OXFORD ART ONLINE
There were three different sources of D A D A. Berlin, Zurich and New York.
Zurich Dada featuring Hugo Ball, Tristan Tzara, Hans Arp, Sophie Taeuber and Marcel Janco
Hugo Ball wrote the Dada Manifesto in 1916. He also preformed Karawane, a spoken word performance in where he speaks in a jumble of incoherent words through a form of Abstract Poetry. The language he used as divided into abstract parts ( syllables and letters ) then rearranged to form meaningless sounds.
Tristan Tzara also worked with a form of spoken word, as preformance art was a large part of the D A D A I S T movement. Tzara was more interested in Simultaneous Poetry, which he read in different languages, rhythms, tonalities, and different people at the same time.
Additionally, Tzara invented Accidental Poetry. These are created through the clippings of newspaper, cutting an article out and carefully placing each of the words ( cut separately ) into a bag and shaking them up. The artist would then proceed to take each word out one after another and copy the words down in the order that they left the bag. The poem will resemble the artist.
Marcel Janco, Cabaret Voltaire
1916
Hans Arp and Sophie Taeuber, Untitled ( Duo- Collage ) 1918
Hans Arp, Collage Arranged According to the Laws of Chance 1916
Sophie Taeuber, Dada Head
1920
1920
Marcel Duchamp: Bicycle Wheel 1913
Marcel Duchamp: L.H.O.O.Q 1919
Marcel Duchamp, Fountain 1917
Raoul Hausman, The Spirit of Our time ( Mechanichal Head ) 1919
Raoul Hausmann, ABCD 1923
Hannah Hoch, Cut with the Kitchen Knife Dada Through the Last Weimar Beer Belly Cultural Epoch of Germany 1919
John Heartfield, Whoever Reads Bourgeois Newspapers Becomes Blind and Deaf: Away with the Sultifying Bandages! 1925
The Surrealists cited a wide range of precursors, ranging from the poets Arthur Rimbaud (1854–91) and Count de Lautréamont (1846–70), to earlier artists such as Arcimboldo, Piranesi, Bosch, Goya, Félicien Rops, and Odilon Redon, as well as to their contemporaries Marc Chagall and Giorgia de Chirico. They were also preoccupied with Freudian psychoanalysis, and as a result concentrated initially on expressing the workings of the unconscious mind through the technique of automatism: drawing or writing executed without any conscious control. Indeed Breton's First Surrealist Manifesto (1924) defines Surrealism as ‘pure psychic automatism, by which it is intended to express, verbally, in writing, or by other means, the real process of thought. Thought's dictation, in the absence of all control exercised by reason and outside of all aesthetic or moral preoccupations…Surrealism rests in the belief in the superior reality of certain forms of associations neglected heretofore; in the omnipotence of the dream, and in the disinterested play of thought.’
" Surrealism as ‘pure psychic automatism, by which it is intended to express, verbally, in writing, or by other means, the real process of thought. Thought's dictation, in the absence of all control exercised by reason and outside of all aesthetic or moral preoccupations…Surrealism rests in the belief in the superior reality of certain forms of associations neglected heretofore; in the omnipotence of the dream, and in the disinterested play of thought.’
Andre Masson, Birth of Birds, 1925
Max Ernst, Two Childern are Threatened by a Nightingale, 1924
Joan Miro, Carnival of Harlequin, 1924
Salvidor Dali, Accommodations of Desire 1929
Salvidor Dali, The Persistence of Memory 1931
Salvidor Dali, The Disintegration of the Persistence of Memory, 1954
René Magritte, The Human Condition 1934
Meret Oppenheim, Object ( Luncheon in Fur ) 1936
Claude Cahun, Self Portrait 1928
Pablo Picasso, Gurnica 1937
AMERICAN SCENE
A movement in American painting, beginning in the mid-1920s and culminating in the 1930s, which concentrated on realistic art with a social content. It was nationalistic and small-town in spirit, anti-modernist and anti-international, and was symptomatic of the isolationism of parts of America in the period following the First World War. Its first major painters were Charles Burchfield and Edward Hopper.
Edward Hopper, Nighthawks 1942
Term used to describe scenes of typical American life painted in a naturalistic vein from c. 1920 until the early 1940s. It applies to both Regionalism and Social Realism in American painting, but its specific boundaries remain ambiguous. The phrase probably derived from Henry James’s collection of essays and impressions, The American Scene (1907), published upon James’s own rediscovery of his native land after 21 years as an expatriate. The term entered the vocabulary of fine arts by the 1920s and was applied to the paintings of Charles Burchfield during 1924.
In the two decades following World War I, American writers and artists began to look for native sources for the aesthetic and spiritual renewal of their modern technological civilization. This search engaged and activated many thoughtful and creative people in the 1920s and 1930s and resulted in that flurry of activity that Waldo Frank (1889–1967) discussed as The Rediscovery of America (1929; his personal analysis of American life). The phenomenon blossomed during the 1930s, when a generation of artists struggled to find a form and content for their art that would match their own experiences of America. Traditional boundaries of acceptable subject-matter were broadened to include the everyday lives of average Americans—farmers, office workers, window shoppers and even Franklin D. Roosevelt’s ‘forgotten man’. From ‘ten-cent movies’ to fertile farmscapes, factory icons or bathers at Coney Island, images of urban bustle and backwoods folk life were offered up to celebrate and define ‘the American Scene’ in words and in paint.
Dorthea Lange, Migrant Mother 1936
Robert Motherwell, Elegy to the Spanish Republic No. 110, 1954
Jackson Pollock, White Light 1954
Robert Motherwell, Elegy to the Spanish Republic No. 110, 1954
During the 1940s, like many of his colleagues in the New York School, Motherwell remained devoted to recognizable imagery, to the expressive potential of calligraphic marks and to subject-matter of a literary and of a political nature, as in Pancho Villa, Dead and Alive (gouache and oil with collage on cardboard, 1943; New York, MOMA). The abstract paintings for which he is best known, such as Elegy to the Spanish Republic XXXIV (1953–4; Buffalo, NY, Albright–Knox A.G.), one of a series of more than 140 large canvases initiated in 1949, expressed a nostalgia that he shared with many of his generation for the lost cause of the Spanish Civil War (see fig.). The works in this series typically consist of black, organic ovals squeezed by stiff, vertical bars against a white ground, retaining the unpremeditated quality of an ink sketch even when enlarged to enormous dimensions, as in the much later Reconciliation Elegy. He conceived of the shapes as elements within an almost musical rhythm, rich in associations with archetypal imagery of figures or body parts but sufficiently generalized to convey a mood rather than a specific representation.
Willem de Kooning, Woman, I, 1950-52
Jackson Pollock, Mural 1943
Lee Krasner, Polar Stampede 1960
Mark Rothko, Multiform, No.7 1948
Barnett Newman, Vir Heroicus Sublimis, 1950 - 51
Barnett Newman, Voice of Fire, 1967
Richard Hamilton, Just What is it That Makes Today's Homes so Different, So Appealing? 1956
Robert Rauschenberg, Bed, 1955
Robert Rauchenberg, White Painting ( Four Panels) 1951
Robert Rauchenberg, Erased De Kooning
Jasper Johns, Flag, 1954 - 1955
Jasper Johns, Target With Plaster Casts, 1955
Jasper Johns, Painted Bronze, 1960
John Cage, 4'33, 1952
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Roy Lichtenstein, I Know How You Must Feel Brad, 1963
James Rosenquist, F111, 1965
Andy Warhol, 32 Cambell's Soup Cans 1962
Andy Warhol, Marilyn Monroe, 1963
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Roy Lichtenstein, I Know How You Must Feel Brad, 1963
James Rosenquist, F111, 1965
Andy Warhol, 32 Cambell's Soup Cans 1962
Andy Warhol, Marilyn Monroe, 1963
Andy Warhol, Green Car Crash 1963
