Graphic Abstraction and Music - rhoadley.netrhoadley.net/presentations/GraphicAbstraction.pdf rhoadley.net/presentations of 115 Debussy (1862-1918) L'Apres-midi d'un Faune (1894) 3

of 115http://rhoadley.net/sonicart rhoadley.net/presentations 1

Graphic Abstraction and Music

Richard Hoadley 2007-17

V0.8

Audio: Schoenberg Pierrot Lunaire (1912)Image: Mondrian The Flowering Apple Tree (1912)

one audio file

http://rhoadley.net/

http://rhoadley.net/sonicart

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Note !This presentation is available in pdf format at !rhoadley.net/presentations !Further information about the course is available here: rhoadley.net/sonicart




http://rhoadley.net/presentations/GraphicAbstraction-s.pdf


of 115http://rhoadley.net/sonicart rhoadley.net/presentations

Debussy (1862-1918) L'Apres-midi d'un Faune (1894)

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Frontispiece for L'après-midi dún faune, drawing by Édouard Manet. These nymphs that I would perpetuate:!

so clear!And light, their carnation, that it floats in the air!Heavy with leafy slumbers.!Did I love a dream?!My doubt, night's ancient hoard, pursues its theme!In branching labyrinths, which being still!The veritable woods themselves, alas, reveal!My triumph as the ideal fault of roses.!Consider...

Leon Bakst, Nijinsky in The Afternoon of a Faun

Ces nymphes, je les veux perpétuer.Ces nymphes, je les veux perpétuer. Si clair,Leur incarnat léger, qu’il voltige dans l’airAssoupi de sommeils touffus.Assoupi de sommeils touffus. Aimai-je un rêve ?Mon doute, amas de nuit ancienne, s’achèveEn maint rameau subtil, qui, demeuré les vraisBois mêmes, prouve, hélas ! que bien seul je m’offraisPour triomphe la faute idéale de roses —Réfléchissons…

one audio file, poem, six clicks




http://en.wikipedia.org/wiki/%C3%89douard_Manet

http://en.wikipedia.org/wiki/Leon_Bakst


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NB Check Power of Art





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“Seulement un oeil, mais quel oeil!” (Only an eye, but what an eye!) Cezanne





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"Why shouldn't art be pretty? There are enough unpleasant things in the world." !Pierre-Auguste Renoir





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Schoenberg String Quartet Op 10 (1905)


Graphic Abstraction Expressionism





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Hilm

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raphic Abstraction Modernism

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Eftersommar (Late Summer) an early naturalistic work, painted by af Klint in 1903. An example of the works she exhibited to the public during her lifetime.!http://bobnational.net/record/387160




http://bobnational.net/record/387160


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Svanen (The Swan), No. 17, Group IX, Series SUW, October 1914-March 1915





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Thu 3 Mar 2016 to Sun 15 May 2016 Hilma af Klint: Painting the Unseen Serpentine Gallery





Kazimir Malevich (1878-1935)

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Graphic Abstraction Modernism

• Russian painter, designer, and writer, with Mondrian the most important pioneer of geometric abstract art.

• By 1912 he was painting peasant subjects in a massive ‘tubular’ style similar to that of Léger, as well as pictures combining the fragmentation of form of Cubism with the multiplication of the image of Futurism

• The Knife Grinder, 1912 • Desire ‘to free art from the burden of the object’. • Devout Christian, with mystical leanings





Kazimir Malevich (1878-1935)

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• He thought he could “break through to a deeper level of meaning and swim in the white free abyss”.

• First abstract work was a backdrop for the Futurist opera Victory over the Sun, produced in the Luna Park Theatre, St Petersburg, in December 1913; his original drawing shows a rectangle divided almost diagonally into a black upper segment and a white lower one.

• He claimed that he made a picture consisting of nothing more than a black square on a white field as early as 1913, but it was first made public in 1915 (there is often difficulty in dating his work and in knowing which way up his paintings should be hung, photographs of early exhibitions sometimes providing conflicting evidence).





Malevich Notes

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• Over the next few years Malevich moved away from absolute austerity, tilting rectangles from the vertical, adding more colours, and introducing a suggestion of the third dimension by overlapping forms (Suprematist Composition, c.1915, Stedelijk Mus., Amsterdam); there is sometimes even a degree of painterly handling (Yellow Parallelogram on White, c.1917, Stedelijk Museum).






Malevich Notes

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• Around 1918 he returned to his purest ideals with a series of White on White paintings - a tilted white square is placed on a background of the same colour, the difference between them being visible only through variations in the brushwork (Suprematist Composition: White on White, c.1918, MoMA, New York).

• After this he seems to have realised he could go no further along this road and virtually gave up abstract painting, turning more to teaching, writing, and making three-dimensional models that were important in the growth of Constructivism.






Malevich Notes

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• In 1919 he started teaching at the art school at Vitebsk, where he exerted a profound influence on Lissitzky, and in 1922 he moved to Petrograd (Leningrad), where he lived for the rest of his life.

• He went to Warsaw and Berlin in 1927 and during this trip he visited the Bauhaus.

• In the late 1920s he returned to figurative painting, but he was out of favour with a political system that now demanded Socialist Realism from its artists and he ran into trouble with the authorities.






Malevich Notes

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"Malevich, Kasimir" The Oxford Dictionary of Art. Ed. Ian Chilvers. Oxford University Press, 2004. Oxford Reference Online. Oxford University Press.

Stoke-on-Trent Libraries. 9 January 2007 <http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t2.e2174>

Graphic Abstraction Malevich

• He remained a revered figure among artists and after his death he lay in state at the Leningrad Artists' Union in a coffin - which he had designed himself - bearing Suprematist designs.

• In Cubism and Abstract Art (1936) Alfred H. Barr gave the following assessment of his significance: “In the history of abstract art Malevich is a figure of fundamental importance...He stands at the heart of the movement which swept westward from Russia after the war and, mingling with the Dutch De Stijl group, transformed the architecture, furniture, typography and commercial art of Germany and much of the rest of Europe.”





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Schoenberg Pierrot Lunaire (1912)





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one audio file - 7:45





Picasso’s Bulls (1945)

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Portrait of Jorge Manuel Theotocopoulos (c.1600)/Portrait of a Painter after El Greco (1950)

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Graphic Abstraction Picasso and El Greco





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one audio file - 2:22





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Igor Stravinsky Agon (1957)

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Miguel Covarrubias (1904-1957) [Igor Stravinsky] published in Vanity Fair,





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http://www.guggenheim.org/exhibitions/past_exhibitions/delauny/index.html

http://dl.lib.brown.edu:8080/exist/mjp/plookup.xq?id=DelaunayRobert




http://www.guggenheim.org/exhibitions/past_exhibitions/delauny/index.html

http://dl.lib.brown.edu:8080/exist/mjp/plookup.xq?id=DelaunayRobert


Norman MacLaren Begone Dull Care (1949)

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Graphic Abstraction





Bibliography

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Graphic Abstraction

• Awaiting Materials





Other Presentations

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Graphic Abstraction

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Graphic Abstraction

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Documents

Graphic Abstraction and Music - rhoadley.netrhoadley.net/presentations/GraphicAbstraction.pdf rhoadley.net/presentations of 115 Debussy (1862-1918) L'Apres-midi d'un Faune (1894) 3