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Neo-Fauvism was a poetic style of painting from the mid-1920s proposed as a challenge to Surrealism. [1]
The magazine Cahiers d'Art was launched in 1926 and its writers mounted a challenge to the Surrealist practice of automatism by seeing it not in terms of unconscious expression, but as another development of traditional artistry. They identified a group of artists as the exponents of this and termed them Neo-Fauves. [1]
Although these artists were later mostly forgotten, the movement had an effect of disillusioning the Surrealist group with the technique of graphic automatism as a revolutionary means of by-passing conventional aesthetics, ideology and commercialism. [1]
Neo-Fauvism has been seen as the last trend within painting that could be marketed as a coherent style. [2]
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This is an alphabetical index of articles related to the painting.
Surrealism was a cultural movement which developed in Europe in the aftermath of World War I and was largely influenced by Dada. The movement is best known for its visual artworks and writings and the juxtaposition of uncommon imagery. Artists painted unnerving, illogical scenes, sometimes with photographic precision, creating strange creatures from everyday objects, and developing painting techniques that allowed the unconscious to express itself. Its aim was, according to leader André Breton, to "resolve the previously contradictory conditions of dream and reality into an absolute reality, a super-reality", or surreality.
Surrealist automatism is a method of art-making in which the artist suppresses conscious control over the making process, allowing the unconscious mind to have great sway. Early 20th-century Dadaists, such as Hans Arp, made some use of this method through chance operations. Surrealist artists, most notably André Masson, adapted to art the automatic writing method of André Breton and Philippe Soupault who composed with it Les Champs Magnétiques in 1919. The Automatic Message (1933) was one of Breton's significant theoretical works about automatism.
Joan Miró i Ferrà was a Spanish painter, sculptor, and ceramicist born in Barcelona. A museum dedicated to his work, the Fundació Joan Miró, was established in his native city of Barcelona in 1975, and another, the Fundació Pilar i Joan Miró, was established in his adoptive city of Palma de Mallorca in 1981.
Surrealism in art, poetry, and literature uses numerous techniques and games to provide inspiration. Many of these are said to free imagination by producing a creative process free of conscious control. The importance of the unconscious as a source of inspiration is central to the nature of surrealism.
Modern art includes artistic work produced during the period extending roughly from the 1860s to the 1970s, and denotes the styles and philosophies of the art produced during that era. The term is usually associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation. Modern artists experimented with new ways of seeing and with fresh ideas about the nature of materials and functions of art. A tendency away from the narrative, which was characteristic for the traditional arts, toward abstraction is characteristic of much modern art. More recent artistic production is often called contemporary art or postmodern art.
Conroy Maddox was an English surrealist painter, collagist, writer and lecturer; and a key figure in the Birmingham Surrealist movement.
Ithell Colquhoun was a British painter, occultist, poet and author. Stylistically her artwork was affiliated with surrealism. In the late 1930s, Colquhoun was part of the British Surrealist Group before being expelled because she refused to renounce her association with occult groups.
Tel Aviv Museum of Art is an art museum in Tel Aviv, Israel.
The following outline is provided as an overview of and topical guide to painting:
The Birmingham Surrealists were an informal grouping of artists and intellectuals associated with the Surrealist movement in art, based in Birmingham, England from the 1930s to the 1950s.
Twentieth-century art—and what it became as modern art—began with modernism in the late nineteenth century. Nineteenth-century movements of Post-Impressionism, Art Nouveau and Symbolism led to the first twentieth-century art movements of Fauvism in France and Die Brücke in Germany. Fauvism in Paris introduced heightened non-representational colour into figurative painting. Die Brücke strove for emotional Expressionism. Another German group was Der Blaue Reiter, led by Kandinsky in Munich, who associated the blue rider image with a spiritual non-figurative mystical art of the future. Kandinsky, Kupka, R. Delaunay and Picabia were pioneers of abstract art. Cubism, generated by Picasso, Braque, Metzinger, Gleizes and others rejected the plastic norms of the Renaissance by introducing multiple perspectives into a two-dimensional image. Futurism incorporated the depiction of movement and machine age imagery. Dadaism, with its most notable exponents, Marcel Duchamp, who rejected conventional art styles altogether by exhibiting found objects, notably a urinal, and too Francis Picabia, with his Portraits Mécaniques.
Helen Lundeberg (1908–1999) was a Southern Californian painter. Along with her husband Lorser Feitelson, she is credited with establishing the Post-Surrealist movement. Her artistic style changed over the course of her career, and has been described variously as Post-Surrealism, Hard-edge painting and Subjective Classicism.
The history of Western painting represents a continuous, though disrupted, tradition from antiquity until the present time. Until the mid-19th century it was primarily concerned with representational and Classical modes of production, after which time more modern, abstract and conceptual forms gained favor.
Lorser Feitelson (1898–1978) was an artist known as one of the founding fathers of Southern California-based hard-edge painting. Born in Savannah, Georgia, Feitelson was raised in New York City, where his family relocated shortly after his birth. His rise to prominence occurred after he moved to California in 1927.
20th-century Western painting begins with the heritage of late-19th-century painters Vincent van Gogh, Paul Cézanne, Paul Gauguin, Georges Seurat, Henri de Toulouse-Lautrec, and others who were essential for the development of modern art. At the beginning of the 20th century, Henri Matisse and several other young artists including the pre-cubist Georges Braque, André Derain, Raoul Dufy and Maurice de Vlaminck, revolutionized the Paris art world with "wild", multi-colored, expressive landscapes and figure paintings that the critics called Fauvism. Matisse's second version of The Dance signified a key point in his career and in the development of modern painting. It reflected Matisse's incipient fascination with primitive art: the intense warm color of the figures against the cool blue-green background and the rhythmical succession of the dancing nudes convey the feelings of emotional liberation and hedonism.
Women Surrealists are women artists, photographers, filmmakers and authors connected with the Surrealism movement, which began in the early 1920s.
Fauvism /fʊvism/ is the style of les Fauves, a group of early 20th-century modern artists whose works emphasized painterly qualities and strong color over the representational or realistic values retained by Impressionism. While Fauvism as a style began around 1904 and continued beyond 1910, the movement as such lasted only a few years, 1905–1908, and had three exhibitions. The leaders of the movement were André Derain and Henri Matisse.
Ramses Younan, was an Egyptian painter and writer. He work is most commonly associated with the Art and Liberty Group, a Cairo-based surrealist collective of artists, writers, intellectuals and activists with an anti-nationalist message.