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Italian, 20th century, male.

Born 24 May 1905, in Bergamo; died 1978, in Bergamo.

Painter, film maker.

Bonfanti studied at art school in Bergamo and began painting in 1925.

His work is in the Geometric Abstraction or Constructivist vein and he was very much influenced by Paul Klee and Jean Arp. His style first became defined in the 1960s and gradually developed. He introduced graphic signs borrowed from number and letters of the alphabet into his spatial constructions. These figures and letters were often interpreted and geographically transposed, sometimes being used as titles - for example, of the work he called ...

Article

Éva Bajkay

(b Beszterce [now Bistriţa, Romania], Dec 1, 1908; d Budapest, Aug 17, 1984).

Hungarian painter, printmaker, collagist, teacher and experimental film maker. In 1921 he attended the Artur Podolni-Volkmann private school in Budapest, and in 1923 he spent a year in Holland. He attended the Academy of Fine Arts, Budapest (1925–30), exhibiting in a group show in 1930 with artists associated with Lajos Kassák’s Work Circle (Munka-kört). After a period in Paris and Holland in 1930, he worked at the Szentendre colony in a Constructivist-Surrealist style similar to that of Lajos Vajda, drawing upon local and folk art motifs (e.g. Szentendre Motif, 1935; Budapest, N.G.), and the musical theory of Béla Bartók. Korniss fought in World War II, returning from a prisoner-of-war camp in 1945. He went on to make small monotypes of rooftops (e.g. Illuminations, c. 1946; Budapest, N.G.). In 1946 he joined the European School, and in 1947–8 he taught at the School of Crafts and Design, Budapest. His work became abstract and geometric, although symbolic meaning is conveyed in the most effective works (e.g. ...

Article

Montage  

Tom Williams

Term that refers to the technique of organizing various images into a single composition in both film and visual art. It is also frequently applied to musical and literary works that emphasize fragmentation and paratactic construction. In film, the term typically refers to the organization of individual shots to create a larger structure or narrative. This technique was developed most systematically by the film makers of the 1920s Russian avant-garde such as Sergey Eisenstein (1898–1948), Lev Kuleshov (1899–1970), and Vsevolod Pudovkin (1893–1953). In visual art, the term refers to the juxtaposition of disparate images in Collage and particularly Photomontage. Although this use of montage has a number of historical precursors, it was developed primarily in the 1910s and 1920s by artists associated with Dada, Surrealism, and Russian Constructivism such as George Grosz, John Heartfield, Hannah Höch, and Aleksandr Rodchenko. During the period after World War II, the technique became an increasingly routine practice in both advertising and the fine arts. In the late 20th century it has been most associated with the work of such figures as ...