... The scientific term Mantis religiosa is La Mante religieuse or Prie Dieux in French, Gottesan... more ... The scientific term Mantis religiosa is La Mante religieuse or Prie Dieux in French, Gottesanbeterin in ... so to speak."15 Metamorphosis embodies the vision of Breton, and the mantis is a ... Its capacity to change and transform de-rived primarily from camouflage techniques, which ...
synthesis of movement, sound and light. In general, it must be admitted, the Futurists were notor... more synthesis of movement, sound and light. In general, it must be admitted, the Futurists were notorious appropriators, but they nonetheless managed to create something new out of others’ ideas. They were the first to give the perceptual means priority over the text or the actor, and they were the first to create a systematic theory that dealt with all the aspects of these means. One of the main influences on the development of the Futurists’ stage lighting was the dancer Loei Fuller, who took the European stage by storm at the end of the 19th and beginning of the 20th century. For example, in her dances Le Lys (1897, Théâtre de Folies Bergères, Paris), or Le Papillon (1912, Théâtre de Bouffes Parisiens), Fuller created ‘dancing painting’ (tableau dancé). The socalled ‘paintings’ were comprised of arabesque and abstract moving forms of light and colors, which were created by moving the abundance of fabric that
a result that completely negated the aim of the cubists, since the object was the subject matter ... more a result that completely negated the aim of the cubists, since the object was the subject matter of their art. This development appears to have been a direct result of the way the analytical cubists represented the object. Assuming that the senses, although essential, were insufficient in themselves to clarify the essence of the object, they employed the following three aspects of simultaneity: a. Comprehensive simultaneity, expressing the need to present the spectator with the most obvious visual characteristics of the object, seen from several
The Surrealist movement was ostensibly a most avant-garde and liberal movement, which championed ... more The Surrealist movement was ostensibly a most avant-garde and liberal movement, which championed sexual liberation, revered the libido and the unconscious, and even called for relieving women of the burdens of household chores and the other traditional values of bourgeois society. In practice, however, Surrealist ideas as manifested in both artworks and writings, betray conservatism, male chauvinism and sexism. The key culprit is the movement "guru" André Breton. A conservative and homophobe, this professed revolutionary excluded from the movement anyone suspected of homosexuality. He criticized Giacometti for hanging out with gay friends and turned a cold shoulder to anyone who seemed to him too provocative sexually or in terms of gender identity, such as Pierre Molinier. He also excluded anyone who didn't following him in any other area, to the point where there were more Surrealist artists outside than within the movement. Although not all group members were as sexist as Breton, clearly the female image in Surrealist art was highly problematic, and despite the fact what women accompanied and even exhibited with the group, most found their place in the movement only thanks to a personal relationship with one of its male members. They were not recognized or publicly credited as artists, neither in catalogues nor in other writings, and therefore were absent from the Surrealist discourse and were not researched until the mid-1980's: One of first to study them was Whitney Chadwick in Women Artists and the Surrealist Movement (1985). It could be said that Surrealist women artists were discovered thanks to Feminist research. In fact, Surrealism
the first World War and the "Retour à l'ordre" (Return to order) F ollowing the First World War t... more the first World War and the "Retour à l'ordre" (Return to order) F ollowing the First World War the pessimistic atmosphere that enveloped Europe led to two contrasting reactions. The first, at the beginning of the 1920s, originating from an inability and refusal to cope with the chaos of the war, led to repressing its memory and seeking refuge in an organized and ordered world -a "return to order". In contrast, the second reaction, which developed in the middle of the 1920s, focusing on the human mind and drives, brought about a sense of the irrational and the quest for something beyond and above reality -Surrealism. In this article I intend to focus on the first reaction, the "return to order," which had an important influence on modern architecture.
... The scientific term Mantis religiosa is La Mante religieuse or Prie Dieux in French, Gottesan... more ... The scientific term Mantis religiosa is La Mante religieuse or Prie Dieux in French, Gottesanbeterin in ... so to speak."15 Metamorphosis embodies the vision of Breton, and the mantis is a ... Its capacity to change and transform de-rived primarily from camouflage techniques, which ...
synthesis of movement, sound and light. In general, it must be admitted, the Futurists were notor... more synthesis of movement, sound and light. In general, it must be admitted, the Futurists were notorious appropriators, but they nonetheless managed to create something new out of others’ ideas. They were the first to give the perceptual means priority over the text or the actor, and they were the first to create a systematic theory that dealt with all the aspects of these means. One of the main influences on the development of the Futurists’ stage lighting was the dancer Loei Fuller, who took the European stage by storm at the end of the 19th and beginning of the 20th century. For example, in her dances Le Lys (1897, Théâtre de Folies Bergères, Paris), or Le Papillon (1912, Théâtre de Bouffes Parisiens), Fuller created ‘dancing painting’ (tableau dancé). The socalled ‘paintings’ were comprised of arabesque and abstract moving forms of light and colors, which were created by moving the abundance of fabric that
a result that completely negated the aim of the cubists, since the object was the subject matter ... more a result that completely negated the aim of the cubists, since the object was the subject matter of their art. This development appears to have been a direct result of the way the analytical cubists represented the object. Assuming that the senses, although essential, were insufficient in themselves to clarify the essence of the object, they employed the following three aspects of simultaneity: a. Comprehensive simultaneity, expressing the need to present the spectator with the most obvious visual characteristics of the object, seen from several
The Surrealist movement was ostensibly a most avant-garde and liberal movement, which championed ... more The Surrealist movement was ostensibly a most avant-garde and liberal movement, which championed sexual liberation, revered the libido and the unconscious, and even called for relieving women of the burdens of household chores and the other traditional values of bourgeois society. In practice, however, Surrealist ideas as manifested in both artworks and writings, betray conservatism, male chauvinism and sexism. The key culprit is the movement "guru" André Breton. A conservative and homophobe, this professed revolutionary excluded from the movement anyone suspected of homosexuality. He criticized Giacometti for hanging out with gay friends and turned a cold shoulder to anyone who seemed to him too provocative sexually or in terms of gender identity, such as Pierre Molinier. He also excluded anyone who didn't following him in any other area, to the point where there were more Surrealist artists outside than within the movement. Although not all group members were as sexist as Breton, clearly the female image in Surrealist art was highly problematic, and despite the fact what women accompanied and even exhibited with the group, most found their place in the movement only thanks to a personal relationship with one of its male members. They were not recognized or publicly credited as artists, neither in catalogues nor in other writings, and therefore were absent from the Surrealist discourse and were not researched until the mid-1980's: One of first to study them was Whitney Chadwick in Women Artists and the Surrealist Movement (1985). It could be said that Surrealist women artists were discovered thanks to Feminist research. In fact, Surrealism
the first World War and the "Retour à l'ordre" (Return to order) F ollowing the First World War t... more the first World War and the "Retour à l'ordre" (Return to order) F ollowing the First World War the pessimistic atmosphere that enveloped Europe led to two contrasting reactions. The first, at the beginning of the 1920s, originating from an inability and refusal to cope with the chaos of the war, led to repressing its memory and seeking refuge in an organized and ordered world -a "return to order". In contrast, the second reaction, which developed in the middle of the 1920s, focusing on the human mind and drives, brought about a sense of the irrational and the quest for something beyond and above reality -Surrealism. In this article I intend to focus on the first reaction, the "return to order," which had an important influence on modern architecture.
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