During the years before his death in 1918 Apollinaire?s reputation as poet and artistic animateur approached legendary proportions. This book is the first to present an extensive reassessment of Apollinaire?s role in the promotion of themes and iconography amongst his painter friends. Detailed analysis of the poetic subject matter of selected works of Dufy, Delaunay, de Chirico, Laurencin, Marcoussis, Metzinger, Picabia and Picasso is used to reconstruct the responses of these artists to Apollinaire?s artistic and aesthetic proclivities. Drawing attention to the poet?s immersion in the art and iconography of the French late-Renaissance and the seventeenth century, Adrian Hicken shows that the study of the permeation of Apollinairean and Orphic imagery in the work of artists with very different personalities presents a fascinating and pivotal episode in the history of Parisian modernism.
During the years before his death in 1918 Apollinaire?s reputation as poet and artistic animateur approached legendary proportions. This book is the first to present an extensive reassessment of Apollinaire?s role in the promotion of themes and iconography amongst his painter friends. Detailed analysis of the poetic subject matter of selected works of Dufy, Delaunay, de Chirico, Laurencin, Marcoussis, Metzinger, Picabia and Picasso is used to reconstruct the responses of these artists to Apollinaire?s artistic and aesthetic proclivities. Drawing attention to the poet?s immersion in the art and iconography of the French late-Renaissance and the seventeenth century, Adrian Hicken shows that the study of the permeation of Apollinairean and Orphic imagery in the work of artists with very different personalities presents a fascinating and pivotal episode in the history of Parisian modernism.
This is a new, authoritative translation and critical edition of one of the twentieth-century's most important and poetically resonant books on Picasso, Braque, Cubism, and the beginnings of modern art.
This literary history examines Guillaume Apollinaire's reception and influence in the Western hemisphere during the early twentieth century. Ir identifies and reconstructs major literary and art historical paths of development, about which surprisingly little is known. In particular, it discusses Apollinaire's reception and formative influence in North America, England, Germany, Spain, Argentina, and Mexico, and includes important documents by Apollinaire himself that have not appeared in print until now. "Bohn brings together a worldwide network of writers, artists, and critics to reveal the role and centrality of Apollinaire as the icon of Parisian modernism, cult figure of the avant-garde, poet with a new series of techniques, esthetician of the New, innovator of modern culture, and literary and cultural arbiter of his generation. "This is Rezeptionsesthetik in its most intense form. It is the definitive reference book for checking on who had any dealings with Apollinaire, the man or his work, and French modernism in English, German, Spanish or Catalan linguistic and cultural domains in both the Old and New Worlds. Bohn's translations from the various languages he commands are superb and prove that he is always working from source material. His text is simply a tour de force, a virtuoso performance". -- Seth L. Wolitz, University of Texas, Austin "Given the centrality of French poetry for European and New World poetry since Baudelaire, one simply cannot overstate Apollinaire's role in the evolution of the most advanced poetry written throughout Europe and North and South America since circa 1900. However, no one before has tracked his impact on avant-garde circles outsideFrance with so much attention to the specifics involved. Bohn has emerged as the dean of Apollinaire studies in North America; thus everything he has to say about the poet has the ring of absolute authority". -- Robert W. Greene, State University of New York, Albany
If the city is the theatre of urban life, how does architecture act in its many performances? This book reconstructs the spatial experiments of Art et Action, a theatre troupe active in 1920s Paris, and how their designs for theater buildings show how the performance spaces interacted with actors and spectators according to their type.
This book highlights sport as one of the key inspirations for an international range of modernist artists. Sport emerged as a corollary of the industrial revolution and developed into a prominent facet of modernity as it spread across Europe at the turn of the twentieth century. It was celebrated by modernists both for its spectacle and for the suggestive ways in which society could be remodelled on dynamic, active and rational lines. Artists included sport themes in a wide variety of media and frequently referenced it in their own writings. Sport was also political, most notably under fascist and Soviet regimes, but also in democratic countries, and the works produced by modernists engage with various ideologies. This book provides new readings of aspects of a number of avant-garde movements, including Italian futurism, cubism, German expressionism, Le Corbusier's architecture, Soviet constructivism, Italian rationalism and the Bauhaus.
The first English-language study of the influential French painter Robert Delaunay to appear in thirty years. Delaunay has long been appreciated as one of the leading Parisian artists of the early twentieth century. And art historians have consistently viewed his vibrantly colored paintings starting in 1912 as early experiments in abstraction. Hughes, however, tautly argues that Delaunay was not just one of the earliest artists to work in pure abstraction, but the earliest one to do so. The colorful, optically driven canvases that Delaunay produced set him apart from the more ethereal abstraction of Kandinsky, Mondrian, Malevich, and Kupka, with whom he is often clubbed and whose spiritual motivations he rejected. Delaunay s paintings were grounded in material sensation and reflected the modern optical science of his time. They had nothing in common with the idealism that drove Kandinsky and the others. As a result, his work set the stage not only for the kind of abstraction that would come to dominate painting in the mid twentieth century (Pollock, Stella, Still, Kline); it also inspired the critics who theorized and elevated that particular strain of modernist practice."
Modernism and Authority presents a provocative new take on the early paintings of Pablo Picasso and the writings of Guillaume Apollinaire. Charles Palermo argues that references to theology and traditional Christian iconography in the works of Picasso and Apollinaire are not mere symbolic gestures; rather, they are complex responses to the symbolist art and poetry of figures important to them, including Paul Gauguin, Charles Morice, and Santiago Rusi–ol. The young Picasso and his contemporaries experienced the challenges of modernity as an attempt to reflect on the lost relation to authority. For the symbolists, art held authority by revealing something compellingÑsomething to which audiences must respond lest they lose claim to their own moral authority. Instead of the total transformation of the reader or viewer that symbolist creators envision, Picasso and Apollinaire imagine a divided self, responding only partially or ambivalently to the work of artÕs call. Navigating these problems of symbolist art and poetry entails considering the nature of the work of art and of oneÕs response to it, the modern subjectÕs place in history, and the relevance of historical truth to our methodological choices in the present.
This is a revealing book which, for the first time, investigates the central influence of feminism in the work of Le Corbusier; one of the most important and revered architects of all time. The text covers Le Corbusier’s upbringing and training and sets this in the context of the cultural atmosphere of his time, covering issues of gender and religion. It reveals aspects of his private life such as personal relationships, which have barely been explored before as no biography currently exists. Furthermore, the author reveals, for the first time in print, a previously undiscovered and unpublished Le Corbusier building, making this book an incredibly significant addition to existing literature on the great man. In short, the new evidence and theories contained in this volume amount to major revelations about this hugely revered and central architectural figure of the 20th Century.
