EDWIN DICKENSON ( 1891-1978) AND O LOUIS GUGLIELMI (1906- 1954) TWO ARTISTS WHO EXPLORED DREAM THEORY COUPLED WITH MAGIC SYMBOLISM AND SOCIAL REALISM AND SURREALISM AS WELL MAGIC REALISM: PART2

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In this second posting I am going to continue with the commentary by Ann Lee Morgan on Dickenson’s contribution to the development of Dream Theory.

” Dickenson’s most impressive achievements comprise large moody paintings filled with incoherent images discontinuous spaces and lights flickering through deep shadows”. [1].

” These dream like scenes cannot be rationally deciphered , although their strongly constructed compositions and authoritative  brushwork insure their pictorial power”. [2].

Morgan goes on to explain the significance of the Fossil hunters in Dickenson’s work.

” the enigmatic (Fossil Hunters) centring on a sleeping figure surrounded by a tumult of drapery alludes in its title to the artists interest in geological remains for embedded traces of the distant past”. [3].

” He is also known for softly rendered landscapes and for a long series of self portraits which often convey disquieting psychological effects”. [4].

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I have inserted some modern artists with some of their nudes like Francis Cunnnigham and Lennart Anderson to show how Dickenson disfigured and disjointed his images to give them a psychological view of their inner torment.

Morgan now comes on to discuss O Louis Gugliemli and his contributions to Dream Theory. In  many ways Gugliemli was a much sharper artist in his Iconography and D’eouvre.

” Gugliemli , painter  accenting individual /isolation and the irrationality of social  institutions . his bizarre visions of the 1930’s achieve an unusual American Synthesis of surrealism and Left wing politics”. [5].

” Indebted also to precisionism ( Scheeler , Demuth and O’Keefe) and the socialist realist faction , his best known works also exemplify important aspects of magic Realism”. [6].

Morgan argues that at times Gugliemli had a formal approach to painting involving the disfiguration and altering of images very much like Cezanne and the Cubists.

” He began to emphasize the formal aspects of painting often fragmenting and rearranging his still clearly delineated  forms”. [7].

” Eventually he (Gugliemli) adopted a completely abstract form of painting related to non representational forms of surrealism and abstract Expressionism”. [8].

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Morgan continues her commentary on Gugliemli .

” Gugliemli’s socially orientated paintings such as (relief blues) depicting 4 dejected adults whiling away their time in an impoverished apartment”. [9].

Morgan now comes on to discuss (Terror in Brooklyn) which has a number of psychological traits in the painting showing that both Dickenson and Gugliemli knew how to distort pain and terror.

” (Terror in Brooklyn) depicts three women in mourning trapped within a bell jar in-congruously located on a desolate street”. [11].

” The 19th Century Commercial architecture is embellished with odd details such as a berib-boned  pelvis suspended high on the side of a building. The women’s anguished pain and loss the glass  enclosure prevents contact with others”. [12].

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This completes my investigation of the Dream theories of Edwin Dickenson and O Louis Gugliemli.

FOOTNOTES

  1. THE OXFORD DICTIONARY OF AMERICAN ART AND ARTISTS ANN LEE MORGAN . PG. 122.
  2. DITTO.PG.122
  3. DITTO. PG.122
  4. DITTO.PG.122
  5. DITTO.PG.195
  6. DITTO.PG.195
  7. DITTO.PG.195
  8. DITTO.PG.195
  9. DITTO.PG.195
  10. DITTO.PG.195
  11. DITTO.PG.195
  12. DITTO.PG.195-6

 

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