Tristan Tzara After moving to Paris in 1919, Tzara, by then one of the "presidents of Dada", joined the staff of Littérature magazine, which marked the first step in the movement's evolution toward Surrealism. He was involved in the major polemics which led to Dada's split, defending his principles against André Breton and Francis Picabia, and, in Romania, against the eclectic modernism of Vinea and Janco. This personal vision on art defined his Dadaist plays The Gas Heart (1921) and Handkerchief of Clouds (1924). A forerunner of automatist techniques, Tzara eventually aligned himself with Breton's Surrealism, and under its influence wrote his celebrated utopian poem The Approximate Man. During the final part of his career, Tzara combined his humanist and anti-fascist perspective with a communist vision, joining the Republicans in the Spanish Civil War and the French Resistance during World War II, and serving a term in the National Assembly. Name[edit] S. Biography[edit] Birth of Dada[edit]
Paul Cézanne Paul Cézanne (US /seɪˈzæn/ or UK /sɨˈzæn/; French: [pɔl sezan]; 1839–1906) was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th-century conception of artistic endeavour to a new and radically different world of art in the 20th century. Cézanne's often repetitive, exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields. The paintings convey Cézanne's intense study of his subjects. Cézanne can be said to form the bridge between late 19th-century Impressionism and the early 20th century's new line of artistic enquiry, Cubism. §Life and work[edit] §Early years and family[edit] Femme au Chapeau Vert (Woman in a Green Hat. Going against the objections of his banker father, he committed himself to pursuing his artistic development and left Aix for Paris in 1861. §Cézanne the artist[edit] §Optical phenomena[edit] §Death[edit]
Francis Bacon (artist) Francis Bacon in his studio Francis Bacon (28 October 1909 – 28 April 1992) was an Irish-born British figurative painter known for his bold, graphic and emotionally raw imagery.[1] His painterly but abstracted figures typically appear isolated in glass or steel geometrical cages set against flat, nondescript backgrounds. Bacon began painting during his early 20s and worked only sporadically until his mid-30s. He often said in interviews that he saw images "in series", and his artistic output typically focused on a single subject or format for sustained periods. During his lifetime, Bacon was equally reviled and acclaimed. Bacon's birthplace at 63 Lower Baggot Street, Dublin He had an older brother, Harley, five years his senior,[11] two younger sisters, Ianthe and Winifred, and a younger brother, Edward. Bacon spent late 1926 in London, with an allowance of £3 a week from his mother's trust fund, living on his instincts, 'drifting', and reading Nietzsche.
Web Papers: Tristan Tzara - Dada Manifesto (23rd march 1918) The magic of a word - DADA - which for journalists has opened the door to an unforeseen world, has for us not the slightest importance. To launch a manifesto you have to want: A.B. & C., and fulminate against 1, 2, & 3, work yourself up and sharpen you wings to conquer and circulate lower and upper case As, Bs & Cs, sign, shout, swear, organise prose into a form that is absolutely and irrefutably obvious, prove its ne plus ultra and maintain that novelty resembles life in the same way as the latest apparition of a harlot proves the essence of God. His existence had already been proved by the accordion, the landscape and soft words. * To impose one's A.B.C. is only natural - and therefore regrettable. Everyone does it in the form of a crystalbluff-madonna, or a monetary system, or pharmaceutical preparations, a naked leg being the invitation to an ardent and sterile Spring. Every spectator is a plotter, if he tries to explain a word (to know!) If I shout: Ideal, Ideal, Ideal
Web Papers: Francis Picabia - Dada Manifesto (March 1920 ) The Cubists want to cover Dada with snow; it may surprise you, but it is so, they want to empty the snow out of their pipe on to Dada. Are you sure? Perfectly, the facts speak for themselves from great grotesque mouths. Art is dearer than sausages, dearer than women, dearer than anything. Art is as easy to see as God (see Saint-Sulpice). Art is a pharmaceutical product for idiots. Tables turn, thanks to the spirits; pictures and other works of art are like strong- box-tables, the spirit is within them and gets more and more inspired as the prices rise in the salerooms. Comedy, comedy, comedy, comedy, comedy, dear friends. Dealers do not like painting, they know about the hidden spirit.... Buy reproductions of signed pictures. Don't be snobbish; having the same picture as your neighbour doesn't make you any less intelligent. There will be some, all the same, but not quite so many. Cubism represents total famine in ideas.
Art manifesto An art manifesto is a public declaration of the intentions, motives, or views of an artist or artistic movement. Manifestos are a standard feature of the various movements in the modernist avant-garde and are still written today. Art manifestos are mostly extreme in their rhetoric and intended for shock value to achieve a revolutionary effect. They often address wider issues, such as the political system. Typical themes are the need for revolution, freedom (of expression) and the implied or overtly stated superiority of the writers over the status quo.[citation needed] The manifesto gives a means of expressing, publicising and recording ideas for the artist or art group—even if only one or two people write the words, it is mostly still attributed to the group name. Manifestos typically consist of a number of statements, which are numbered or in bullet points and which do not necessarily follow logically from one to the next. Introduction[edit] The art manifesto has two main goals. So...
Marcel Janco Reunited with Vinea, he founded Contimporanul, the influential tribune of the Romanian avant-garde, advocating a mix of Constructivism, Futurism and Cubism. At Contimporanul, Janco expounded a "revolutionary" vision of urban planning. He designed some of the most innovative landmarks of downtown Bucharest. He worked in many art forms, including illustration, sculpture and oil painting. Janco was one of the leading Romanian Jewish intellectuals of his generation. Marcel Janco was the brother Georges and Jules Janco, who were his artistic partners during and after the Dada episode. Biography[edit] Early life[edit] Marcel Janco was born on May 24, 1895 in Bucharest to an upper middle class Jewish family.[2] His father, Hermann Zui Iancu, was a textile merchant. As a group, the students were under the influence of Romanian Symbolist clubs, which were at the time the more radical expressions of artistic rejuvenation in Romania. Swiss journey and Dada events[edit]
André Breton André Breton (French: [ɑ̃dʁe bʁətɔ̃]; 19 February 1896 – 28 September 1966) was a French writer and poet. He is known best as the founder of Surrealism. His writings include the first Surrealist Manifesto (Manifeste du surréalisme) of 1924, in which he defined surrealism as "pure psychic automatism". Biography[edit] Born to a family of modest means in Tinchebray (Orne) in Normandy, he studied medicine and psychiatry. Breton married his first wife, Simone Kahn, on 15 September 1921. From Dada to Surrealism[edit] In 1919 Breton initiated the review Littérature with Louis Aragon and Philippe Soupault. In a publication The Magnetic Fields (Les Champs Magnétiques), a collaboration with Soupault, he implemented the principle of automatic writing. Anxious to combine the themes of personal transformation found in the works of Arthur Rimbaud with the politics of Karl Marx, Breton joined the French Communist Party in 1927, from which he was expelled in 1933. 1940s[edit] Later life[edit] Works[edit]