I can understand why painters love sunrises and sunsets. They sell well. Both are visually striking, symbolically linked to new beginnings or twilight romanticism, but above all, it is possible to paint them in a more striking manner than what the reality is offering us within its daily urban diet. People who live in cities don’t see much of either anyway.
Why then do painters miss out on volcano eruptions? I feel there’s demand for them among the adventurous, explosive, and testosterone rich.
Look at Etna, informing Sicily that the planet was feeling a bit flatulent the other day.
Isn’t it inspiring?
Imagine this photograph to be a painting though.
I bet art critics would write it off as a painter’s reference to a childhood accident with a box of matches, and what the painter’s father said about it afterwards. Critics would scoff at the painter’s implied intent to give the viewer cheap thrills through…
View original post 1,185 more words
Italian photographer Alessio Trerotoli with his project “Urban Melodies” is trying to create, by superimposing different pictures, a sort of abstract representation of urban landscapes and contemporary life from modern metropolis like Rome, New York, Paris, Berlin and many others. Trerotoli uses four or five different pictures of the same place, the same subject, to create every image. So everything is duplicated, lights and subjects multiply and build a new vision of urban life.
View original post 5 more words
Homes and Places looks like an excellent history of Nottingham Council Housing. When I am next in Nottingham I will buy the Book and the radical bookshop looks excellent . I only wanted to say that tragically Labour controlled City councils like Nottingham , Liverpool , Manchester are letting their council house stock be managed by Housing associations or ALMO’s and there is very little Council House stock left . I know because I Live in Kettering and am a Tenant of Nottingham Community Housing Association which has a lot of Social Housing to Manage and the tragedy is that Cameron and Co have set out to demolish ,destroy what is left of Social or Council Housing. Laurence
Chris Matthews, Homes and Places: A History of Nottingham’s Council Houses (Nottingham City Homes, 2015)
It’s a pleasure to see this fine account of Nottingham’s council housing history. It’s a story well worth telling and one – in Nottingham and elsewhere – that this blog has sought to share. Above all, it is a people’s history, a history of homes and communities but it encompasses high (and low) politics too, architecture and planning and much, much else: a history of concern to anyone interested in the fabric – in the broadest sense – of our society.
If all that reads like a shameless plug for this blog, it is also a very definite recommendation for Chris Matthews’ new book. It’s a warts and all history, recording the highs and lows of Nottingham’s council housing and Nottingham City Homes is to be congratulated for commissioning a serious and well-researched account. There’s…
View original post 1,749 more words
In this post I am going to explore in more detail the contribution of Van Doesburg.
Kenneth Frampton in his article on the deStyll movement has suggested three phases of development . ” The aesthetic and programmatic development of the destyll movement may be broken down into 3 phases . First phase 1916-1921 is formative and essentially centred upon Holland; the second phase from 1921-1925 is to be regarded as a period of maturity and of the international dimension , with the third hase from 1925-1931 must be seen as a period of transformation and of ultimate disintegration” .
Frampton explains why Mondrian and Van Doesburg went their separate ways. ” Once again it was Mondrian who finally broke with destyll and VanDoesburg in 1925″. . Commenting on Mondrian’s development Frampton offers a reason. ” By 1917 Mondrian is at an intellectually new point of departure in which his work comprises a series of compositions consisting of floating, rectangular coloured planes”. .
” However Mondrian at this date (1917) is still preoccupied with the generation of shallow spatial developments through the literal and phenomenal overlapping of his coloured planes”. .
Van Doesburg of the two of them was the more revolutionary embracing the revolutionary developments taking place in Bolshevik Russia. He worked together with Hans Richter and El Lissitsky to develop Soviet Contructivism from the discipline of painting to Architecture which would show that Van Doesburg would use art for a Social Purpose. Art for the new Socialist society in the USSR rather than art for arts sake. ” The first blood brought to destyll in 1922 reflected Van Doesburg’s post-war international orientation -El Lissitsky and Hans Richter”. . ” On Van Doesburg’s arrival in the Weimar (Germany) he immediately took up a line of attack against the individualistic expressionist and mystical approach prevalent at the Bauhaus at that time”. . ” More important , however for the development of deStyll was Van Doesburg’s meeting with his eastern European counterpart the Russian graphist , painter and architect ELiezar Lissitsky “. .
This development for Van Doesburg was to lead to a split in their artistic practices between Mondrian and Van Doesburg. ” at the outset there is a dramatic rift between Mondrian and Van Doesburg over the latters introduction of the diagonal into his works of 1924″. .
Van Doesburg from 1928 would be influenced by Soviet Constructivism and a Materialist approach to artistic practices.” For it is Van Doesburg himself who has been affected by Left-wing anti-art constructivists concepts in which social forces and the means of technical production are seen as spontaneously developing form, independent of any concern for the ideal forms of Universal harmony”. . ” By 1930 the neo-plastic ideal of a world of Universal harmony had been eroded and then later by the impact of external cultural pressure”. .
Other commentators have commented on this abstract movement which for a short period represented exact and geometric artistic representations. ” The Netherlands based destyll movement embraced an abstract pared-down aesthetic centred in basic visual elements such as geometrical forms and primary claims”. . ” Like other avant garde movements of the time de styll emerged largely in response to the horros of World war 1″. . ” Theo Van Doesburg 1883-1931 was influenced by Vincent Van gogh and Wassily Kandinsky”. . As many commentators have noted Mondrian’s work was not completely abstract . ” Mondrian realises the importance of the Line”. .
The split between these two great artists was over the use of Diagonals in opposition to the Line which for Mondrian was paramount. ” Mondrian never accepted Diagonals whereas Van Doesburg insisted on the diagonals dynamic effects”. .
In my final conclusion to the emergence of Neo Plasticism I have considered and explored the contributions of Piet Mondrian and Theo Van Doesburg. Mondrian remained a painter to the end of his day and was concerned to show how art could bring peace and Universal harmony into the world after the horrors of Imperialist War. He was striving for a an Idealist practice by producing perfectly balanced and composed art work that gave homage to the line. It was an idealist concept and it would be left to the more Revolutionary Theo Van Doesburg to embrace the social and material art of Soviet Constructivism which attempted to represent an art which could be used for Society and for the mass of Workers and youth after the horror of World One. That this was not achieved was due to the counter revolutionary role of Stalinism which became the grave digger of Revolution.
- CONCEPTS OF MODERN ART DESTYLL KENNETH FRAMPTON PG 143
- DITTO PG 144
- DITTO PG 145
- DITTO PG 145
- DITTO PG 147
- DITTO PG 147
- DITTO PG 148
- DITTO PG 151
- DITTO PG 151
- DITTO PG 154
- DITTO PG 155