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Gospođice iz Avignona
ulje na platnu
243.9 × 233.7 cm
Povijest [uredi]
Picasso je nazvao ovu sliku po bordelu u Avignonskoj ulici (Carrer d'Avinyo) u Barceloni. Na
ranijim verzijama slike bili su prisutni i mornar koji sjedi i student medicine s lubanjom. Oba
lika su predstavljala samog umjetnika. Uklonivši ih iz finalne verzije, Picasso je promijenio
svoj likovni iskaz s osobnog na snažnu mitsku sliku. Slika se danas nalazi u Muzeju moderne
umjetnosti (MoMA) u New Yorku, zahvaljujući Lillie P. Bliss Besquet.
Odlike [uredi]
Picasso je ovu sliku naslikao koncipirao u duhu ranijih umjetničkih težnji povijesti umjetnosti
prikazavši tradicionalnu temu ženskog akta[2]. Čak što više, položaj figure s lijeve strane
podsjeća na standardnu pozu egipatskih faraona: lijeva noga je naprijed, a desna ruka je
ispružena uz tijelo sa stisnutom pesnicom. Iz egipatske umjetnosti je također je posudio i
način prikazivanja lica u profilu, a oka gledano sprijeda. Druge dvije figure koje drže ruke
iznad glave su utemeljene prema tradicionalnim pozama Venera. Na ovoj slici, Picasso je
napustio tradicionalni način slikanja s kjaroskurom i zamijenio ga je fovističkim odvažnim
potezima boje.
Od svih figura, lica žene koja sjedi i one krajnje desno su najočitije utemeljena na afričkim
obrednim maskama. Drvene maske iz središnje Afrike imaju iste izdužene geometrijske
kvalitete. Nosovi posebno podsjećaju na duge i zakrivljene rubove nosova s maski. No, poput
maski, Picassova lica su neprirodna i suprotstavljaju se klasičnim idealima ljepote. Nos je
zakrivljen u jednu stranu, dok su usta pomjerena na drugu. Kod dvije središnje figure jedno
oko je blago pomaknuto iznad drugog, a nos nije odmah iznad usta, te su i uši asimetrične.
Najradikalniji prikaz tijela je na figuri koja sjedi, ili po nekima "koja čuči". Ona odvažno
gleda izvan okvira slike dok istovremeno pomjera tijelo u suprotnom pravcu tako da su joj
lice i leđa vidljiva u istom trenutku. Na ovoj figuri Picasso je dokinuo tradiciju prikazivanja
prikazivanja s jedne točke gledišta u korist više-perspektivnog pogleda poput Cézanneovih
slika. Ovaj tzv. simultani pogled je postao presudnim vizualnim efektom kubizma.
Na ovoj slici Picasso je podijelio figure na geometrijske oblike jasnih rubova i oštrih kutova.
Oni se prostorno preklapaju s oblicima iz pozadine u čemu se gubi jasna granica između
planova. Ovakvo izobličavanje ljudskih figura je uznemirujuće jer napada anatomski integritet
ljudskog tijela. Svjetlo je, poput oblika, iscjepkano kao da dolazi iz više izvora, tako da se
promatračev pogled mora stalno pomjerati po slici. Upravo zbog ovakvog revolucionarnog
pristupa prostoru i njegovoj psihološkoj snazi, Gospođice iz Avignona predstavljaju veliki
izražajni izazov tradiciji, klasičnom idealu ljepote i harmoniji koji postoje još od renesanse.
Bilješke [uredi]
1. ↑ Peter Plagens, članak u Newsweeku: Koja je najutjecajnija slika u posljednjih 100 godina?, srpanj 2007. br. 9, str. 68.-69.
2. ↑ Slika je zapravo produkt brojnih skica prema Cézannovoj monumentalnoj slici "Kupaćice", poput Matissove slike "Radost
života", kojoj je ova slika bila direktna konkurencija.
Henri Laurens
je bio kubistički kipar, koji je izlagao zajedno s Picassom i Braqueom. Radio je i postere i
kolaže, kao i grafike te ilustracije za knjige. Na grobu mu se nalazi vlastita skulptura Tuga.
Guernica
ulje na platnu
349 × 777 cm
Guernica je slika Pabla Picassa iz 1937. god. koja je inspirirana događajem iz Španjolskog
građanskog rata (1936.-1939.); remek-djelo koje je izlagano širom svijeta, postajući poznata i
široko prihvaćeno kao vječiti podsjetnik ratnih tragedija, antiratni simbol i oličenje mira.
Povijest [uredi]
U travnju 1937. god. Francovi nacistički saveznici (njemački luftwafe) su izveli katastrofalno nasumično bombardiranje
gradića Guernike u kojem su stradali samo nedužni civili. U protestu protiv ovog neljudskog čina Picasso je naslikao
"Guernicu".
Slika je urađena za veliku svjetsku izložbu u Parizu 1937. god. na kojoj su dominirala alegorijska djela nacističke i sovjetske
propagande, i bila je jedino djelo koje odudaralo od ovih soc-realističnih djela.
Picasso je odbijao da smjesti ovu sliku u Španjolskoj sve dok se u njoj ponovno ne uspostavi demokratska vladavina, te je
slika 19 godina putovala svijetom te postala "platno o kojem se najviše govorilo", neprestano izazivajući debate o političkim
namjerama, kulturnom značenju i estetskim vrijednostima. Naposljetku je 1958. god. posuđena Muzeju moderne umjetnosti u
New Yorku. Tek 1981. god., nakon svrgavanja fašističke uprave, slika je izložena u Madridu gdje se nalazi i danas.
Odlike [uredi]
U ovoj monumentalnoj slici Picasso je kombinirao odlike analitičkog i sintetičkog kubizma s nekoliko tradicionalnih motiva
koji su posloženi na novi, nadrealistički, način. (Među prvim njegovim nadrealističkim radovima (takva su već lica
Gospođica) je Raspeće iz 1930. koje je diraktan prethodnik Guernice, a ima i expresionističke elemente) Naočigled
nepovezani motivi su ujedinjeni zajedničkim izobličenjima i snagom poruke. Kubistički geometrijski oblici i oštri kutovi
prevladavaju na slici. Picassova odlika da geometrijski pojednostavi likove je ovdje u ulozi fizičkih ratnih rana. Oči su
zavrnute i buljave, uši i nosevi su blago izmješteni, jezici su oblikovani kao noževi, a dlanovi i stopala su odrezani. Svaki dio
ljudskog tijela je podložen napadu i sakaćenju.
Kompozicija je u ulozi političke poruke slike, snažnog protesta protiv okrutnosti rata i tiranije. U skladu s temom smrti i
umiranja, slika je skoro lišena boja i sastoji se samo od nekoliko sivih tonova. Odsutnost boja naglašava novinarsku
(novinsku) kvalitetu slike u želji da podsjeti kako je vijest o bombardiranju sablaznila cijeli svijet. Guernica je podijeljena na
tri kompozicijska dijela, čime podsjeća na narativne kompozicije poliptiha iz srednjeg vijeka i renesanse. Likovi se nalaze u
središnjem trokutu, te u dva krnja kvadrata s obje njegove strane. Osnova trokuta se proteže od ispružene ruke izobličenog i
obezglavljenog vojnika s lijeve strane do stopala žene u bijegu na desnoj strani. Umirući konj predstavlja smrt civilizacije, no
nada za spas postoji u ispruženoj ruci s lampom koju nosi djevojka (simbol slobode). Još jedan simbol nade, kao i pobjede
razuma, javlja se u motivu koji je nastao spajanjem oka i svjetlosnih zraka iz žarulje, a nalazi se iznad konjske glave.
Na desnoj strani poza pokošene djevojke podsjeća na Kristovo raspeće, dok je žena s djetetom na lijevoj strani u pozi Piete
(Oplakivanje Krista). U sjeni, iza žene, izviruje sablasni lik Minotaura, čudovišnog tiranina iz drevne Krete, čije su ljudske
osobine plošne oči i lice. Za Picassa, Minotaur je postao simbolom moderne tiranije koju je utjelovljavao diktator Francisco
Franco, te njegovi bliski suradnici Adolf Hitler i Benito Mussolini.
Utjecaj [uredi]
Po završetku, Guernica postala simbolom napredne, socijalno-politički nadahnute umjetnosti. Izravna i živopisna u svom
izričaju, avangardnog duha, predstavljala je antitezu vladajućim konzervativnim stilovima političke umjetnosti koji su vladali
u fašističkim i komunističkim državama. Slika je primjer Picassova uvjerenja kako je slikarima povjerena povijesna zadaća
da pripomognu oblikovati demokratsku građansku svijest i slijedili su je i brojni drugi umjetnici kao Renato Guttuso,
Armando Pizzinato i dr. Ispred ulaza u Vijeće sigurnosti UN-a[1] u zgradi UN-a u New Yorku se nalazi tapiserija koja je
reprodukcija Guernice. Snaga poruke koju nosi došla je ponovno do izražaja u nedavnim događajima. Naime, kad se američki
državni tajnik Colin Powell pojavio pred ujedinjenim narodima 5. veljače 2005. god. kako bi iznio da Irak ne udovoljava
zahtjevima UN-a o razoružanju, te da je prijetnja, prekrivena je Guernica u njegovoj pozadini. U UN-u su to objasnili time da
je plava zavjesa bolja pozadina za kamere koje su snimale konferencije za novinare i govore, no mnogi su bili uvjereni da su
Amerikanci izvršili pritisak na UN da prekrije tapiseriju dok Powell najavljuje agresiju na Irak. Među kritičarima tog čina
pisalo je da ako bude rata u Iraku, prva žrtva je već pala – umjetnost.
Bilješke [uredi]
Ossip Zadkine
Zadkine's well-known sculpture "The Destroyed City" (De Verwoeste Stad) in Rotterdam
Ossip Zadkine (Russian: Осип Цадкин; July 14, 1890 – November 25, 1967) was a Russian-born artist who lived in France.
He is primarily known as a sculptor, but also produced paintings and lithographs.
Zadkine was born as Yossel Aronovich Tsadkin (Russian: Иосель Аронович Цадкин) in Vitebsk, Belarus, then part of the
Russian Empire. His father was Jewish; his mother was of Scottish ancestry.
After attending art school in London, Zadkine settled in Paris about 1910. There he became part of the new Cubist movement
(1914-1925). He later developed his own style, one that was strongly influenced by African art.
Zadkine served as a stretcher-bearer in the French Army during World War I, and was wounded in action. He spent the
World War II years in America. His best-known work is probably the sculpture "The Destroyed City" (1951-1953),
represents a man without a heart, a memorial to the destruction of the center of the Dutch city Rotterdam in 1940 by the
German Luftwaffe.[1]
Collage
A collage (From the French: coller, to glue) is a work of formal art, primarily in the visual arts, made from an
assemblage of different forms, thus creating a new whole.
A collage may include newspaper clippings, ribbons, bits of colored or hand-made papers, portions of other
artwork, photographs and other found objects, glued to a piece of paper or canvas. The origins of collage can be
traced back hundreds of years, but this technique made a dramatic reappearance in the early 20th century as an
art form of novelty.
The term collage derives from the French "coller" meaning "glue".[1] This term was coined by both Georges
Braque and Pablo Picasso in the beginning of the 20th century when collage became a distinctive part of modern
art.[2]
[edit] History
The technique of collage appeared in medieval Europe during the 13th century. Gold leaf panels started to be
applied in Gothic cathedrals around the 15th and 16th centuries. Gemstones and other precious metals were
applied to religious images, icons, and also, to coats of arms.[3]
In the 19th century, collage methods also were used among hobbyists for memorabilia (i.e. applied to photo
albums) and books (i.e. Hans Christian Andersen, Carl Spitzweg).[3]
Despite the pre-twentieth-century use of collage-like application techniques, some art authorities argue that
collage, properly speaking, did not emerge until after 1900, in conjunction with the early stages of modernism.
For example, the Tate Gallery's online art glossary states that collage "was first used as an artists' technique in
the twentieth century.".[4] According to the Guggenheim Museum's online art glossary, collage is an artistic
concept associated with the beginnings of modernism, and entails much more than the idea of gluing something
onto something else. The glued-on patches which Braque and Picasso added to their canvases offered a new
perspective on painting when the patches "collided with the surface plane of the painting."[5] In this perspective,
collage was part of a methodical reexamination of the relation between painting and sculpture, and these new
works "gave each medium some of the characteristics of the other," according to the Guggenheim essay.
Furthermore, these chopped-up bits of newspaper introduced fragments of externally referenced meaning into
the collision: "References to current events, such as the war in the Balkans, and to popular culture enriched the
content of their art." This juxtaposition of signifiers, "at once serious and tongue-in-cheek," was fundamental to
the inspiration behind collage: "Emphasizing concept and process over end product, collage has brought the
incongruous into meaningful congress with the ordinary."[5]
Collage in the modernist sense began with Cubist painters Georges Braque and Pablo Picasso. According to
some sources, Picasso was the first to use the collage technique in oil paintings. According to the Guggenheim
Museum's online article about collage, Braque took up the concept of collage itself before Picasso, applying it to
charcoal drawings. Picasso adopted collage immediately after (and was perhaps indeed the first to use collage in
paintings, as opposed to drawings):
"It was Braque who purchased a roll of simulated oak-grain wallpaper and began cutting out pieces of the paper
and attaching them to his charcoal drawings. Picasso immediately began to make his own experiments in the
new medium." [1]
In 1912 for his Still Life with Chair Caning (Nature-morte à la chaise cannée),[6] Picasso pasted a patch of
oilcloth with a chair-cane design onto the canvas of the piece.
Surrealist artists have made extensive use of collage. Cubomania is a collage made by cutting an image into
squares which are then reassembled automatically or at random. Collages produced using a similar, or perhaps
identical, method are called etrécissements by Marcel Mariën from a method first explored by Mariën. Surrealist
games such as parallel collage use collective techniques of collage making.
The Sidney Janis Gallery held an early Pop Art exhibit called the New Realist Exhibition in November 1962,
which included works by the American artists Tom Wesselmann, Jim Dine, Robert Indiana, Roy Lichtenstein,
Claes Oldenburg, James Rosenquist, George Segal, and Andy Warhol; and Europeans such as Arman, Baj,
Christo, Yves Klein, Festa, Rotella, Jean Tinguely, and Schifano. It followed the Nouveau Réalisme exhibition at
the Galerie Rive Droite in Paris, and marked the international debut of the artists who soon gave rise to what
came to be called Pop Art in Britain and The United States and Nouveau Réalisme on the European continent.
Many of these artists used collage techniques in their work. Wesselmann took part in the New Realist show with
some reservations,[7] exhibiting two 1962 works: Still life #17 and Still life #22.
Another technique is that of canvas collage, which is the application, typically with glue, of separately painted
canvas patches to the surface of a painting's main canvas. Well known for use of this technique is British artist
John Walker in his paintings of the late 1970s, but canvas collage was already an integral part of the mixed
media works of such American artists as Conrad Marca-Relli and Jane Frank by the early 1960s. The intensely
self-critical Lee Krasner also frequently destroyed her own paintings by cutting them into pieces, only to create
new works of art by reassembling the pieces into collages.
The wood collage is a type that emerged somewhat later than paper collage. Kurt Schwitters began
experimenting with wood collages in the 1920s after already having given up painting for paper collages. [2] The
principle of wood collage is clearly established at least as early as his 'Merz Picture with Candle', dating from the
mid to late 1920s [3][4].
It is also interesting to note that wood collage in a sense made its debut, indirectly, at the same time as paper
collage, since (according to the Guggenheim online), Georges Braque initiated use of paper collage by cutting
out pieces of simulated oak-grain wallpaper and attaching them to his own charcoal drawings. [5] Thus, the idea
of gluing wood to a picture was implicitly there from the start, since the paper used in the very first paper
collages was a commercial product manufactured to look like wood.
It was during a fifteen-year period of intense experimentation beginning in the mid 1940s that Louise Nevelson
evolved her sculptural wood collages, assembled from found scraps, including parts of furniture, pieces of
wooden crates or barrels, and architectural remnants like stair railings or moldings. Generally rectangular, very
large, and painted black, they resemble gigantic paintings. Concerning Nevelson's Sky Cathedral (1958), the
Museum of Modern Art catalogue states, "As a rectangular plane to be viewed from the front, Sky Cathedral has
the pictorial quality of a painting..."[8] Yet such pieces also present themselves as massive walls or monoliths,
which can sometimes be viewed from either side, or even looked through.
Much wood collage art is considerably smaller in scale, framed and hung as a painting would be. It usually
features pieces of wood, wood shavings, or scraps, assembled on a canvas (if there is painting involved), or on a
wooden board. Such framed, picture-like, wood-relief collages offer the artist an opportunity to explore the
qualities of depth, natural color, and textural variety inherent in the material, while drawing on and taking
advantage of the language, conventions, and historical resonances that arise from the tradition of creating
pictures to hang on walls. The technique of wood collage is also sometimes combined with painting and other
media in a single work of art.
Frequently, what is called "wood collage art" uses only natural wood - such as driftwood, or parts of found and
unaltered logs, branches, sticks, or bark. This raises the question of whether such artwork is collage (in the
original sense) at all (see Collage and modernism). This is because the early, paper collages were generally made
from bits of text or pictures - things originally made by people, and functioning or signifying in some cultural
context. The collage brings these still-recognizable "signifiers" (or fragments of signifiers) together, in a kind of
semiotic collision. A truncated wooden chair or staircase newel used in a Nevelson work can also be considered
a potential element of collage in the same sense: it had some original, culturally determined context. Unaltered,
natural wood, such as one might find on a forest floor, arguably has no such context; therefore, the characteristic
contextual disruptions associated with the collage idea, as it originated with Braque and Picasso, cannot really
take place. (Driftwood is of course sometimes ambiguous: while a piece of driftwood may once have been a
piece of worked wood - for example, part of a ship - it may be so weathered by salt and sea that its past
functional identity is nearly or completely obscured.)
[edit] Decoupage
Henri Matisse, Blue Nude II, 1952, gouache découpée, Pompidou Centre, Paris
Main article: Decoupage
Decoupage is a type of collage usually defined as a craft. It is the process of placing a picture into an object for
decoration. Decoupage can involve adding multiple copies of the same image, cut and layered to add apparent
depth. The picture is often coated with varnish or some other sealant for protection.
In the early part of the 20th century, decoupage, like many other art methods, began experimenting with a less
realistic and more abstract style. 20th century artists who produced decoupage works include Pablo Picasso and
Henri Matisse. Most famous are Matisse's Blue Nude II.
There are many varieties on the traditional technique involving purpose made 'glue' requiring fewer layers (often
5 or 20, depending on the amount of paper involved). Cutouts are also applied under glass or raised to give a
three dimensional appearance according to the desire of the decouper. Currently decoupage is a popular
handicraft.
The craft became known as découpage in France (from the verb découper, 'to cut out') as it attained great
popularity during the 17th and 18th centuries. Many advanced techniques were developed during this time, and
items could take up to a year to complete due to the many coats and sandings applied. Some famous or
aristocratic practitioners included Marie Antoinette, Madame de Pompadour, and Beau Brummell. In fact the
majority of decoupage enthusiasts attribute the beginning of decoupage to 17th century Venice. However it was
known before this time in Asia.
The most likely origin of decoupage is thought to be East Siberian funerary art. Nomadic tribes would use cut
out felts to decorate the tombs of their deceased. From Siberia, the practice came to China, and by the 12th
century, cut out paper was being used to decorate lanterns, windows, boxes and other objects. In the 17th
century, Italy, especially in Venice, was at the forefront of trade with the Far East and it is generally thought that
it is through these trade links that the cut out paper decorations made their way into Europe.
[edit] Photomontage
Collage made from photographs, or parts of photographs, is called photomontage. Photomontage is the process
(and result) of making a composite photograph by cutting and joining a number of other photographs. The
composite picture was sometimes photographed so that the final image is converted back into a seamless
photographic print. The same method is accomplished today using image-editing software. The technique is
referred to by professionals as compositing.
Richard Hamilton, John McHale, Just What Is It That Makes Today’s Homes So Different, So Appealing? 1956,
collage, (one of the earliest works to be considered Pop Art)
Just what is it that makes today's homes so different, so appealing? was created in 1956 for the catalogue of the
This Is Tomorrow exhibition in London, England in which it was reproduced in black and white. In addition, the
piece was used in posters for the exhibit.[9] Richard Hamilton has subsequently created several works in which he
reworked the subject and composition of the pop art collage, including a 1992 version featuring a female
bodybuilder. Many artists have created derivative works of Hamilton's collage. P. C. Helm made a year 2000
interpretation.[10]
Other methods for combining pictures are also called photomontage, such as Victorian "combination printing",
the printing from more than one negative on a single piece of printing paper (e.g. O. G. Rejlander, 1857), front-
projection and computer montage techniques. Much as a collage is composed of multiple facets, artists also
combine montage techniques. Romare Bearden’s (1912–1988) series of black and white "photomontage
projections" is an example. His method began with compositions of paper, paint, and photographs put on boards
8½ × 11 inches. Bearden fixed the imagery with an emulsion that he then applied with handroller. Subsequently,
he enlarged the collages photographically.
The 19th century tradition of physically joining multiple images into a composite and photographing the results prevailed in press
photography and offset lithography until the widespread use of digital image editing. Contemporary photo editors in magazines now create
"paste-ups" digitally.
Creating a photomontage has, for the most part, become easier with the advent of computer software such as Adobe Photoshop, Pixel image
editor, and GIMP. These programs make the changes digitally, allowing for faster workflow and more precise results. They also mitigate
mistakes by allowing the artist to "undo" errors. Yet some artists are pushing the boundaries of digital image editing to create extremely
time-intensive compositions that rival the demands of the traditional arts. The current trend is to create pictures that combine painting,
theatre, illustration and graphics in a seamless photographic whole.
Though Le Corbusier and other architects used techniques that are akin to collage, collage as a theoretical concept only became widely
discussed after the publication of Collage City (1987) by Colin Rowe and Fred Koetter
Assemblage (art)
Robert Rauschenberg, Canyon, 1959, Assemblage: oil, housepaint, pencil, paper, fabric,
metal, buttons, nails, cardboard, printed paper, photographs, wood, paint tubes, mirror string,
pillow & bald eagle on canvas, National Gallery of Art, Washington, DC.
The origin of the word (in its artistic sense) can be traced back to the early 1950s, when Jean
Dubuffet created a series of collages of butterfly wings, which he titled assemblages
d'empreintes. However, both Marcel Duchamp and Pablo Picasso had been working with
found objects for many years prior to Dubuffet. They were not alone. Alongside Duchamp,
the earliest woman artist to try her hand at assemblage was Elsa von Freytag-Loringhoven, the
Dada Baroness. In addition, one of the earliest and most prolific was Louise Nevelson, who
began creating her exciting sculptures from found pieces of wood in the late 1930s.
In 1961, the exhibition "The Art of Assemblage" was featured at the New York Museum of
Modern Art. The exhibition showcased the work of early twentieth century European artists
such as Braque, Dubuffet, Marcel Duchamp, Picasso, and Kurt Schwitters alongside
Americans Man Ray, Joseph Cornell and Robert Rauschenberg
Nadrealizam
- ima korijene kod Boscha, Arcimbolda, Redona, Boecklina, Moraua, Rosseaua (San)
Gerhard Richter
1961. bježi iz DDR-a na Zapad.
Koncem 1960-tih i početkom 1970-tih slika dva ciklusa sivih slika na kojima ne želi prikazati
ništa. To je odjek teškog razdoblja u njegovu životu.
1980-tih radi u stilu fotorealizma (Betty, 1988. – sa naslovnice ELS, Movements since 1945.).
Radi objekte i instalacije, ali i tradicionalne forme izričaja (2007. vitraži na srednjevjekovnoj
katedrali u Kelnu u kojem živi i radi) kao i apstrakciju (još od sredine 1970-tih, često nastalu
uvećavanjem realističnih detalja), što neki smatraju nedosljednošću i nedostatkom stila. To je
malo vjerojatno. 2007. je imao izložbu u Umjetničkom paviljonu u Zagrebu.
Sigmar Polke
Pripadnik postmodernog realizma radovima se često ismijavao potrošačkom društvu i
poslijeratnoj politici. Volio je eksperimentirati i kritizirati, te je 1941. s trojicom njemačkih
umjetnika osnovao skupinu 'Kapitalistički realizam'. Od 80-ih se počeo više baviti
fotografijom. Umro je u lipnju 2010. Vidjeti dolje tekst o njemu sa hrv. Wikipedije.
Sigmar Polke
Izvor: Wikipedija
Skoči na: orijentacija, traži
Sigmar Polke (Oleśnica,13. veljače, 1941. - Köln, 10. lipnja 2010.), bio je jedan od
najznačajnijih njemačkih slikara i fotografa 20. stoljeća.
Polkea je već kao mladića privukla umjetnost, te on, radeći u tvornici stakla, često posjećuje muzeje i galerije. S
dvadeset godina, 1961. upisuje se na düsseldorfsku Akademiju, na kojoj u to doba predaje i Joseph Beuys.
Šezdesete su doba velikog ekonomskog procvata Zapadne Njemačke, osobito Düsseldorfa, što se Polkea,
prebjeglog pred komunističkim terorom i siromaštvom, osobito dojmilo. Godine 1963. zajedno s Gerhardom
Richterom i Konradom Luegom zasniva kapitalistički realizam - stilski pravac oprečan svojem mnogo
poznatijem socijalističkom „starijem bratu“, kojeg ova trojica izgrađuju na postignućima američkog pop arta i
konzumerističkoj doktrini kapitalizma. Sva trojica odmah potom organiziraju Demonstraciju za kapitalistički
realizam, koju provode u salonu namještaja.
Izbijanjem rata u Vijetnamu, odnos europske inteligencije prema SAD-u se korjenito mijenja, što će imati odjeka
i u Polkeovu, te Richterovu opusu. Richter tako 1966. slika ciklus pod nazivom Osam studentica, posvećen
medicinskim sestrama koje su u Chicagu stradale kao žrtve višestrukog ubojice. Aluzija na američko nasilje je
više nego očita.
Iste godina nastaje Polkeovo ulje na platnu Raster-slika s palmama, u kojoj on višestruko ironizira svoje
donedavne američke uzore. Ta slika srednjih dimenzija prikazuje uvećanu novinsku sliku sjevernoafričkog
pejzaža s palmama koja je toliko uvećana da se jasno vidi njezin raster, koji je međutim dat nekako nejasno i
iregularno, baš kao i boje koje odudaraju od boja u prirodi, a vjerojatno i od boja novinske fotografije koja je
poslužila za osnovu slike. Polke je tako, „kvareći“ likovna sredstva i teme Lichtensteina (raster), Hockneya
(motiv palmi), i Warhola (sitotisak), najavio da će jedna od glavnih odlika čitava njegova opusa biti ironiziranje.
I doista, u radu Moderna umjetnost iz 1968. on naprosto uvećava jednu prilično nespretnu kompoziciju,
reproduciranu u nekoj knjizi o modernoj umjetnosti, kojom kao da se nastoji distancirati od vremena i medija u
kojem i sam djeluje.
Nekako istodobno, u Polkeovu opusu sve se više osjeća utjecaj dadaista Francisa Picabiae, čija su pozna djela
bila jadan od važnijih izvora cjelokupne pop umjetnosti. Tako nastaju brojna Polkeova narativna, višeslojna djela
prožeta snolikim, halucinantnim ozračjem.
Kao i njegov mlađi zemljak Anselm Kiefer, Polke potkraj šezdesetih odlučuje podsjetiti svoje sunarodnjake na
njihovu snishodljivost prema nacističkoj vladavini. Tako nastaje djelo Više sile su naredile: obojite gornji desni
ugao crno! I doista, Polke na platnu čitko ispisuje navedenu zapovijed, i boji desni gornji ugao slike crno. I ne
samo ugao, jer crna boja prelazi i na lijevu polovicu slike, aludirajući očito na polet i temeljitost mnogih
njegovih sunarodnjaka dok su izvršavali crne naredbe viših sila. Druga pak Polkeova, kasnija djela sadrže
skrivene ili prebojane svastike i druge srodne simbole potisnute povijesti.
Početkom sedamdesetih Polke počinje sudjelovati na skupnim izložbama njemačkih neoekspresionista, ali se čini
da je smisao njegova sudjelovanja bio samo taj da bi ih ironizirao.
Jim Dine
Izvor: Wikipedija
Skoči na: orijentacija, traži
Jim Dine (Cincinnati, Ohio, 16. lipnja, 1935.), je američki likovni umjetnik.
Tijekom šezdesetih Dine se više okreće slikarstvu. Većina njegovih dijela su asemblaži
koncipirani slično onim Wesselmannovim: na veliku oslikanu plohu obično je apliciran neki
trodimenzionalni element (npr. dječja lampa na asemblažu Dječji plavi zid iz 1960.), koji
razbija jasnu granicu između slike i promatrača, karakterističnu za klasična djela slikarstva.
16. svibnja 2008. u gradu Boras u Švedskoj postavljena je Dineova devet metara visoka
brončana skulptura Pinokija. Dine je o tome rekao: „Ideja da cjepanica koja govori postane
dječak svojevrsna je metafora umjetnosti, te konačna alkemijska transformacija.“
Na koncu, zanimljivo je napomenuti da je do istog zaključka devrt godina prije Dinea, radeći
na svojem ciklusu "Pinokijeva niska rezolucija", došao naš poznati slikar i sveučilišni
profesor Zlatko Keser.
Claes Oldenburg
Izvor: Wikipedija
Skoči na: orijentacija, traži
Claes Oldenburg (Stockholm, 28. siječnja, 1929.) je američki likovni umjetnik, švedskog
podrijetla.
Životopis [uredi]
Oldenburg je sin švedskog diplomata koji se 1936. zajedno s obitelji nastanio u New Yorku, da bi nešto kasnije
preselio u Chicago. Claes je studirao na Yaleu, te na Art Institute of Chichago. 1953. postaje američki
državljanin, a 1956. odlazi u grad svojeg djetinjstva – New York gdje susreće Jima Dinea i Allana Kaprowa,
začetnike happeninga.
Tijekom šezdesetih Oldenburga ponajviše intrigira problem međuodnosa između privatnog i javnog prostora,
kao i brisanje granica između umjetnosti i svakodnevnoga života, kao i između publike i umjetnika. Tako 1960.
nastaje instalacija Ulica, koju je Oldenburg postavio u newyorškoj Judson Memorial Church Gallery. Bila je to
kaotična hrpa grubih antropomorfnih crteža na papiru pokupljenom s ulice. Ta instalacija, koja je osim zidova
zauzimala i pod, asocirala je na kartonske nastambe u kojima žive klošari. I doista, u ciklusu happeninga Slike
grada iz iste godine, Oldenburg se u toj svojoj ambijentalnoj instalaciji, stvarno i pojavljivao prerušen u klošara.
Tijekom zime 1961. – 1962., Oldenburg je na dva mjeseca zakupio dućanski prostor u jednoj od newyorških
ulica s trgovinama jeftine robe. Tu je uredio svoj atelier, koji je odmah koncipirao kao dućan. Police je ispunio
gipsanim modelima hrane i odjeće, koloriranim na tragu apstraktnog ekspresionizma, te ih ponudio na prodaju
po pristupačnim cijenama. Radilo se zapravo o happeningu kojeg je Oldenburg izvodio pod pseudonimom Ray
Gun. Oldenburg je nastojao ispitati kakav će biti odnos „običnog čovjeka“ prema njegovim kreativnim modelima
predmeta iz svakidašnjice. Došao je do zaključka da su ih ljudi percipirati upravo onako kako se nadao: kao
skulpture, koje su u svojim domovima postavljali na način na koji se to čini s klasičnim skulpturama, te su ih čak
na sličan način unaprijed naručivali od umjetnika. Svoja iskustva s ovog maratonskog happeninga, kao i s onog
Slike grada iz prethodne godine, Oldenburg je objavio 1967. u monografiji pod nazivom Store Days (Dućanski
dani). U njoj je među ostalim zapisao: „Dućan je, kao i Ulica, ambijentalna forma. Na neki način riječ je o istoj
stvari, jer su neke ulice i trgovi zapravo dućani na otvorenom. A dućani su mjesta gdje se privatne želje prepliću
s javnom sferom konzumacije.“
Istom tematikom međuodnosa konzumacije, te javnog i privatnog prostora, Oldenburg se pozabavio u trima
ambijentima pod nazivom Spavaća soba, koji predstavljaju vjerne kopije različitih motelskih spavaćih soba, koje
su Oldenburga tematski zaintrigirale tijekom njegova puta u Los Angeles 1963. – 1964. Prema kritičaru
Lawrencu Allowayu, jednom od najboljih poznavatelja pop arta, ti interijeri odražavaju fetišizam i higijenu
američkog načina života; riječ je o monumentalnim ostvarenjima pop arta, fokusiranim na stvari, a ne na ljude,
što je osobito značajno jer se radi o spavaćim sobama, tj. najintimnijim ljudskim prostorima.
Oldenburg je međutim širem krugu publike zacijelo najpoznatiji po svojim objektima koji prikazuju enormno
uvećane predmete iz svakidašnjega života: telefone, bejzbol palice i sl. ili ogromne hamburgere, kornete za
sladoled, kolače, pržene krumpiriće kako se prosipaju iz škrnicla i sl. Oduševljen američkim načinom života,
Oldenburg je tu svoju populističku umjetnost definirao ovako: „Ja sam za umjetnost donjeg rublja i umjetnost
taksija. Ja sam za umjetnost korneta za sladoled ispuštenih na beton. Ja sam za umjetnost psećeg izmeta koji se
diže poput katedrale.“ Na tragu tih i takvih razmišljanja, Oldenburg je poglavarstvima mnogih američkih i
europskih gradova ponudio svoja spomenička rješenja, koja su u početku redovito bila ismijavana (poput
njegova prijedloga da se vašingtonski obelisk ukloni i da se na njegovu mjestu postavi nekoliko desetaka metara
visoki model škara), no neka od njih su kasnije ipak realizirana (poput njegova Palog korneta, postavljenog
2001. na krov trgovačkog centra u Kölnu. Te monumentalne Oldenburgove skulpture zapravo su spomenici
konzumerizmu i konceptu potrošačkog društva u cjelini, te njihov autor smatra da bi takvi spomenici trebali
zamijeniti konjaničke i druge klasične spomenike s gradskih ulica i trgova.
Post-painterly Abstraction
Post-painterly abstraction is a term created by art critic Clement Greenberg as the title for
an exhibit he curated for the Los Angeles County Museum of Art in 1964, which
subsequently travelled to the Walker Art Center and the Art Gallery of Toronto.
Greenberg had perceived that there was a new movement in painting that derived from the
abstract expressionism of the 1940s and 1950s but "favored openness or clarity" as opposed to
the dense painterly surfaces of that painting style. The 31 artists in the exhibition included
Walter Darby Bannard, Jack Bush, Gene Davis, Thomas Downing, Friedel Dzubas, Paul
Feeley, Sam Francis, Helen Frankenthaler, Al Held, Ellsworth Kelly, Nicholas Krushenick,
Alexander Liberman, Morris Louis, Arthur Fortescue McKay, Howard Mehring, Kenneth
Noland, Jules Olitski, Ray Parker, David Simpson, Albert Stadler, Frank Stella, Mason Wells,
Emerson Woelffler, and a number of other American and Canadian artists who were
becoming well known in the 1960s. [1]
Among the prior generation of contemporary artists, Barnett Newman has been singled out as
one who anticipated "some of the characteristics of post-painterly abstraction."[2]
Post-painterly abstraction
Abstract
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color field painting expressioni Shaped canvas
painting School
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Rothko, Rothko,
Ellsworth Frank Stella
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Ad Reinhardt Kline,
Motherwell Motherwell
Greenberg's innovative exhibition of post-painterly abstraction, was both influential and timely. The exhibition
ushered in a new era in American abstract painting that signalled a new direction, following the triumph of the
New York School and eventually leading to the developments of minimal art, primary structures,
postminimalism, lyrical abstraction, and various new directions in abstract art. The innovations in abstract
painting of the 1960s along with the pop art movement led the way to the contemporary art of the 21st century
Shaped canvases are paintings that depart from the normal flat, rectangular configuration.
Canvases may be shaped by altering their contours, while retaining their flatness. An ancient,
traditional example is the tondo, a painting on a round canvas: Raphael, as well as some other
Renaissance painters, sometimes chose this format for madonna paintings.[1]
Frank Stella, Kenneth Noland, Ellsworth Kelly, are examples of artists associated with the use
of the shaped canvas during the period beginning in the early 1960s
Body art
Bečki akcionisti +
Marina Abramović - Na poziv Studija Mora u Napulju , izvodi "Ritam O" 1975. godine koji
se mogao ostvariti samo uz suradnju sa publikom. Prije početka performansa, Marina je
ostavila upute posjetiteljima: "Na stolu se nalaze predmeti (žileti, noževi, pištolj) koje možete
upotrijebiti na meni, ja sam objekt. Akcija će trajati 6 sati. Svu odgovornost za vaše ponašanje
preuzimam na sebe." Sve je te večeri počelo pitomo. Netko ju je okrenuo u krug. Netko ju je
dodirnuo na dosta prisan način. Ali trećeg sata stvari su počele da se mijenjaju. Publika je
počela da se transformira i na kraju je izbila tuča između onih koji su je štitili i onih koji su je
povređivali.
Aboriginal art
Aboriginal art is a type of art native to the Australian Aboriginals.
Aboriginal Rock Art, Anbangbang Rock Shelter, Kakadu National Park, Australia
Modern Aboriginal art is a vital part of the world's oldest continuous cultural tradition.
It is also one of the most brilliant and exciting areas of modern art. It is based on animals or
patterns. All the designs, painted or drawn, have a story behind them. Symbols are used on
Aboroginal art, to show the presence of different things, for example, a 'U' shape shows the
symbol for a man. Aboriginal art is a language in itself, communicating through beautiful
patterns.This started around 30,000 to 40,000 years ago.
Arhitektura
Centar su dizajnirali talijanski i britanski arhitekti Renzo Piano i Richard Rogers. Oni su
odlučili da na eksterijer zgrade budu postavljeni elementi koji su tipični za interijer kao što su
pokretne stepenice, dizala, cijevi i masivna čelična konstrukcija zgrade što do tad nije bilo
uobičajeno. Na stranu zgrade koja gleda na ulicu Renard postavljene su obojene cijevi. Osim
što su dekorativne imaju i funkcionalnu ulogu, tako plava boja označava cijevi za ventilaciju,
cijevi za dovod vode su zelene boje, a cijevi s električnim dovodima žute boje, dok je prostor
kroz koji se kreću posjetitelji unutar zgrade, kao što su dizala, crvene boje.