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Hajo Düchting

[Apollinaire de Kostrowitzky, Guillaume Albert Wladimir Alexandre]

(b Rome, Aug 26, 1880; d Paris, Nov 9, 1918).

French poet and writer. He loved to hint at his ‘dark’ origins: he was the illegitimate son of Angélique-Alexandrine Kostrowitzky, an eccentric beauty from a Polish noble family under the protection of the Roman Curia, and Francesco Flugi d’Aspermont, a former officer in the Royal Army of the Kingdom of the Two Sicilies. When the liaison ended Apollinaire was placed under the wing of the Bishop of Monaco, Monseigneur Theuret, and went through an exciting period of travel and education in Catholic schools on the French Riviera, where his mother had settled. Apollinaire liked to ascribe his genesis to a cardinal or even to Pope Pius IX himself.

While still a schoolboy, Apollinaire took a keen interest in literature and poetry, not only in the work of the Symbolists Stéphane Mallarmé (1842–98) and Paul Verlaine (1844–96) but also in the writings of the Naturalist school. In ...

Article

Paule Thévenin

[Antoine Marie Joseph]

(b Marseille, Sept 4, 1896; d Ivry-sur-Seine, March 4, 1948).

French writer, draughtsman, stage designer, actor and director . He learnt to draw and paint in 1918–19 while staying in an establishment near Neuchâtel where he had been sent suffering from a nervous complaint that had begun in 1914. There he was prescribed opium in May 1919. He arrived in Paris in the spring of 1920 and visited salons, galleries and studios, produced art criticism (see Oeuvres complètes, ii), continued to sketch small portraits of himself or his family and composed poems. In the atelier of Charles Dullin (1885–1949), where he trained as an actor, he was asked to design the costumes for several performances. Nevertheless, after an attempt in 1923 to paint the portrait of a young friend and her father, he abandoned painting and drawing. Through the painter Elie Lascaux (b 1888), whom he knew from Max Jacob’s circle, he met the art dealer Daniel-Henry Kahnweiler and the artists of his gallery. He became a friend of André Masson in particular and soon became a regular visitor at Masson’s studio in the Rue Blomet, then also frequented by other painters such as Joan Miró, Jean Dubuffet and Georges Malkine and visited by writers Robert Desnos (...

Article

Ruth Rosengarten

(b Vila Nova de Gaia, Jan 17, 1923; d 2002).

Portuguese painter, graphic artist, critic and art administrator . In 1947 he was a founder-member of the Grupo Surrealista de Lisboa, with which he exhibited in 1949. By 1952 he was one of the few remaining members of the original group still involved in Surrealism. That year he held a large exhibition with two other artists, showing Occultations, photographs in which parts of the images were masked by overpainting. At the time he was more interested in the process of image-making, in the unconscious genesis of images and their internal rhythms, than in the result as an aesthetic object. From the mid-1950s, Azevedo’s paintings were almost entirely abstract and gestural, with greater overt affinities to lyrical abstraction than to automatism, for example Painting (1961; Lisbon, Mus. Gulbenkian). While in smaller works he often returned to the Surrealist use of collaged photographs introducing an element of shock or surprise, in his paintings there is an overriding interest in morphological dissolution and mutation, which remains lyrical rather than violent....

Article

Bio Art  

Suzanne Anker

From Anatomical studies to landscape painting to the Biomorphism of Surrealism, the biological realm historically provided a significant resource for numerous artists. More recently, Bio Art became a term referring to intersecting domains that comprise advances in the biological sciences and their incorporation into the plastic arts. Of particular importance in works of Bio Art is to summon awareness of the ways in which the accelerating biomedical sciences alter social, ethical and cultural values in society.

Coming to the fore in the early 1990s Bio Art is neither media specific nor locally bounded. It is an international movement with practitioners in such regions as Europe, the US, Russia, Australia and the Americas. Several subgenres of Bio Art exist within this overarching term:

(i) Artists who employ the iconography of the 20th and 21st century sciences, including molecular and cellular genetics, transgenically altered living matter and reproductive technologies as well as the diverse fields of neuroscience. All traditional media such as painting, sculpture, photography, printmaking and drawing are employed to convey novel ways of representing life forms. Images of chromosomes, the double helix, magnetic resonance imaging body scans and neuroanatomy comprise this iconography. The molecular underpinnings of the living world have also become visible through high technological instrumentation when artists incorporate such pictorialisations as part of their practice. Representations span both genotypic variations and phenotypic ones. Artists include Suzanne Anker (...

Article

Rigmor Lovring

(b Copenhagen, Dec 24, 1909; d Halmstad, Sept 13, 1957).

Danish painter and writer. He was the son of the art historian and museum director Carl V. Petersen (1868–1938), who introduced him to the visual arts at an early age. His extensive knowledge of art history had a considerable influence on the development of his paintings and artistic theories. He had private painting lessons before beginning studies at the Kunstakademi in Oslo in 1929. In 1930–31 he studied with Paul Klee, Vasily Kandinsky and Oskar Schlemmer at the Bauhaus in Dessau, after which he returned to Denmark inspired by new conceptions of a completely abstract art. He became a central figure in Danish artistic life in the 1930s. He was a founder-member of the Danish artists’ group Linien (The Line) in 1933, at that time an association of abstract and Surrealist artists, and he edited the group’s journal of the same name.

Bjerke-Petersen was an active artistic experimenter. He favoured Constructivist abstraction at the beginning of the 1930s. His ideas, based on first-hand knowledge of the newest international developments in the art of the time, as for example in the Bauhaus-influenced ...

Article

Henri Béhar

(b Tinchebray, Feb 19, 1896; d Paris, Sept 28, 1966).

French writer. While still an adolescent he came under the influence of Paul Valéry and Gustave Moreau, who for a long period were to influence his perception of beauty. From that time on, his poetic creation interrelated with his reflections on art, which like Gide’s were conditioned by a moral code. He considered that it is not possible to write for a living, but only from interior necessity; in the same way, painting must always derive from an irrepressible need for self-expression. These criteria guided Breton both in his dealings with the Surrealist group (of which he was the uncontested leader) and in his articles on painting, collected in editions of Le Surréalisme et la peinture (first published in 1928).

Breton’s family were of modest means. He was educated in the modern section of a lycée, without any Latin or Greek, and had embarked on a study of medicine when he was called up to serve in World War I. During this period he was drawn to poetry by his fascination with Arthur Rimbaud. His meeting with the aesthete Jacques Vaché temporarily dulled his interest in Rimbaud, and instead he turned to Guillaume Apollinaire, whose advice and friendship were a significant influence on him. Through Apollinaire he came into contact with Marie Laurencin, Derain, De Chirico and Picasso, and became friendly with the French poet and novelist Philippe Soupault. The review ...

Article

Mona Hadler

(b Cologne, June 25, 1920; d New York, Feb 6, 1984).

American painter of German birth. His father was the prominent Surrealist artist Max(imilian) Ernst and his mother was the art historian and journalist Louise [Lou] Straus-Ernst. In 1935 he was apprenticed as a typographer in the printing firm of J. J. Augustin in Glückstadt where he set type for anthropological studies. The company worked to attain a visa for Ernst, whose mother was Jewish, and he departed Germany one week before Kristallnacht in 1938; his mother was to die in Auschwitz at the end of the war. Ernst passionately recounts these events in his memoir, A Not-So-Still Life, published in 1984, the year of his death.

In 1941, on the recommendation of gallerist Julien Levy, Ernst was employed by the Museum of Modern Art (MOMA) in New York. After welcoming his father to the city, he began to work for Peggy Guggenheim, which placed him securely within the Surrealist émigré community and burgeoning New York school along with friends such as the painter William Baziotes. His career as an art dealer advanced in tandem with his painting production. With Eleanor Lust, he opened the experimental Norlyst Gallery in ...

Article

Juan Pérez de Ayala

(b Malaga, Feb 16, 1887; d Mexico, April 25, 1955).

Spanish painter, poet, critic and art historian. He studied history of art at the university of Madrid and worked as a medievalist at the Centro de Estudios Históricos (1910–16). He was an archivist at the Instituto Jovellanos in Gijón (1921–2) and head of archives at the Palacio Real (1931–6); concurrently he was a tutor at the Residencia de Estudiantes (1917–36) and director of the journal Arquitectura (1927–33). Having been exiled from Madrid to Valencia with other artists and intellectuals in November 1936, he was sent in 1937 to the USA as part of a cultural propaganda visit. While there, he was invited by the Mexican government to base himself in Mexico, where he remained until 1955; he catalogued the works of art deposited in the Bienes Nacionales and worked for both Casa de España en México and the Colegio de México....

Article

David Thistlewood

(Edward)

(b Kirkbymoorside, N. Yorks, Dec 4, 1893; d Stonegrave, N. Yorks, June 12, 1968).

English art critic, theorist and historian. He matriculated at night-school before entering the University of Leeds in 1912 to study economics. He served with distinction in World War I (MC, DSO) and then joined the Civil Service becoming private secretary to the Controller of Establishments. In 1922 he transferred to an assistant keepership of ceramics at the Victoria and Albert Museum, London, which led to the publication of his books on English pottery and stained glass. He also wrote literary criticism, encouraged by A. R. Orage (1875–1934), editor of the New Age, who had printed a weekly column by Read throughout 1921. Read’s publications in this field include Speculations (1924), the edited papers of T. E. Hulme, Reason and Romanticism (1926) and Wordsworth (1930, 2/1949).

Museum work took Read to Germany where he met Wilhelm Worringer (Hulme’s mentor) and Max Sauerlandt (...

Article

Shigeo Chiba

(b Toyama, Toyama Prefect., Dec 7, 1903; d Tokyo, Jan 1, 1979).

Japanese writer and critic. He was already fascinated by Surrealism when he graduated from the English Department of Keio University, Tokyo, in 1931, and had translated André Breton’s Le Surréalisme et la peinture (Paris, 1928) in 1930. He also had a profound concern for the visual arts, regarding Surrealism as a ‘metamorphosis of the power of poetry’. In his major work Kindai geijutsu (‘Modern art’) he discussed the opposition between abstract art and Surrealism as a means of identifying the nature of contemporary art. Because of his involvement with art movements, in 1941, with Ichirō Fukuzawa, he was arrested by the political police, who regarded Surrealism as a branch of the Communist Party, and he was detained for eight months.

After World War II and particularly during the 1950s, Takiguchi continued to be involved with art movements and wrote criticism in which he showed a sharp sensitivity capable of detecting the contemporary vanguard. His translations of work by ...

Article

Karel Srp

(b Prague, Dec 13, 1900; d Prague, Oct 1, 1951).

Bohemian critic, theorist, collagist and typographer. He was one of the founders of Devětsil (1920–31) and was the spokesman and theorist of the Czechoslovak Surrealist group (1934–51), inviting André Breton and Paul Eluard to Prague in 1935. His early works were influenced by Cubism. During the 1920s and 1930s he was an enthusiastic typographer, while in the 1940s he devoted himself primarily to making Surrealist collages, concentrating in particular on the female nude. As a theorist he was active from 1920, becoming the spokesman of his generation and its main interpreter, editing the journals Disk (1923, 1925) and ReD (Revue Devětsilu; 1927–31). At first interested in utopian prototypes, he developed an interest in Constructivism after a visit to Paris in 1923. In the late 1920s he became an internationally acknowledged theorist of modern architecture. He delivered a cycle of lectures at the Bauhaus on the sociology of architecture (...