Wyniki wyszukiwania - Biblioteka Nauki

1

The Color Red and its Pathetic Value in Abstract Expressionism and Late Surrealism

100%

Ippolito C.

|

nr 2

DE

Der Artikel enthält das Abstract ausschließlich in französischer und englischer Sprache.

EN

This essay analyses the dialogue between automatism and late surrealism on the color red, with a focus on the intensity shared by painting and literature. The starting point is a collective prose poem by André Breton, Élisa Breton, and Benjamin Péret. This poem, « Riopelle », written for an exhibition of Jean-Paul Riopelle’s automatist paintings in 1949, is included in Breton’s Le Surréalisme et la peinture.

FR

On analyse dans cet essai le dialogue entre art visuel (l’automatisme de Jean-Paul Riopelle) et surréalisme tardif sur la couleur rouge, notamment en termes d’intensité. Le point de départ est un poème en prose d’André Breton, Élisa Breton, et Benjamin Péret, écrit pour une exposition de 1949 et intitulé « Riopelle ». Ce texte a été repris dans Le Surréalisme et la peinture.

2

André Breton on French and Czech stages

100%

Orawczak Kunešová M.

|

tom 25

|

nr 1

87-108

EN

The study intends to explore the impact André Breton's plays had on the interwar stagings in France and Czechoslovakia. I will focus on two of Breton's plays, If You Please (written together with Soupault in 1919, staged in Paris in 1920 and in Prague in 1928) and Le Trésor des jésuites [The Treasure of the Jesuits] (written with Aragon in 1929, world premiere in Prague in 1935, not translated in English), and their staging specificities, including the context: reasons of their staging choice, translation, and reception. The intention of this study is to contribute to the debate regarding the relationship between French and Czech Surrealism.

3

O wędrówce tendencji w malarstwie z Europy do Nowego Świata, czyli Meksyk surrealistyczny

80%

Popczyk M.

|

nr 1(87)

5-26

PL

Kiedy w Europie wybuchła druga wojna światowa, w rządzonym przez Prezydenta Lázaro Cáredenasa Meksyku znalazła schronienie grupa europejskich surrealistów, do której należeli m.in. Wolfgang Paalen, Benjamin Péret, Leonora Carrington, Remedios Varo i Alice Rahon. Choć po zakończeniu konfliktu w Europie część z nich wróciła na Stary Kontynent, znaleźli się też tacy, którzy z Meksyku uczynili swoją drugą ojczyznę. Niniejszy artykuł w zwięzły sposób ukazuje proces przenoszenia idei surrealistycznych, przede wszystkim w malarstwie, ze Starego do Nowego Świata. Przedstawione zostały pierwsze kontakty surrealistów z Meksykiem, duchowe powiązania pomiędzy surrealizmem i kulturą meksykańską, a także moment zorganizowania pierwszej międzynarodowej wystawy sztuki surrealistycznej w Meksyku w 1940 roku. Analizie zostały poddane możliwości przyjęcia surrealistycznej sztuki na gruncie meksykańskim oraz wpływ obecności europejskich surrealistów w Meksyku na panoramę współczesnej sztuki meksykańskiej.

EN

When the Second World War broke out, Mexico, governed by President Lázaro Cárdenas, became a shelter for a group of European surrealists, including among others Wolfgang Paalen, Benjamin Péret, Leonora Carrington, Remedios Varo and Alice Rahon. Even though after the end of war in Europe some of them decided to go back to their countries, a part of the group converted Mexico into their second homeland. In a concise way this article presents a process of transferring surrealist ideas, mainly in painting, from the Old to the New World. First contacts between surrealists and Mexico, spiritual link between surrealism and mexican culture and a moment of inauguration of the first international surrealist exhibition in Mexico in 1940 were described. Possibilities of accepting surrealist art on mexican terrain as well as the influence of the european surrealists’ presence in Mexico on contemporary mexican art were also analysed.

4

The Persistence of Poetry in Karel Teige’s Outlook

80%

Silverman T.

|

nr 36

64-78

EN

Karel Teige’s enduring interest in the essence of poetry may help explain the outward promotion of his 1920s textual-visual works in contrast to his more muted treatment of the Surrealist photomontage collages that he produced from 1935 to 1951. Teige, a central figure of the Czechoslovak avantgarde, demonstrated throughout his voluminous theoretical pieces a continuous fixation on poetry. He wrote and published rationales for his earlier textual-visual works, yet left a lack thereof concerning his 374 Surrealist photomontages. Though Teige declared himself a Surrealist in 1934, Surrealism may not have interested him in the same way as Czechoslovak Poetism or the implementation of aesthetic concepts borrowed from his counterparts in Russia and Germany. In this essay, Teige’s proclamations about pictorial matters, poetry, modern art ideologies, typography, and the ‘inner model’ theory have been applied towards his pre-Surrealist, textual-visual works, in contradistinction to his later photomontages, to suggest why he did not promulgate the latter artworks to the same extent as the former. Examples of his 1920s picture poems in a lucid Poetist style present harmonized layouts of words, symbols, and cut-outs arranged into semiotic order. As a typographer, Teige stressed the importance of the ‘nature, rhythm, and flow’ of poetic texts, and his works also reveal careful reflection on the design of graphemes. It is, however, his fascination with linguistic matters, e.g. poetry and letters — a matter in which many of his Surrealist collages appear not to have taken much interest — that remains most obscure, lacking any contextual explanation. Suffused with fragmented corporeal forms and erotic imagery amid variegated scenery, Teige’s vivid post-1935 photomontages have drawn the attention and speculation of many art historians.

5

Transcriptions poétiques du voyage de Philippe Soupault à Prague

80%

Ireland S.

|

tom Special Issue: Le monde de la litérrature

74-83

EN

In Czech avant-garde periodicals Soupault published several texts expressing his enthusiasm in Prague among artists who lived there. Nezval replied to Soupault by a poem, and so they started a dialogue through texts. Motifs that circulate through texts of both poets are germ of shared poetic language who gives to reality a new light : Nezval and Soupault composing with reality, compose it.