Klee, Paul (1879-1940)

2018 ◽  
Author(s):  
Annie Bourneuf
Keyword(s):  
Visual Arts ◽  
Music Teacher ◽  
Growing Up ◽  
Paul Klee ◽  
Avant Garde ◽  
Swiss German ◽  
Tone Color ◽  
Blaue Reiter ◽  
Artistic Self ◽  
Walter Gropius

Paul Klee was one of the most important and inventive figures in the development of Modernism in the visual arts. The Swiss-German artist's unusual oeuvre drew on the work of other modernist painters while also challenging foundational tenets of Modernism in painting. The son of a music teacher, Klee was a talented violinist. As an adolescent growing up in Berne, Switzerland, Klee was interested not only in the visual arts but also in poetry and music. After graduating from the Berne Gymnasium in 1898, Klee moved to Munich to study art at the academy. In 1906, Klee married the pianist Lily Stumpf; their only child was born the next year. Relatively isolated from avant-garde art, Klee undertook a prolonged artistic self-education, attempting to break down pictorial art into its elements—line, tone, color—and master them one by one. In 1911 and 1912, Klee became friendly with the artists of Der Blaue Reiter, including Vassily Kandinsky, Franz Marc, and August Macke, who accompanied Klee on a trip to Tunisia in 1914. Through these new connections, Klee became familiar with a broad spectrum of modernist art. In 1916, Klee, a German citizen, was drafted; he served as a clerk in Bavaria, far from the front. During the war, the Berlin dealer Herwarth Walden energetically promoted Klee's work. By 1920, many in the German avant-garde acknowledged Klee as a major artist, and Walter Gropius invited him to join the faculty of the newly established Bauhaus.

Mattis-Teutsch, Hans (1884–1960)

2018 ◽  
Author(s):  
Erwin Kessler
Keyword(s):  
Central Europe ◽  
Human Mind ◽  
Art Deco ◽  
Paul Klee ◽  
Avant Garde ◽  
Paul Gauguin ◽  
Blaue Reiter ◽  
Constantin Brancusi

Hans Mattis-Teutsch was a Romanian artist, born to a German-Hungarian family in Braşov, where he also died. Exemplary of the diverse modernity of Central Europe, he moved between Realism and other styles, including Jugendstil, Post-Impressionism, Expressionism, constructive Abstraction, and Art Deco. His stay in Paris from 1905 to 1908 contributed to the development of his painting style, which was influenced by the fauves, cubo-futurists, and the polychrome sculptures of Paul Gauguin, in addition to the works of Constantin Brancusi, František Kupka, and the Expressionism of Der Blaue Reiter. His stay in Berlin in 1918 was crucial for his affiliation with Der Sturm; the 99th Sturm exhibition in 1921 featured him alongside Paul Klee. Like his contemporaries, Mattis-Teutsch extracted stylish, spiritual, and cosmic-theosophical visions from fantasized landscapes and depicted the inner workings of the human mind on his canvases. He later erected functional-decorative, rational, and humanistic edifices based on Socialist utopias. Mattis-Teutsch was a keystone of the Romanian, Hungarian, and German avant-garde. Though cosmopolitan, he lived mostly in his Transylvanian hometown of Braşov, exhibiting locally and working as a professor at the art college, nourishing a modern, progressive, provincial art-life. In 1946, he founded the first syndicate of "democratic" artists in Romania.

La Bauhaus en la educación visual de Mathias Goeritz en México

2018 ◽  
Author(s):  
Sandra Valenzuela Arellano
Keyword(s):  
Paul Klee ◽  
Johannes Itten ◽  
Walter Gropius

Entre 1919 y 1928, maestros de la Bauhaus consideraban a la educación visual como una vía de fomento para la autoexpresión, con el fin de formar artistas-artesanos-técnicos vinculados con la sociedad. Este artículo relaciona características de la enseñanza de la educación visual de Mathias Goeritz (1915-1990) en la unam, durante los años sesenta, con las pedagogías de maestros de la Bauhaus cuando Walter Gropius fue su director. Primero describo el contexto y las características de las enseñanzas en la Bauhaus, para luego vincularlos con las dinámicas de la clase, entrevistas y textos de Mathias Goeritz. Aunque Goeritz nunca fue estudiante de la Bauhaus (nació en 1915), recibió influencia de esa escuela por medio de su amistad con Herbert Bayer y Gyorgy Kepes, su interés por las teorías pedagógicas de Johannes Itten, László Moholy-Nagy y su admiración por Paul Klee.

scholarly journals Digitizing artist periodicals: new methodologies from the Digital Humanities for Analysing Artist Networks

2014 ◽  
Vol 39 (4) ◽  
pp. 6-11
Author(s):  
Thomas Crombez
Keyword(s):  
Visual Arts ◽  
Small Groups ◽  
Digital Humanities ◽  
First Generation ◽  
Digital Archive ◽  
Avant Garde ◽  
Socially Engaged Art ◽  
The Sixties ◽  
New Methodologies ◽  
Post War

The research project Digital Archive of Belgian Neo-Avant-garde Periodicals (DABNAP) aims to digitize and analyse a large number of artists’ periodicals from the period 1950–1990. The artistic renewal in Belgium since the 1950s, sustained by small groups of artists (such as G58 or De Nevelvlek), led to a first generation of post-war artist periodicals. Such titles proved decisive for the formation of the Belgian neo-avant-garde in literature and the visual arts. During the sixties and the seventies, happening and socially-engaged art took over and gave a new orientation to artist periodicals. In this article, I wish to highlight the challenges and difficulties of this project, for example, in dealing with non-standard formats, types of paper, typography, and non-paper inserts. A fully searchable archive of neo-avant-garde periodicals allows researchers to analyse in much more detail than before how influences from foreign literature and arts took root in the Belgian context.

The avant-garde’s visual arts in the context of Santayana’s idea of vital liberty

Human Affairs ◽  
2012 ◽  
Vol 22 (2) ◽  
Author(s):  
Krzysztof Skowroński
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
The Other ◽  
Political Life ◽  
The Political ◽  
Human Beings ◽  
Political Dimension ◽  
Avant Garde ◽  
Other Hand ◽  
The Universe

AbstractIn the present paper, the author looks at the political dimension of some trends in the visual arts within twentieth-century avant-garde groups (cubism, expressionism, fauvism, Dada, abstractionism, surrealism) through George Santayana’s idea of vital liberty. Santayana accused the avant-gardists of social and political escapism, and of becoming unintentionally involved in secondary issues. In his view, the emphasis they placed on the medium (or diverse media) and on treating it as an aim in itself, not, as it should be, as a transmitter through which a stimulating relationship with the environment can be had, was accompanied by a focus on fragments of life and on parts of existence, and, on the other hand, by a de facto rejection of ontology and cosmology as being crucial to understanding life and the place of human beings in the universe. The avant-gardists became involved in political life by responding excessively to the events of the time, instead of to the everlasting problems that are the human lot.

Xul Solar (1887–1963)

2018 ◽  
Author(s):  
David Fernando Cortés Saavedra
Keyword(s):  
Latin American ◽  
Visual Arts ◽  
Buenos Aires ◽  
Italian Renaissance ◽  
American Modernism ◽  
Avant Garde ◽  
Long Period ◽  
Semiotic Systems ◽  
San Fernando ◽  
Modernist Project

Associated with the most important figures of the literary and artistic avant-garde of Buenos Aires, the Argentinean painter and polyglot Xul Solar was key in connecting European movements like Expressionism, Constructivism and Dadaism to Latin American modernism. He contributed to the modernist project via the convergence in his work of depurated (simplified) flat colorful figuration and a complex iconography of pre-Columbian and religious derivation. Xul Solar lived during his youth in San Fernando, Argentina, and was equally inclined towards music and the visual arts. During a long period of travel throughout Europe, he encountered several artistic movements—from the Italian Renaissance to die Brücke—and studied linguistics and theosophy. Enthralled by his experiences abroad, Xul Solar returned to Argentina in 1924, joining the artist group Martín Fierro and elaborating on projects begun in Europe such as the creation of his artificial language, Panlingua. His fascination with elaborate semiotic systems also led him to create the game PanChess. Xul Solar’s visual works varied throughout his career from geometric abstraction to schematic figuration, from fantastic paintings to symbolic portraits. Xul Solar remains one of the most influential Latin American artists of the modern period.

Fauvism

2018 ◽  
Author(s):  
Lynn M. Somers-Davis
Keyword(s):  
Still Life ◽  
Abstract Painting ◽  
New Approach ◽  
Henri Matisse ◽  
Avant Garde ◽  
Blaue Reiter

French Fauvism (c. 1904–1907) comprised a loosely formed group of painters whose mentor, Henri Matisse (1869–1954), argued for a new approach to painting, integrating the chromatic lessons of Neo-Impressionism, the symbolist evocation of sensation through color and form and the expressive nature of the artist. The style was not programmatically theorized until it was essentially over, and yet Fauvism fundamentally shifted the course of modern painting, anticipating Cubism, Orphism and abstract painting. Fauvism incorporated bold, brash colors, often applied directly from commercially produced tubes of paint; gestural and broken brush-work; lack of finish; and color used for expression rather than description, resulting in flattened and distorted perspectives that radically diverged from mimetic representation. While its pictorial advances shocked conservative critics and audiences of its time, Fauvism – like many early avant-garde movements – maintained an appreciation of historical painting and its iconographies (landscape, cityscape, still life, and portraiture). Similar to Expressionism, Fauvism differed significantly from the German schools Die Brücke (Dresden, 1905–13) and Der Blaue Reiter (Munich, 1911–14) in its stress on pleasing decorative and synthetic effects.

Entartete Kunst

2018 ◽  
Author(s):  
Amy Kelly Hamlin
Keyword(s):  
Third Reich ◽  
Abstract Art ◽  
Paul Klee ◽  
Traditional Art ◽  
Avant Garde ◽  
The Third ◽  
Art Forms ◽  
Degenerate Art ◽  
The Third Reich

Entartete Kunst (Degenerate Art) is a term that was used by Nazi authorities to identify, censure, and confiscate art they considered inconsistent with their ideology. It was the cornerstone of an ambitious propaganda campaign that culminated in the exhibition Entartete Kunst, which took place in Munich in 1937. The majority of this so-called degenerate art was Avant-Garde in both form and subject. Abstract Art by German artists, including Max Beckmann, Max Eernst, Ernst Ludwig Kirchner, Paul Klee, and Franz Marc, was particularly vulnerable to Nazi attack; non-German artists such as Vasily Kandinsky and Piet Mondrian were also singled out. As a polarizing concept, Entartete Kunst stems from an essentially anti-modernist, xenophobic and anti-Semitic position. It was designed to legitimize the art of the Third Reich, which was rooted in traditional art forms and characterized by an idealized naturalism that promoted heroic virtues and racial purity.

Carl Michael von Hausswolff

2008 ◽  
Vol 13 (1) ◽  
pp. 21-29 ◽  
Author(s):  
Daniela Cascella
Keyword(s):  
Visual Arts ◽  
Installation Art ◽  
Site Specific ◽  
Sound Installation ◽  
Avant Garde ◽  
Wide Range ◽  
The World ◽  
Art Photography ◽  
Conceptual Research ◽  
Audio Production

AbstractFor over twenty years, Swedish artist Carl Michael von Hausswolff (born 1956 in Linköping) has been giving shape to a range of works which push the boundaries of sound experimentation and reach out into installation art, photography, video, performance and curating projects. Stemming from his experiments with tape and investigations into EVP (Electronic Voice Phenomena) throughout the 1980s and 1990s, and setting up a number of ongoing collaborations with artist Leif Elggren and with a wide range of experimental musicians in the collective, site-specific sound installation freq_out, von Hausswolff's work spans the undefined territory between sound and the visual arts – he has done so, also by organising exhibitions such as the 2nd Göteborg Biennial in 2003. His audio production, using devices such as oscillators, tone generators, microphones attached to electricity circuits, is inextricably linked to his visual and conceptual research, always addressing issues of borders, interior/exterior, liminal states and hidden fluxes of energies. At the forefront of international experimentation, his work has been featured in some of the most important exhibitions and museums in the world, and his audio pieces have been published by the most remarkable avant-garde labels.

scholarly journals The avant-garde in the architecture and visual arts of Post-Revolutionary Mexico

2012 ◽  
Author(s):  
Fernando N. Winfield
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Visual Arts ◽  
Architectural Design ◽  
Political Context ◽  
Modern Architecture ◽  
The Political ◽  
Avant Garde ◽  
Mexican Architecture ◽  
Direct Reflection

Commenting on an exhibition of contemporary Mexican architecture in Rome in 1957, the polemic and highly influential Italian architectural critic and historian, Bruno Zevi, ridiculed Mexican modernism for combining Pre-Columbian motifs with modern architecture. He referred to it as ‘Mexican Grotesque’. Inherent in Zevi’s comments were an attitude towards modern architecture that defined it in primarily material terms; its principle role being one of “spatial and programmatic function”. Despite the weight of this Modernist tendency in the architectural circles of Post-Revolutionary Mexico, we suggest in this paper that Mexican modernism cannot be reduced to such “material” definitions. In the highly charged political context of Mexico in the first half of the 20th Century, modern architecture was perhaps above all else, a tool for propaganda. In this political atmosphere it was undesirable, indeed it was seen as impossible, to separate art, architecture and politics in a way that would be a direct reflection of Modern architecture’s European manifestations. Form was to follow function, but that function was to be communicative as well as spatial and programmatic. One consequence of this “political communicative function” in Mexico was the combination of the “mural tradition” with contemporary architectural design; what Zevi defined as “Mexican Grotesque”. In this paper, we will examine the political context of Post-Revolutionary Mexico and discuss what may be defined as its most iconic building; the Central Library at the Universidad Nacional Autónoma de Mexico . In direct counterpoint to Zevi, we will suggest that it was far from grotesque, but rather was one of the most committed political statements made by the Modern Movement throughout the Twentieth Century. It was propaganda, it was political. It was utopian.

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