Sigmund Freud Sigmund Freud (/frɔɪd/;[2] German pronunciation: [ˈziːkmʊnt ˈfʁɔʏ̯t]; born Sigismund Schlomo Freud; 6 May 1856 – 23 September 1939) was an Austrian neurologist, now known as the father of psychoanalysis. Freud qualified as a doctor of medicine at the University of Vienna in 1881,[3] and then carried out research into cerebral palsy, aphasia and microscopic neuroanatomy at the Vienna General Hospital.[4] Upon completing his habilitation in 1895, he was appointed a docent in neuropathology in the same year and became an affiliated professor (professor extraordinarius) in 1902.[5][6] Psychoanalysis remains influential within psychotherapy, within some areas of psychiatry, and across the humanities. Biography[edit] Early life and education[edit] Freud's birthplace, a rented room in a locksmith's house, Příbor, Czech Republic Freud (aged 16) and his beloved[12] mother, Amalia, in 1872 In 1859, the Freud family left Freiberg. Freud entered the University of Vienna at age 17. Early followers[edit]
Elsa von Freytag-Loringhoven Baroness Elsa von Freytag-Loringhoven (sometimes also called Else von Freytag-von Loringhoven) (12 July 1874 – 15 December 1927) was a German-born avant-garde, Dadaist artist and poet who worked for several years in Greenwich Village, New York City, United States. Her provocative poetry was published posthumously in 2011 in Body Sweats: The Uncensored Writings of Elsa von Freytag-Loringhoven.[1] The New York Times praised the book as one of the notable art books of 2011.[2] Early life[edit] Immersion in the arts[edit] In New York City, Freytag-Loringhoven supported herself by working in a cigarette factory and by posing as a model for artists such as Louis Bouché, George Biddle, and Man Ray. She also appeared in works by Man Ray, George Grantham Bain and others; lithography by George Biddle; and paintings by Theresa Bernstein. Over the next few months Freytag-Loringhoven's mental stability steadily improved in Paris. Biographies[edit] Cultural references[edit] References[edit]
Fauvism Artists and style[edit] Press clipping, Les Fauves: Exhibition at the Salon d'Automne, in L'Illustration, 4 November 1905 Besides Matisse and Derain, other artists included Albert Marquet, Charles Camoin, Louis Valtat, the Belgian painter Henri Evenepoel, Maurice Marinot, Jean Puy, Maurice de Vlaminck, Henri Manguin, Raoul Dufy, Othon Friesz, Georges Rouault, Jean Metzinger, the Dutch painter Kees van Dongen and Georges Braque (subsequently Picasso's partner in Cubism).[1] The paintings of the Fauves were characterized by seemingly wild brush work and strident colors, while their subject matter had a high degree of simplification and abstraction.[3] Fauvism can be classified as an extreme development of Van Gogh's Post-Impressionism fused with the pointillism of Seurat[3] and other Neo-Impressionist painters, in particular Paul Signac. Fauvism can also be seen as a mode of Expressionism.[3] Origins[edit] Salon D'Automne 1905[edit] Gallery[edit] See also[edit] Notes and references[edit]
Pablo Picasso Un article de Wikipédia, l'encyclopédie libre. Pablo Picasso Pablo Picasso en janvier 1962. Œuvres réputées Compléments Pablo Ruiz Picasso, né à Malaga, Espagne, le 25 octobre 1881 et mort le 8 avril 1973 (à 91 ans) à Mougins, France, est un peintre, dessinateur et sculpteur espagnol[1] ayant passé l'essentiel de sa vie en France. Artiste utilisant tous les supports pour son travail, il est considéré comme le fondateur du cubisme avec Georges Braque et un compagnon d'art du surréalisme. Biographie Enfance et famille En 1891, le musée provincial de Malaga, dont José Ruiz Blasco était le conservateur, ferme ses portes, ce qui oblige le père à trouver d'autres moyens de subsistance. Le peintre débutant L'artiste ne signe plus ses toiles du nom de Ruiz Blasco mais de celui de Picasso à partir de 1901 À Barcelone en 1896, il est reçu à l'École de la Llotja, où enseigne son père, ayant exécuté en un jour le sujet de l'examen pour lequel on laisse généralement un mois aux candidats[13]. Période bleue
Special relativity Special relativity implies a wide range of consequences, which have been experimentally verified,[2] including length contraction, time dilation, relativistic mass, mass–energy equivalence, a universal speed limit, and relativity of simultaneity. It has replaced the conventional notion of an absolute universal time with the notion of a time that is dependent on reference frame and spatial position. Rather than an invariant time interval between two events, there is an invariant spacetime interval. Combined with other laws of physics, the two postulates of special relativity predict the equivalence of mass and energy, as expressed in the mass–energy equivalence formula E = mc2, where c is the speed of light in vacuum.[3][4] A defining feature of special relativity is the replacement of the Galilean transformations of classical mechanics with the Lorentz transformations. Postulates[edit] Lack of an absolute reference frame[edit] Relativity theory depends on "reference frames". where we get
The Automatic Message The Automatic Message (1933) (Le Message Automatique) was one of André Breton's significant theoretical works about automatism. The essay was first published in the magazine Minotaure, No. 3-4, (Paris) 1933. In 1997 it became the title of a compilation of surrealist writing of André Breton, Paul Éluard and Philippe Soupault, amongst others. Breton’s prefatory essay The Automatic Message relates the technique to the underlying concepts and aesthetic of surrealism. The Magnetic Fields (Les Champs Magnétiques) (1919) by Breton and Soupault, was the first work of literary surrealism and one of the foundations of modern European thought and writing. The Immaculate Conception (1930) traces the interior and exterior life of man from Conception and Intra-Uterine Life to Death and The Original Judgement, and includes a section with a series of “simulations” of various types of mental instability. André Breton, The Automatic Message. Breton, André; Eluard, Paul; Soupault, Philippe (2001).
Expressionism Expressionism was a modernist movement, initially in poetry and painting, originating in Germany at the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas.[1][2] Expressionist artists sought to express meaning[3] or emotional experience rather than physical reality.[3][4] Origin of the term[edit] In 1905, a group of four German artists, led by Ernst Ludwig Kirchner, formed Die Brücke (the Bridge) in the city of Dresden. "View of Toledo" by El Greco, 1595/1610 has been indicated to have a particularly striking resemblance to 20th-century expressionism. Expressionism has been likened to Baroque by critics such as art historian Michel Ragon [16] and German philosopher Walter Benjamin.[17] According to Alberto Arbasino, a difference between the two is that "Expressionism doesn't shun the violently unpleasant effect, while Baroque does. In other arts[edit]
greenpeace Impressionism Impressionism is a 19th-century art movement that originated with a group of Paris-based artists. Their independent exhibitions brought them to prominence during the 1870s and 1880s, in spite of harsh opposition from the conventional art community in France. The name of the style derives from the title of a Claude Monet work, Impression, soleil levant (Impression, Sunrise), which provoked the critic Louis Leroy to coin the term in a satirical review published in the Parisian newspaper Le Charivari. Overview[edit] Radicals in their time, early Impressionists violated the rules of academic painting. Impressionism emerged in France at the same time that a number of other painters, including the Italian artists known as the Macchiaioli, and Winslow Homer in the United States, were also exploring plein-air painting. Beginnings[edit] In the middle of the 19th century—a time of change, as Emperor Napoleon III rebuilt Paris and waged war—the Académie des Beaux-Arts dominated French art.
Cabaret Voltaire (Zurich) Current appearance Cabaret Voltaire was the name of a nightclub in Zurich, Switzerland. It was founded by Hugo Ball, with his companion Emmy Hennings on February 5, 1916 as a cabaret for artistic and political purposes. Other founding members were Marcel Janco, Richard Huelsenbeck, Tristan Tzara, and Jean Arp. Events at the cabaret proved pivotal in the founding of the anarchic art movement known as Dada. Hugo Ball performing at Cabaret Voltaire in 1916 Switzerland was a neutral country during World War I and among the many refugees coming to Zurich were artists from all over Europe. Cabaret Voltaire. The cabaret featured spoken word, dance and music. While the Dada movement was just beginning, by 1917 the excitement generated by the Cabaret Voltaire had fizzled out and the artists moved on to other places in Zurich such as the Galerie Dada at Bahnhofstrasse 19, then later Paris and Berlin. Cabaret Voltaire event Coordinates:
Dada Dada (/ˈdɑːdɑː/) or Dadaism was an art movement of the European avant-garde in the early 20th century. Dada in Zurich, Switzerland, began in 1916, spreading to Berlin shortly thereafter, but the height of New York Dada was the year before, in 1915.[1] The term anti-art, a precursor to Dada, was coined by Marcel Duchamp around 1913 when he created his first readymades.[2] Dada, in addition to being anti-war, had political affinities with the radical left and was also anti-bourgeois.[3] Francis Picabia, Dame! Illustration for the cover of the periodical Dadaphone, n. 7, Paris, March 1920 Overview[edit] Francis Picabia, (left) Le saint des saints c'est de moi qu'il s'agit dans ce portrait, 1 July 1915; (center) Portrait d'une jeune fille americaine dans l'état de nudité, 5 July 1915: (right) J'ai vu et c'est de toi qu'il s'agit, De Zayas! Dada was an informal international movement, with participants in Europe and North America. To quote Dona Budd's The Language of Art Knowledge, Zurich[edit]
Positivism Positivism is the philosophy of science that information derived from logical and mathematical treatments and reports of sensory experience is the exclusive source of all authoritative knowledge,[1] and that there is valid knowledge (truth) only in this derived knowledge.[2] Verified data received from the senses are known as empirical evidence.[1] Positivism holds that society, like the physical world, operates according to general laws. Introspective and intuitive knowledge is rejected, as is metaphysics and theology. Although the positivist approach has been a recurrent theme in the history of western thought,[3] the modern sense of the approach was developed by the philosopher Auguste Comte in the early 19th century.[4] Comte argued that, much as the physical world operates according to gravity and other absolute laws, so does society.[5] Etymology[edit] Overview[edit] Antecedents[edit] Auguste Comte[edit] Antipositivism[edit] Main article: antipositivism In historiography[edit]
Pre-Raphaelite Brotherhood The Pre-Raphaelite Brotherhood (also known as the Pre-Raphaelites) was a group of English painters, poets, and critics, founded in 1848 by William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti. The three founders were joined by William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner to form the seven-member "brotherhood". The group's intention was to reform art by rejecting what it considered the mechanistic approach first adopted by Mannerist artists who succeeded Raphael and Michelangelo. Beginnings[edit] Illustration by Holman Hunt of Thomas Woolner's poem "My Beautiful Lady", published in The Germ, 1850 Early doctrines[edit] The brotherhood's early doctrines were expressed in four declarations: First exhibitions and publications[edit] Public controversy[edit] Christ In the House of His Parents, by John Everett Millais, 1850 Later developments and influence[edit] After 1850, Hunt and Millais moved away from direct imitation of medieval art.
Diego Rivera Signed: André Breton and Diego Rivera Source: greg adargo kga1917@msn.com;HTMLMarkup: Nate Schmolze & David Walters for marxists.org, 2001. It is believed that the Manifesto was written by Trotsky and André Breton, although it was signed by Rivera and Breton. We can say without exaggeration that never has civilization been menaced so seriously as today. In so far as it originates with an individual, in so far as it brings into play subjective talents to create something which brings about an objective enriching of culture, any philosophical, sociological, scientific or artistic discovery seems to be the fruit of a precious chance; that is to say, the manifestation, more or less spontaneous, of necessity. In the contemporary world we must recognize the ever more widespread destruction of those conditions under which intellectual creation is possible. It goes without saying that we do not identify ourselves with the currently fashionable catchword, ‘Neither fascism nor communism!’