◽  
pp. 186-204
Author(s):  
Claudia Kappenberg
Keyword(s):  
Twentieth Century ◽  
Conceptual Framework ◽  
Avant Garde ◽  
Large Glass ◽  
Interdisciplinary Project ◽  
Early Twentieth Century ◽  
Economic Developments ◽  
Francis Picabia ◽  
Time Image

This chapter explores the 1924 film Entr’acte, by Francis Picabia and René Clair, as an interdisciplinary project that combines ideas of cinematography, music, and choreography. The film constitutes a significant project of the avant-garde of 1920s Paris, driven by a strong conceptual framework and influenced by early twentieth-century discourses which underpinned cultural, social, and economic developments. Dada in particular was part of this tight net of affiliations and differences. Entr’acte also constitutes a key moment in a wider development of twentieth-century film, a significant film in a Deleuzian shift from movement-image to time-image. The film’s choreographic impetus is summed up in George Barber’s claim that the film, and the key shot of the dancer, are informed by Marcel Duchamp’s Large Glass. Entr’acte’s choreographic structure and its relation to the film is highly significant to a twentieth-century map of choreographic practices and screendance.

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.

Auditory Mirrors

2019 ◽  
pp. 740-764
Author(s):  
Sabine Sanio
Keyword(s):  
Twentieth Century ◽  
Public Spaces ◽  
John Cage ◽  
Avant Garde ◽  
Musical Idea ◽  
General Goal ◽  
The Relationship

With the general goal of describing “how music understands itself socially and politically,” Sabine Sanio starts out by focusing on the musical neo-avant-garde, and especially on John Cage, and continues by discussing aspects of the musical idea of space. Although her chapter draws on several threads reaching back to the beginning of the twentieth century, the central topics of the chapter are current issues dealing with musical explorations of the sound itself, modern data technologies, and public spaces. Using a number of examples, Sanio discusses how the relationship between composers and audiences is both socially and aesthetically challenged by redefinitions of the concept of space and character of the musical live event—or live-like event.

Man Ray (1890-1976)

2018 ◽  
Author(s):  
Hazel Donkin
Keyword(s):  
New York ◽  
Pablo Picasso ◽  
Marcel Duchamp ◽  
Avant Garde ◽  
Critical Success ◽  
Fashion Photography ◽  
New York Dada ◽  
Man Ray ◽  
Artistic Career ◽  
Second World

Born Emmanuel Radnitzky, Man Ray was one of the key innovators in modernist photography, film, and object making. He began his artistic career as a painter, and while his interest in the medium endured, it was photography that brought him financial and critical success. In New York, Man Ray was introduced to the avant-garde while visiting Alfred Stieglitz’s 291 gallery and the Armory Show (1913). He met Marcel Duchamp in 1915 and, along with Picabia, the three men founded New York Dada. In 1921 Man Ray moved to Paris where he continued to produce experimental and provocative works, and was associated with the Paris dada group. Man Ray developed a lucrative portrait and fashion photography business, photographing cultural giants such as James Joyce and Pablo Picasso, earning him commissions from magazines such as Vogue. From 1924 photographic images became central in surrealist publications, and Man Ray’s intensely innovative approach was highly regarded by the founder of the group, André Breton. Man Ray developed a poetic that demonstrated the union of reality and imagination; he used found images, documentary images, film stills, and straight and experimental photography, including solarisation (a process he developed with Lee Miller). The Second World War forced him to leave Paris for the US, but he returned in 1951, where he resided until his death.

Cocteau, Jean (1889–1963)

2018 ◽  
Author(s):  
Richard J. Leskosky
Keyword(s):  
Pablo Picasso ◽  
Stained Glass ◽  
Jean Cocteau ◽  
Illustrated Books ◽  
The World ◽  
Man Ray

Jean Cocteau (Jean Maurice Eugène Clément Cocteau) was an influential, prolific, multi-talented French artist, writer, critic and filmmaker. He wrote poetry, plays, libretti for ballets, journals, and screenplays; he adapted his own and others’ writing for the stage and screen. He illustrated books, painted, created mosaics, tapestries, and stained glass windows, and designed sets and costumes. He also occasionally appeared on stage and in films and starred (essentially playing himself) in his last film Le Testament d’Orphée [The Testament of Orpheus] (1960). Outside France, Cocteau remains best known for his films and for his plays, which regularly continue to be staged around the world. Cocteau was born in Maisons-Lafitte, France, on July 5, 1889, to a wealthy, art-conscious family and began to attract attention with his poetry in his late teens. He was friends with and collaborated creatively with the most prominent artists of his time. Pablo Picasso, Amedeo Modigliani, and photographer Man Ray, for example, all did portraits of him. It was to a young Cocteau in 1912 that ballet impresario Sergei Diaghilev issued his famous challenge, ‘Etonne-moi!’ [‘Astonish me!’].

Ungaretti, Giuseppe (1888–1970)

2018 ◽  
Author(s):  
Elena Fabietti
Keyword(s):  
Twentieth Century ◽  
Bilingual Education ◽  
Henri Bergson ◽  
Pablo Picasso ◽  
Poetic Language ◽  
Blank Space ◽  
Avant Garde ◽  
Guillaume Apollinaire ◽  
Italian Author ◽  
Giuseppe Ungaretti

Giuseppe Ungaretti was a major Italian author of the first half of the twentieth century. In his poetry he achieves a massive reinvention of Italian poetic language, abolishing punctuation, dismembering syntax and fragmenting the verse into single verbal units. Words acquire a completely new relevance and density, which counterweigh the abundance of silence and blank space, in ways that resonate with the models of Symbolism and the avant-garde, without coinciding with these. Born in Alexandria in Egypt in 1888 as the son of an emigrant family, Ungaretti received a bilingual education in Italian and French. After moving to Paris in 1912, he became part of Parisian intellectual and poetic life, attended classes at the Sorbonne and came into contact with all major cultural personalities of the time, such as Henri Bergson, Guillaume Apollinaire, Pablo Picasso, and the Italian futurists, among others.

Aspectos vanguardistas na música de John Cage * Vanguard aspects in John Cage’s music

2013 ◽  
Vol 2 (1) ◽  
pp. 120
Author(s):  
VINICIUS CRANEK GAGLIARDO
Keyword(s):  
Twentieth Century ◽  
John Cage ◽  
Work Of Art ◽  
Avant Garde ◽  
Theodor Adorno ◽  
American Composer ◽  
The Common

<p><strong>Resumo:</strong> Este artigo tem por objetivo estabelecer algumas relações entre as vanguardas artísticas europeias, como o surrealismo e o dadaísmo, e as peças musicais de John Cage. De modo mais específico, procurarei apresentar algumas das características destes movimentos de vanguarda que ainda persistiram na obra do compositor norte-americano. Para isso, a partir do livro Teoria da Vanguarda, de Peter Bürger, e do estudo de Jorge de Almeida, Crítica dialética em Theodor Adorno, retomarei os ideais do Expressionismo – momento auge do esteticismo –, refletindo sobre sua relação com as manifestações vanguardistas subsequentes, no intuito de proporcionar uma melhor compreensão das características comuns aos movimentos de vanguarda da primeira metade do século XX. Nesta análise, discutirei os conceitos de vanguarda, instituição arte e obra de arte. Em seguida, mapearei alguns aspectos da obra de John Cage, relacionando-a com os ideais vanguardistas apresentados anteriormente. Em suma, pretendo evidenciar, ao final dessas reflexões, o projeto vanguardista para a arte no século XX e a manifestação de elementos deste projeto na poética de John Cage.</p><p><strong>Palavras-chave:</strong> John Cage – Vanguarda – Arte.</p><p> </p><p><strong>Abstract:</strong> This paper aims to establish some relations between the European artistic vanguards, such as Surrealism and Dadaism, and John Cage’s musical pieces. More specifically, I will try to present some of the characteristics of these vanguard movements that persisted in the work of the American composer. To do this, I will consider the ideals of Expressionism – height moment of aestheticism –, from the book Theory of Vanguard, by Peter Bürger, and the study of Jorge de Almeida, Crítica dialética em Theodor Adorno, reflecting on its relationship with subsequent vanguard manifestations in order to provide a better understanding of the common characteristics of the vanguard movements in the first half of the Twentieth Century. In this analysis, I will discuss the concepts of vanguard, art institution and work of art. Then, I will map some aspects of the John Cage’s work, relating it to the avant-garde ideas presented earlier. In short, I intend to demonstrate, at the end of these reflections, the avant-garde project for the art in the Twentieth Century and the manifestation of the elements of this project in the John Cage’s poetic.</p><p><strong>Keywords:</strong> John Cage – Vanguard – Art.</p>

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