Dada art making influenced by the following concepts

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Dadaart making influenced by the following
concepts

• Cynicism and pessimism inspired by the disgust
  over World War I.
• Not a school of art but A State of Mind.
• Irrational anarchy
• Nonsense
• Destruction of tradition
• Humor and whimsy
• Emphasis on being intuitive and spontaneous.
• Creative process is based around chance.
• The unconscious as explored by Freud.

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Marcel Duchamp

• Artist or non-artist
• 1870-1968
• French but worked mainly in NYC.
• leading member of Dadaism.
• Created the readymade-a mass produced common
  object that he selected as an art piece.
• Did not believe in good or bad taste but simply
  indifferent taste.
• Probably the most influential artist of the 20th
  century because he radically challenged the
  notion of art making.

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Figure 35-1 MARCEL DUCHAMP, Nude Descending a
Staircase, No. 2, 1912. Oil on canvas, 4 10 x
2 11. Philadelphia Museum of Art, Philadelphia
(Louise and Walter Arensberg Collection).

• Painting created a stir in the Armory show.
• Mixture of Cubist and Futurist styles.
• Depicts figure in motion similar to a film still.
• Critic described it as an explosion in a shingle
  factory.

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Seeing New York with a CubistThe rude
descending a staircase
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Figure 35-28 MARCEL DUCHAMP, The Bride Stripped
Bare by Her Bachelors, Even (The Large Glass),
1915-23. Oil, lead, wire, foil, dust, and varnish
on glass, 9 1 1/2 x 5 9 1/8. Philadelphia
Museum of Art, Philadelphia (Katherine S. Dreier
Bequest).

• Depicts humans as machines.
• Artwork is completed by chance when the glass
  planes broke during shipment.

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Figure 35-27 MARCEL DUCHAMP, Fountain, (second
version), 1950 (original version produced 1917).
Readymade glazed sanitary china with black
paint, 1 high. Philadelphia Museum of Art,
Philadelphia.
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• "Whether Mr. Mutt with his own hands made the
  fountain or not has no importance. He chose it.
  He took an ordinary article of life, placed it so
  that its useful significance disappeared under a
  new title and point of view -- he created a new
  thought for the object."

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More Ready-mades by Duchamp
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Ready-made of a postcardText written on card is
a reference to Mona Lisa having a hot booty.
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1. The waterfall 2. The Illuminating GasInterior
and Exterior view
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OTHER IMPORTANT DADA ARTISTSImages show an early
Dada exhibit and poster for a show.
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Figure 35-26 JEAN (HANS) ARP, Collage Arranged
According to the Laws of Chance, 19161917. Torn
and pasted paper, 1 7 1/8 x 1 1 5/8. Museum
of Modern Art, New York.

• Arp explores the idea of chance in the process of
  creating art.
• He dropped torn paper onto a sheet of paper and
  glued them wherever they landed.
• Emphasis on the anarchy quality of Dada.

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Figure 35-29 HANNAH HÖCH, Cut with the Kitchen
Knife Dada through the Last Weimar Beer Belly
Cultural Epoch of Germany, 19191920.
Photomontage, 3 9 x 2 11 1/2. Neue
Nationalgalerie, Staatliche Museen zu Berlin,
Berlin.

• Photomontage
• Image mocks the establishment.
• Also depicts fellow artists and radicals.

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Figure 35-30 KURT SCHWITTERS, Merz 19, 1920.
Paper collage, 7 1/4 x 5 7/8. Yale University
Art Gallery, New Haven, (gift of Collection
Société Anonyme).

• Schwitters used random contemporary objects,
  materials to create a nonobjective collage.

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Figure 35-33 MAN RAY, Cadeau (Gift), ca. 1958
(replica of 1921 original). Painted flatiron with
row of 13 tacks with heads glued to the bottom, 6
1/8 x 3 5/8 x 4 1/2. Museum of Modern Art, New
York (James Thrall Soby Fund).

• Sculpture shows the Dada sense of humor.
• Piece was exhibited in the Armory Show.

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Dada, Surrealists, Cubists, German Expressionists
were all targets of the Nazi Degenerate Art
exhibit. Many of these artists left Europe for
the United States.
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Surrealism

• Naturalistic Surrealism- represents recognizable
  imagery that seem to have metamorphosed into a
  dream.
• Biomorphic Surrealism- largely abstract
  compositions without conscious control.

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Figure 35-46 GIORGIO DE CHIRICO, Melancholy and
Mystery of a Street, 1914. Oil on canvas, 2 10
1/4 x 2 4 1/2. Private collection.

• Mysterious style influenced later Surrealist
  artist like Dali.

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Figure 35-47 MAX ERNST, Two Children Are
Threatened by a Nightingale, 1924. Oil on wood
with wood construction, 2 3 1/2 x 1 10 1/2 x
4 1/2. Museum of Modern Art, New York.

• Ambiguous title typical of Surrealists work.
• Ernst plays with the traditional Renaissance idea
  of art as a window into the world.

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Figure 35-49 SALVADOR DALÍ, The Persistence of
Memory, 1931. Oil on canvas, 9 1/2 x 1 1.
Museum of Modern Art, New York.

• Dali was interested in depicting images of
  concrete irrationality with the most
  imperialistic fury of precision.

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Figure 35-50 RENÉ MAGRITTE, The Treachery (or
Perfidy) of Images, 19281929. Oil on canvas, 1
11 5/8 x 3 1. Los Angeles County Museum of
Art, Los Angeles (purchased with funds provided
by the Mr. and Mrs. William Preston Harrison
Collection).

• Use of text challenges the viewers rational
  reading of the painting.
• Magritte was known for using common objects as
  personal but ambiguous symbols.

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Figure 35-51 MERET OPPENHEIM, Object (Le
Déjeuner en fourrure), 1936. Fur-covered cup, 4
3/8 diameter saucer, 9 3/8 diameter spoon, 8
long. Museum of Modern Art, New York.

• Sculpture was inspired by a conversation with
  Picasso.
• Playful use of texture captures the humor and
  sexuality prevalent in Surrealist works.

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Figure 35-52 JOAN MIRÓ, Painting, 1933. 5 8 x
6 5. Museum of Modern Art, New York (Loula D.
Lasker Bequest by exchange).

• Biomorphic approach
• Automatism

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Figure 35-53 PAUL KLEE, Twittering Machine,
1922. Watercolor and pen and ink, on oil transfer
drawing on paper, mounted on cardboard, 2 1 x
1 7. Museum of Modern Art, New York.

• Influenced by Carl Jungs concept of the
  collective unconscious.
• Depiction of shapes and symbols.