 Het Overzicht n° 14 (December 1922) | |
| Editor | |
|---|---|
| Categories | Literary magazine |
| Founder | Michel Seuphor |
| First issue | June 1921 |
| Final issue | February 1925 |
| Country | Belgium |
| Based in | Antwerp |
| Language | Dutch |
| OCLC | 5787201 |
Het Overzicht (Dutch: the Survey) was a Dutch language literary magazine published in Antwerp, Belgium, between 1921 and 1925. Until its cessation in 1925 it was the major avant-garde magazine in the country and published a total of 24 issues. [1]
Het Overzicht was first published in June 1921. [2] [3] The magazine was subtitled as Half-Maandelijks Tijdschrift: Kunst, Letteren, Mensheid. [2] Michel Seuphor was the founder of the magazine. [1] [4] Geert Pynenburg was also functional in the foundation. [5] Its headquarters was in Antwerp. [6] [7]
During its early years Het Overzicht was pro-Flemish. [5] Then it became a modernist periodical of European stature [5] and adopted a constructivist, [6] dadaist and avant-garde approach. [8] It published poems in their original languages. [3] The magazine published a special issue on Italian futurism in December 1922. [9] Michel Seuphor and Jozef Peeters were the editors of Het Overzicht of which regular contributors included Geert Grub, Georges Walz, Alice Nahon, [5] Victor Brunclair , Leo Steiner, Gaston Burssens and Michel Seuphor. [2]
The last issue of Het Overzicht was published in February 1925. [2] All issues of the magazine are archived in the Middelheim Museum, Antwerp. [2]
The Manifesto of Futurism is a manifesto written by the Italian poet Filippo Tommaso Marinetti and published in 1909. Marinetti expresses an artistic philosophy called Futurism that was a rejection of the past and a celebration of speed, machinery, violence, youth and industry. It also advocated for the modernization and cultural rejuvenation of Italy.
Cubo-Futurism or Kubo-Futurizm was an art movement, developed within Russian Futurism, that arose in early 20th century Russian Empire, defined by its amalgamation of the artistic elements found in Italian Futurism and French Analytical Cubism. Cubo-Futurism was the main school of painting and sculpture practiced by the Russian Futurists. In 1913, the term "Cubo-Futurism" first came to describe works from members of the poetry group "Hylaeans", as they moved away from poetic Symbolism towards Futurism and zaum, the experimental "visual and sound poetry of Kruchenykh and Khlebninkov". Later in the same year the concept and style of "Cubo-Futurism" became synonymous with the works of artists within Ukrainian and Russian post-revolutionary avant-garde circles as they interrogated non-representational art through the fragmentation and displacement of traditional forms, lines, viewpoints, colours, and textures within their pieces. The impact of Cubo-Futurism was then felt within performance art societies, with Cubo-Futurist painters and poets collaborating on theatre, cinema, and ballet pieces that aimed to break theatre conventions through the use of nonsensical zaum poetry, emphasis on improvisation, and the encouragement of audience participation.
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Fernand Berckelaers, pseudonym Michel Seuphor, was a Belgian painter.
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Jozef Peeters (1895–1960) was a Belgian painter, engraver and graphic artist.
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Hubrecht (Huib) Hoste was a Belgian architect, designer and urban planner. He is considered the pioneer of modern architecture in Belgium.
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Prometeo was a monthly avant-garde magazine which existed between 1908 and 1912 in Madrid, Spain. The magazine was established by the avant-garde writer Javier Gómez de la Serna. Its subtitle was revista social y literaria.
Noi: Rivista d’arte futurista was an avant-garde magazine which adopted a futurist stance. It was published in Rome between 1917 and 1925. Its subtitle was Raccolta internazionale d’arte d’avanguardia.
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Grecia was a literary magazine which was published from 1918 to 1920 in Spain. Its subtitle was Revista Decenal de Literatura. Later it was redesigned as Revista de literatura. It was a traditionalist as reflected in its title and modernist publication in the early years, but later adopted an avant-garde approach and became the flagship of the ultraísmo.
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