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Roy Lichtenstein: Conversations with Surrealism

Формат:      Страниц 130
     твердый переплет
Stuckey C.    
Art Book Cologne    
1242 руб
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Conversations with Surrealism offers a glimpse into the development of some of Lichtenstein' s best-known motifs, including his "self-portraits", in which various objects represent the artist' s head and face. Includes a work of short fiction by Frederic Tuten, author of The Green Hour. Charles Stuckey writes in his essay "Lichtenstein and Surrealism" that, "Searching for a worldwide audience in the 1930s, the Surrealists nowhere received more welcome than in the United States, with important exhibitions at the Wadsworth Athenaeum in Hartford and The Museum of Modern Art in New York. The Julien Levy Gallery quickly became something of an official New York headquarters. By the 1940s when Lichtenstein attended art school at Ohio State University, Surrealism was widely acclaimed as the matrix style for contemporary American abstract art". So no one should be surprised that the young Lichtenstein' s work of that era is "fundamentally Surrealist in spirit", and that the style that influenced him as a young man would carry over into his life' s work. The paintings and works on paper in Conversations with Surrealism show the movement' s continuing power and inspiration through to the 1970s, when Lichtenstein drew on the work of Dali, Magritte and Picasso. The works from this series endow Surrealist archetypes such as dreamlike landscapes with Lichtenstein' s distinctive style, weaving the artist himself into an art-historical narrative.
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Сюрреализм Сюрреализм (Surrealism), модернистское (модернизм) направление в литературе, изобразительном искусстве и кино, зародившееся во Франции в 1920-х гг. и оказавшее большое влияние на западную культуру. Для Сюрреализма характерно пристрастие ко всему причудливому, иррациональному, не соответствующему общепринятым стандартам. Само движение было разнородным, но ставило своей основной целью раскрепощение творческих сил подсознания и их главенство над разумом. В определённый мере предшественниками сюрреалистов были дадаисты (дадаизм). Теоретик и основоположник С. Андре Бретон утверждал, что это направление должно разрешить противоречие между мечтой и действительностью и создать некую абсолютную реальность, сверхреальность. Несмотря на все попытки Бретона сплотить сюрреалистов, им недоставало единодушия: они постоянно спорили, выступали с взаимными обвинениями и исключали из своих рядов несогласных. В основе Сюрреализма лежат теория Фрейда о подсознании и его метод "свободных ассоциаций" для перехода из сознания в подсознание. Однако формы выражения этих идей были у сюрреалистов весьма различны.

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Edward Robinson, an associate curator at the Los Angeles County Museum of Art, describes Lambrecht' s process and approach. In her essay Dorothy Lichtenstein, wife of the artist, recalls the collegial atmosphere of the studios in New York and Southampton in the early 1990s, a time of extraordinary productivity. Lichtenstein is shown working on two major series, Reflections and The Interiors. He is completely absorbed, oblivious to the camera, as he mounts ladders, assembles colors, composes, and steps back to consider the effect. She and the artist worked together daily, and the bond between them is evident in the photographs. During this period Lambrecht assisted in gathering material for a major retrospective at the Guggenheim Museum in New York. As a result, the photographs include scrapbooks and sketchbooks and other archival material that document Lichtenstein' s entire career. There are stencils of Ben-Day dots, clippings from newspapers and comic books, Polaroid snapshots, rolls of tape, and boxes of colored pencils.
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