Fauvism

En comparant l’approche particulière du nu par les peintres de Die Brücke avec celle de Matisse, Derain et Van Dongen, ce texte propose une variation dans l’appréciation du lien entre l'homme et la nature traité de manière spécifique par les artistes allemands en raison de leur désir de communion dans l'art comme dans la vie.

In Pursuit of Universalism is the first comprehensive, English-language study of early twentieth-century Japanese modern art. In this groundbreaking work, which is also the inaugural recipient of the Phillips Book Prize (awarded by the Phillips Collection Center for the Study of Modern Art), Alicia Volk constructs a critical theory of artistic modernism in Japan between 1900 and 1930 by analyzing the work of Yorozu Tetsugorô, whose paintings she casts as a polemic response to Japan's late-nineteenth-century encounter with European art. Volk places Yorozu at the forefront of a movement that sought to define Japanese art's role in the world by interrogating and ultimately refusing the opposition between East and West. Instead, she vividly demonstrates how Yorozu reframed modern art's dualistic underpinnings and transposed them into an inclusive and synthetic relation between the local and the universal. By looking closely at questions of cultural exchange within modern art, In Pursuit of Universalism offers a new and vital account of both Japanese and Euroamerican modernism. Volk's pioneering study builds bridges between the fields of modern and Asian art and takes its place at the forefront of the emerging global history of modern art.

Reviews:
“Masterfully written. . . . Alicia Volk embarks upon a fascinating journey to develop an alternative perspective for narrating the complexities of the Japanese art scene. . . . Volk’s stimulating book definitively illuminates a new horizon for the field of modern Asian art. . . . It is precisely what the discipline needs.”— Journal Of Oriental Studies

“Forceful and eloquent. . . . Volk masterfully unravels the knotty strands that coalesced to shape one individual artist’s perception of self and his work within existing academic, institutional, and professional structures. . . . [The] book deserves praise for being a substantially rigorous and provocative probe into the search for universalism in a differentiated world.”—International Journal Of Asian Studies

“Deserves to be read by all historians of modern art and East Asian culture.”—Journal Of Asian Studies

“An impressive book, beautifully produced and sustaining intellectual rigour with its detailed, stimulating research.”— Japanese Studies

“Excellent. . . . Exquisitely written.”—The Art Bulletin

"Written beautifully and compellingly... Volk has made an important contribution to the growing literature on alternative artistic modernisms." --The Journal of Japanese Studies

"In presenting readers with this most cogent argument for the emergence of Japanese modernism through the artistic engagement of one of its central players Volk has made a genuinely original contribution to the field."--New Zealand Journal of Asian Studies

"This is an... intellectually nourishing read, in which Volk's voluminous knowledge of art movements and discourse creates a text of commanding erudition."--The Japan Times

“Volk's impressive study rethinks the East-West binary often reiterated in discussions of Japanese modernism by reinserting local aspects into the universalizing tendencies of modernism itself. The book makes an important contribution to the growing literature on modern Japanese art history by providing an alternative comparative framework for understanding the global development of modernism that decenters Euro-America. Rigorously historical in her critique, Volk destabilizes our understanding of the Japanese experience of modernity through the prism of Yorozu's singular vision of the self, leaving us questioning conventional wisdom and contented to wobble.”—Gennifer Weisenfeld, Duke University

“In Volk's affectingly stunning and deeply reflective study of the Japanese artist Yorozu Tetsugorō's work between 1910-1930, we have a profoundly historical reminder of how modernism everywhere struggled to meet the demands of the new with the readymades of received artistic practices. In this study of Yorozu's utopian universalist project, Volk has imaginatively broadened our understanding of the modernist moment and perceptively captured its global program to unify art and life, contemporary culture and history.”—Harry Harootunian, author of Overcome by Modernity: History, Culture and Community in Interwar Japan

Fauvism, the first twentieth-century movement in modern art, was initially inspired by the examples of Vincent van Gogh, Paul Gauguin, Georges Seurat, and Paul Cézanne. The Fauves ("wild beasts") were a loosely allied group of French painters with shared interests. Several of them, including Henri Matisse, Albert Marquet, and Georges Rouault, had been pupils of the Symbolist artist Gustave Moreau and admired the older artist's emphasis on personal expression. Matisse emerged as the leader of the group, whose members shared the use of intense color as a vehicle for describing light and space, and who redefined pure color and form as means of communicating the artist's emotional state. In these regards, Fauvism proved to be an important precursor to Cubism and Expressionism as well as a touchstone for future modes of abstraction.
Fauvism as a style began around 1900 and continued beyond 1910, the movement as such lasted only a few years, 1904–1908, and had three exhibitions. The leaders of the movement were Henri Matisse and André Derain.

The conceptualised period of 'Modernism' and its impression within the Art-world, is understood to be typified by the rejection of tradition (English and Quin 2009). This concept of 'stepping outside' of traditional style, pre-established artistic movements, and previous techniques – consequently contributed to the development of this period, as acknowledged by artists, historians, and scholars alike. 'Modernism', as considered in contemporary-discussion, owes in great part to its artistic-predecessors and 'traditional masters'. This essay will provide and in-depth analysis of six European artistic-works created between 1860 and 1935; the period in which Modernism, and various movements and sub-movements (that will be discussed), originated.

Il tema approfondito in questa tesi di laurea triennale è il metodo psicanalitico applicato alla critica d’arte: la commistione di queste scienze misteriose e affascinanti che, fondendosi, indagano sulla Creazione Artistica e sul Genio creativo che traspone il proprio inconscio nella sua opera. L’obiettivo è dare una valutazione della validità di questo interessante approccio critico, alla luce di un percorso che, partendo dagli ultimi esiti, a ritroso torna all’origine della psicanalisi nell’arte e sviscera tutti i contributi più importanti del XX secolo.

à 63. o GRAMMONT Claudine, « La grammaire des poses », pages 64 à 87. o GRAMMONT Claudine, « Une danse immobile », pages 88 à 115. o MONOD-FONTAINE Isabelle, « Du portrait au visage », pages 116 à 141. o MONOD-FONTAINE Isabelle, « La séance de pose », pages 152 à 169. o THERY Anne, « La forme odalisque », pages 152 à 170. o MONOD-FONTAINE Isabelle, « Cinématographie. Thèmes et variations », pages 240 à 267. o MONOD-FONTAINE Isabelle, « Du visage au masque », pages 284 à 301. o THERY Anne, « La fabrique des « Notes d'un peintre sur son dessin » », pages 322 à 329. o RAMOND Sylvie, « Matisse et Lyon », pages 330 à 359. o FOURCADE Dominique, « Quarante ans après », pages 360 à 370. Ø Dossier de presse, Henri Matisse : le laboratoire intérieur in MBA Lyon

El Fauvismo, una de las corrientes artísticas de las Vanguardias Históricas nacidas en los primeros años del siglo XX, posee ciertas particularidades que dificultan su estudio y sistematización. Sin embargo, sus planteamientos teóricos y estéticos se encuentran en el origen de los principales ismos gestados durante esos primeros años, claves en la Historia del Arte. El epicentro de esa nueva modernidad se encontraba en París, donde acuden muchos españoles para formarse, siendo el análisis de ellos doblemente enriquecedor al permitir apreciar ideales estéticos internacionales asimilados desde una óptica propia con los particularismos inherentes a toda nación. Con todo ello, es necesario atender a la asimilación en el contexto español de un movimiento tan moderno y " fiero " en su momento como fue el Fauvismo a través de dos figuras poco conocidas pero poseedoras de un gran refinamiento cultural y creadoras de obras de una elevada calidad estética: Francisco Iturrino y Juan de Echevarría. Ambos, amigos y paisanos, descubrieron y transformaron su estilo artístico tras estancias en París y en el luminoso sur español. Además, las relaciones con afamados personajes de la cultura finisecular de nuestro país aportan un horizonte de influencias sintetizadas por cada uno de ellos de un modo original y moderno. Aunque no fueron tan aplaudidos en vida como otros artistas coetáneos y tras su desaparición tampoco fueron estudiados en el grado que merecen, las obras de ambos están presentes en importantes colecciones nacionales y en el mercado del arte, revelando su valoración un ámbito de venta nacional o internacional con precios medios y bajos.

Ze „Wstępu”:
Próba przedstawienia Wielkiej Awangardy jako artystycznej rebelii przeciwko zjawisku masowości nie jest zadaniem łatwym, przede wszystkim ze względu na złożoność znaczeniową pojęć niezbędnych do jej analizy. Istnieje wiele różnych teorii kultury masowej, podobnie jak wiele jest definicji takich pojęć, jak: masa, elita czy społeczeństwo masowe. Również formacja Wielkiej Awangardy pozostaje zjawiskiem, które wymyka się sztywnym definicyjnym ramom i podejmując próbę jej określenia, można polegać jedynie na ogólnych wyznacznikach i cechach awangardyzmu pierwszej połowy XX wieku, na które wskazują jego badacze. Celem książki jest zatem zbiorcze i popularyzatorskie przedstawienie analizowanej problematyki w świetle istniejącej literatury podmiotu oraz opracowań. Autorka ogranicza się do wybranych koncepcji wyszczególnionych powyżej zagadnień, skupiając się na społecznej i estetycznej myśli Ortegi y Gasseta, w kontekście której wybrane nurty formacji Wielkiej Awangardy zostają przedstawione jako artystyczna rebelia przeciwko dominującemu w XX wieku zjawisku masowości.

Between 1908 and 1945 Béla Bartók's personal (and musical) influence can be shown on various modern Hungarian artist groups, such as the hungarian Fauves, The Eights, cubists, Kassák and his activist circle, or on the “Szentendre program” of Dezső Korniss and Lajos Vajda. - in hungarian language.

A presente labor escrita ten como obxectivo o estudo do pensamento artístico de Luís Seoane. Así pois, nas liñas sucesorias tentarase abordar a interpretación que dito artista facía de Galicia a través da súa obra. Por esta mesma razón a meta do presente traballo non é unha mera aproximación ao Seoane pintor, senón que se pretende abordar toda a súa creación artística —pintura, debuxo, poesía, novela histórica, cerámica...— que envorcou sobre a cultura galega a modo de panfleto propagandístico, en clave socialista e con pretensións universalistas. En definitiva, non nos interesa tanto a análise formal da súa obra como a temática que aborda nesta. É unha temática que acompañou a Luís Seoane ao longo de toda a súa carreira intelectual e que empregou para inmortalizar e re-inventar á súa terra anhelada: Galicia.

Emilio Mantelli was one of the main xylography artists renowned both nationally and internationally in the early 20th century. Although very characterized, his most mature works follow a specific line of research shared by many other artists from his own generation that foresees the recovery of the ‘primitives’ art that defines the Fauve-expressionism movement. Specifically, the wood engravings created by the Ligurian artist in the first decade of the 20th century perfectly interact with the works of the leading characters from the same movement at the very same time such as the Italian primitivists, the French fauve, the Fauvisme brabançon representatives in Belgium and last but not least the Die Brücke German expressionists.

Sztuka Wielkiej Awangardy była niewątpliwie unikatowym zjawiskiem w historii artystycznej działalności człowieka. Nadrzędną ideą, która przyświecała twórcom awangardowym było uwolnienie sztuki z wpływu tradycji i skostniałego akademizmu. Zerwanie ze stylistyką mimesis i utylitaryzmem miało ponadto ocalić sztukę od jej umasowienia i dewaluacji. Awangardyści postulowali także powrót do czysto estetycznych wartości sztuki, propagując hasło „sztuki dla sztuki”.
Już w 1925 roku hiszpański filozof José Ortega y Gasset pisał o procesie elitaryzacji sztuki, którego fundamentem miał być intelektualistyczny zwrot ku formom zdehumanizowanym.
Celowa elitaryzacja sztuki, jakiej w ocenie filozofa dokonali artyści Wielkiej Awangardy, polegała na radykalnym odejściu od from humanizujących czyli bliskich człowiekowi i na zasadzie podobieństwa, łatwo rozpoznawalnych w dziele. Sztukę tradycyjną uważał Ortega za sztukę „bezpośredniej rozkoszy”, która pojawia się u odbiorcy w momencie rozpoznawania w dziele form znanych mu z otaczającej rzeczywistości. Sztuka awangardowa miała być sztuką wymagającą pracy intelektu i wyobraźni. Rozkosz płynąca z obcowania z tego rodzaju sztuką była zatem wynikiem intelektualnego zaangażowania odbiorcy. Tym samym, według Ortegi, zawężał się potencjalny krąg odbiorców nowego rodzaju sztuki. Jak twierdził filozof sztuka awangardowa była intelektualnie niedostępna dla przedstawiciela masy: człowieka o ograniczonych horyzontach, niewykształconego, zadowalającego się estetyczną bylejakością i powtarzalnością. Wielka Awangarda miała być sztuką dla elity, rozumianej jako mniejszość społeczna, wykształcona, dążąca do samorozwoju i podejmująca wysiłek poznawania i budowania świata.
Referat ma na celu analizę sztuki Wielkiej Awangardy jako Ortegiańskiej sztuki zdehumanizowanej, odwołującej się do intelektu, jako jedynego właściwego narzędzia do jej odbioru. Postaram się wykazać, że sztuka awangardowa była sztuką intelektualnej rozkoszy, realizującą postulat powrotu do ideału „sztuki dla sztuki”. Samo pojęcie intelektualnej rozkoszy zostanie także przedstawione jako współczesny czynnik socjotwórczy czyli mający wpływ na kształtowanie społeczeństw europejskich w pierwszych dekadach XX wieku.

Japan and Paris demonstrates the deep cross-cultural nature of art in Japan from about 1880 to 1930. Illustrated with masterpieces from Japanese collections by Matisse, Renoir, Toulouse-Lautrec, Corot, Cézanne, and Monet, it explores the history of collecting Western art in Japan and its influence on Japanese modern art. In particular, it addresses the development of Western-style modernist impulses as Japan's early interest in the Barbizon School extended to include modes of expression such as Impressionism, Postimpressionism, Symbolism, Cubism, and Fauvism. In addition to showcasing works by some of the best-known French and European painters, works by Japanese artists who were instrumental in the introduction of Western modes of expression to Japan are included, such as Kojima Zenzaburo, Kume Keiichiro, Maeta Kanji, Mitsutani Kunishiro, and Fujita Tsuguharu.

Contributions by Alicia Volk include:

Essay:
1. "‘A Unified Rhythm:’ Past and Present in Japanese Modern Art

Short Essays:
2. "Early Japanese Collecting: The Barbizon School and Other French Painting"
3. "Cézanne and His Influence"
4. "The Nude"
5. "Renoir and Japan"
6. "Matisse and Japan"
7. "Reflections East and West"

Entries:
8. Asai Chû, Fields in Spring
9. Kume Keiichirô, Gathering Apples
10. Kojima Torajirô, Morning Light
11. Morita Tsunetomo, Scene in Aizu
12. Saeki Yûzô, Restaurant (Hôtel du Marché)
13. Kume Keiichirô, Nude
14. Kojima Zenzaburô, Woman with a Mirror
15. Maeta Kanji, A Nude Woman
16. Umehara Ryûzaburô, Narcissus
17. Yorozu Tetsugorô, Head of a Woman (Woman with a Boa)
18. Wada Eisaku, Portrait of Mrs. H
19. Kishida Ryûsei, Self-Portrait
20. Fujita Tsuguharu, Portrait of Anna de Noailles
21. Fujita Tsuguharu, Interior (My Wife and Me)
22. Mitsutani Kunishirô, Scarlet Rug

Esistono artisti del periodo entre-deux-guerres che a lungo sono stati riconosciuti come “classici Moderni” e che oggi tuttavia faticano a destare in noi un favore senza riserve. Joan Mirò è tra questi. Troppe mostre. troppi quadri “tardi”, troppi luoghi comuni sedimentati sulla sua opera.

Mirò non è per niente un artista di “avanguardia”, anche se si è sforzato a lungo di rendere meno intimo e idiosincratico il suo mondo figurativo; e addirittura di adattarsi a una precisa ortodossia. Personalmente sono convinto che la sua attività più interessante resti quella catalana giovanile, precedente il trasferimento a Parigi e l’ingresso nella cerchia surrealista. Un’attività per niente "astratta", al contrario, minuziosamente figurativa, caratterizzata da liquidi colori di smalto o vetrata, narrazioni localistiche e piccoli formati concepiti come testi. Qui, tra minuti dettagli umoristici e attitudini al “canto d’amore”, spuntano citazioni da repertori rari e desueti, come la miniatura mozarabica; e l’interesse per i primitivi catalani nutre la reinvenzione fantastica di “geografie affettive”.

Ne scrivo nel Dossier #334 di Art e Dossier, luglio 2016: soffermandomi sul primo periodo di Mirò e sulla svolta “internazionalista” degli anni Venti e Trenta.

Gli anni apicali del Picasso "primitivista" e "cubista" (1907-1914) reinterpretati attraverso la competizione con Braque e (soprattutto) Matisse da un lato, l'esplorazione infero-caricaturale di tradizioni devianti e disperse dall'altro: riprendono vita, nel laboratorio picassiano, repertori perduti e appena in via di riemersione al tempo, latamente identitari per un artista catalano, come la miniatura mozarabica o la scultura iberico-romana.

Se cumplen cien años del nacimiento de Carlos Nadal Ferreres (París, 1917 – Sitges, 1998), uno de los últimos fauves. Cultivó la pintura con un estilo propio, colorista y vital heredero de la joie de vivre fauvista. Como artista exitoso, sus obras se exponen en galerías nacionales e internacionales y está presente en numerosas colecciones, en su mayoría particulares. Aunque Nadal no fue coleccionista, resulta interesante analizar las series tituladas “Colecciones” o “Interiores” donde reúne cuadros-homenaje de sus principales referentes artísticos. Su presencia en el mercado primario y secundario es valorada internacionalmente de forma constante. Con todo, sorprende descubrir la inexistencia de estudios en castellano sobre Carlos Nadal, habiendo recurrido a fuentes primarias e inéditas. Por ello, una buena forma de celebrar su destacada trayectoria es acercándonos a esta sugerente figura.

This year we will commemorate the 100th birth anniversary of Carlos Nadal Ferreres (Paris, 1917 – Sitges, 1998), one of the last fauves. Nadal’s own painting style, coloristic and lively, inherited of the fauvist´s joie de vivre. As a successful artist, his
artworks will be displayed in national and international galleries and it is part of many collections, most of them private. Although Nadal was not a collector, it is interesting to analyse the series of “Collections” or “room interiors” where he presents homagepaintings of his main art references. His presence on primary and secondary art markets is internationally and constantly appreciated. However, it is surprising to discover the lack of studies in Spanish about Carlos Nadal. I have studied principal sources and unpublished documentation. Therefore, a good way to commemorate his distinguished career is to elucidate this intriguing figure.

"""With contributions by Laird M. Easton, Claudine Grammont, Cathérine Hug mit Georg Baselitz und Robert Menasse, Frauke Josenhans, Katherine Kuenzli, Peter Kropmanns, Magdalena M. Moeller, Sherwin Simmons. The German museum edition includes a 127-page supplement containing the essays in English, including the bibliography. All essays except the final chapter (Cathérine Hug's conversation with Georg Baselitz and Robert Menasse) appear in English in the forthcoming exhibition catalog German Expressionism in Germany and France: From Van Gogh to Kandinsky (Prestel and Los Angeles County Museum of Art, 2014) and in French in the forthcoming De Van Gogh et Gauguin à Kirchner et Kandinsky : L'Expressionnisme allemand et la France (Prestel with the Musée des Beaux-Arts de Montréal, 2014). Illustrations in the German edition differ from those of the English and French editions because of differences in the checklist for the Zurich venue."

Bernard Berenson's fame is primarily linked to his work as a connoisseur and scholar of ancient art. His relationship with contemporary art has rarely been investigated and periodized. When it was done, in studies of great merit, however, Berenson was criticized for his anti-modernist prejudice and the aversion to abstract art. After decades, we can now change the point of view: not only because abstract art is no longer an indisputable and normative reference for us, but above all because we can consider with renewed interest the multiplicity of perspectives underlying the reflection of Berenson on fauvism, cubism and surrealism, muralism and social realism: perspectives that are civil, historical, political and religious no less than aesthetic. Here in my essay it is not only the "civil" Berenson who occupies the foreground - a “public intellectual” of the kind we rarely encounter in art history - but Berenson as critic, scholar of aesthetics and art theory, whose teachings about «tactile values» contribute directly, to a considerable extent and to date scarcely considered, to the self-reflection of painters such as Matisse or Braque and to their fruitful approach to ancient art.

Albert Marquet’s China ink and orien- tal brush drawings were apparently made without knowing the work of Bada Shanren. From the analysis of the graphic production of both and bibliographic research, the text highlights the similarities and apparent conceptual relation- ship to construct a work hypothesis, still under development, that can definitively establish the true nature of the affinities identified between the two artists.

In Pursuit of Universalism is the first comprehensive, English-language study of early twentieth-century Japanese modern art. In this groundbreaking work, which is also the inaugural recipient of the Phillips Book Prize (awarded by the Phillips Collection Center for the Study of Modern Art), Alicia Volk constructs a critical theory of artistic modernism in Japan between 1900 and 1930 by analyzing the work of Yorozu Tetsugorô, whose paintings she casts as a polemic response to Japan's late-nineteenth-century encounter with European art. Volk places Yorozu at the forefront of a movement that sought to define Japanese art's role in the world by interrogating and ultimately refusing the opposition between East and West. Instead, she vividly demonstrates how Yorozu reframed modern art's dualistic underpinnings and transposed them into an inclusive and synthetic relation between the local and the universal. By looking closely at questions of cultural exchange within modern art, In Pursuit of Universalism offers a new and vital account of both Japanese and Euroamerican modernism. Volk's pioneering study builds bridges between the fields of modern and Asian art and takes its place at the forefront of the emerging global history of modern art. Reviews: “Masterfully written. . . . Alicia Volk embarks upon a fascinating journey to develop an alternative perspective for narrating the complexities of the Japanese art scene. . . . Volk’s stimulating book definitively illuminates a new horizon for the field of modern Asian art. . . . It is precisely what the discipline needs.”— Journal Of Oriental Studies “Forceful and eloquent. . . . Volk masterfully unravels the knotty strands that coalesced to shape one individual artist’s perception of self and his work within existing academic, institutional, and professional structures. . . . [The] book deserves praise for being a substantially rigorous and provocative probe into the search for universalism in a differentiated world.”—International Journal Of Asian Studies “Deserves to be read by all historians of modern art and East Asian culture.”—Journal Of Asian Studies “An impressive book, beautifully produced and sustaining intellectual rigour with its detailed, stimulating research.”— Japanese Studies “Excellent. . . . Exquisitely written.”—The Art Bulletin "Written beautifully and compellingly... Volk has made an important contribution to the growing literature on alternative artistic modernisms." --The Journal of Japanese Studies "In presenting readers with this most cogent argument for the emergence of Japanese modernism through the artistic engagement of one of its central players Volk has made a genuinely original contribution to the field."--New Zealand Journal of Asian Studies "This is an... intellectually nourishing read, in which Volk's voluminous knowledge of art movements and discourse creates a text of commanding erudition."--The Japan Times “Volk's impressive study rethinks the East-West binary often reiterated in discussions of Japanese modernism by reinserting local aspects into the universalizing tendencies of modernism itself. The book makes an important contribution to the growing literature on modern Japanese art history by providing an alternative comparative framework for understanding the global development of modernism that decenters Euro-America. Rigorously historical in her critique, Volk destabilizes our understanding of the Japanese experience of modernity through the prism of Yorozu's singular vision of the self, leaving us questioning conventional wisdom and contented to wobble.”—Gennifer Weisenfeld, Duke University “In Volk's affectingly stunning and deeply reflective study of the Japanese artist Yorozu Tetsugorō's work between 1910-1930, we have a profoundly historical reminder of how modernism everywhere struggled to meet the demands of the new with the readymades of received artistic practices. In this study of Yorozu's utopian universalist project, Volk has imaginatively broadened our understanding of the modernist moment and perceptively captured its global program to unify art and life, contemporary culture and history.”—Harry Harootunian, author of Overcome by Modernity: History, Culture and Community in Interwar Japan