Search Results

Sign in Modify your search

Perform this search in

Narrow Your Choices

Format

Type

Life event

Date

Field

Medium

Era

Region/Country

  • Open Section
    • Open Section
  • Open Section
    • Open Section

Occupation

Availability

 1-2 of 2 Results  for:

  • Nineteenth-Century Art x
  • Installation Art, Mixed-Media, and Assemblage x
  • Twentieth-Century Art x
Clear all

Article

Bailly, Alice  

Article

Publication History:

Published online:
2003

(b Geneva, Feb 25, 1872; d Lausanne, Jan 1, 1938).

Swiss painter and multimedia artist . From 1890/91 she studied under Hugues Bovy (1841–1903) and Denise Sarkissof at the Ecole d’Art in Geneva. A travel scholarship enabled her to study in Munich for a year. From 1904 until the outbreak of World War I Bailly lived in Paris, where she associated with Cubist artists, including Albert Gleizes, Jean Metzinger, Fernand Léger, Marie Laurencin and Sonia Lewitska (1882–1914). From 1905 to 1926 she exhibited regularly at the Salon d’Automne. From 1906 to 1910 her work was influenced by Fauvism, and from 1910 she became interested in Cubism and Futurism: Equestrian Fantasy with Pink Lady (1913; Zurich, Gal. Strunskaja) is reminiscent of the work of Gino Severini or Franz Marc in its rhythmic movement and planar fragmentation of horses and riders into coloured patterns. Other paintings of this period that are also indebted to these movements include ...

Article

Neo-Dada  

Julia Robinson

Article

Publication History:

Published online:
27 October 2011

Term used to describe a mid-20th century art movement in America. First used in May 1957, in Robert Rosenblum’s “Castellli Group” article for Arts Magazine, and then, more dramatically, in January 1958, in ARTnews with Jasper Johns’s Target with Four Faces (1955) on its cover. Between 1958 and 1963 the “Neo-Dada” moniker was picked up and used extensively by critics worldwide. Initially intended to describe the attempts of artists in the late 1950s—between Abstract Expressionism and Pop art—to transform a subjective painterly field through collage and assemblage strategies that incorporated everyday objects. The concept “Neo-Dada,” used mostly in the context of art criticism, suggested that the new generation was reprising the strategies of the Dada movement. The original term Dada defined a spirit of protest initiated by an international group of artists who came together in 1916, at the height of World War I, in Zurich in neutral Switzerland. The complexity of this historical background suggests the fallacy of reusing the concept of “Dada” to refer to the work of American artists at the dawn of the 1960s, most of whom seized found materials with an unbridled optimism....