20107521
Description
Flashcards by Yiyi Zhang, updated more than 1 year ago
|
Created by Yiyi Zhang
over 4 years ago
|
|
| Question | Answer |
| Surrealism | Only by giving form to the unconscious could an artist achieve the authenticity and originality essential for a work of aesthetic genius. |
| Max Ernst Surrealism Ernst is a principal founder of the wing of Surrealism that utilized Magic Realism—that is, precisely delineated, recognizable objects, distorted and transformed, but nevertheless presented with a ruthless realism that throws their newly acquired fantasy into shocking relief. The images are unrelated on a rational level; some are threatening (the elephant), while others are less explicable (the beckoning torso). It appeals to the level of perception below consciousness. | |
| Max Ernst Surrealism Of all the menageries and hybrid creatures that Ernst invented, he most closely identified with the image of the bird, eventually adopting one of his inventions, named Loplop, as a kind of surrogate self-image. the traditional technique is applied to an incongruous or unsettling subject. The pageantry and elegance of the image are contrasted with its primitivizing aspects—the garish colours, the animal and monster forms. | |
| Yves Tanguy Surrealism “Biomorphic” form of surrealism – letting the unconscious mind suggest forms. Abstract, but forms suggest objects or things – ie. they aren’t “pure” forms as in suprematist or constructivist compositions. | |
| Salvador Dali Surrealism It is a denial of every twentieth-century experiment in abstract organization. Its miniaturist technique (the painting is only just over a foot wide) goes back to fifteenth-century Flemish art, and its sour greens and yellows recall nineteenth-century chromolithographs. Throughout his career, Dalí was obsessed with the morphology of hard and soft. Here, lying on the ground, is a large head in profile, seemingly devoid of bone structure. | |
| Rene Magritte Surrealism This work confounds pictorial reality and underscores Magritte’s fascination with the relationship of language to the painted image. It undermines our natural tendency to speak of images as though they were actually the things they represent. | |
| Meret Oppenheim Surrealism In Oppenheim’s hands, this emblem of domesticity and the niceties of social intercourse metamorphosed into a hairy object that is both repellent and eroticized, the consummate fetish. Conjuring both desire and dread, Oppenheim’s Object revels in Freudian erotic ambivalence and sexual anxiety | |
| Claude Cahun Surrealism She confronted directly the psychological as well as physical significance of sexual identity. Her self-portraits capture an uncannily androgynous figure, often sporting the costume and accoutrements of a decidedly masculine occupation. | |
| Dora Maar (had a relationship with Picasso) Surrealism The image is highly erotic, intensely dreamlike, and suggestive of deep latent desires. | |
| Dorothea Tanning (wife of Ernst) Surrealism she claimed, “It’s necessary to paint the lie so great that it becomes the truth.” The doll is remarkably life-like and wears similar clothing to the girl standing nearby. Her status as a toy is only revealed by her hairline and the regularly moulded contours of her torso. | |
| Lee Miller (had a relationship with Man Ray) Surrealism The “portrait” might encompass the entire vista framed by the window, or it might be the small patch of space, empty except for a wisp of cloud, enclosed by the picture frame attached so inexplicably to the netting. | |
| Leonora Carrington Surrealism The work is closely tied to Celtic mythology and memories of her childhood. These are themes that she explored in her literary works: in two of her short stories, the protagonists befriend, respectively, a hyena and a rocking horse, both of which have magical powers. |
Want to create your own Flashcards for free with GoConqr? Learn more.