1-2 of 2 results  for:

  • 1900–2000 x
  • Artist, Architect, or Designer x
  • Film and Video x
Clear all

Article

Philip Cooper

(b Nyack, NY, Dec 24, 1903; d Flushing, NY, Dec 29, 1972)

American sculptor, film maker and writer. Cornell studied from 1917 to 1921 at Phillips Academy in Andover, MA. After leaving the Academy he took a job as a textile salesman for the William Whitman Company in New York, which he retained until 1931. During this time his interest in the arts developed greatly. Through art reviews and exhibitions he became acquainted with late 19th-century and contemporary art; he particularly admired the work of Odilon Redon. He also saw the exhibitions of American art organized by Alfred Stieglitz and became interested in Japanese art, especially that of Andō Hiroshige and Katsushika Hokusai. Following a ‘healing experience’ in 1925 he became a convert to Christian Science.

In 1931 Cornell lost his job as a salesman. In November 1931 he discovered Julien Levy’s newly opened gallery in New York and showed Levy some of his collages. Employing curious juxtapositions, these were composed from cut-out fragments of engravings as in ...

Article

Fiona Bradley

(Felip Jacint )

(b Figueres, May 11, 1904; d Figueres, Jan 23, 1989).

Spanish Catalan painter, draughtsman, illustrator, sculptor, writer and film maker. One of the most prolific artists of the 20th century, his fantastic imagery and flamboyant personality also made him one of the best known. His most significant artistic contribution, however, was through his association with Surrealism.

Dalí was born into the happy, if ideologically confusing, family of a respected notary. His father was a Republican and atheist, his mother a Roman Catholic. He was named Salvador in memory of a recently dead brother. This had a profound effect: his subsequent experimentation with identity and with the projection of his own persona may have developed out of an early understanding of himself as ‘a reply, a double, an absence’ (Dalí, 1970, p. 92). His childhood provided him with the fertile memories, both true and false, that fill his autobiography and resound in his art. Catalonia remained important to Dalí, but for its landscape rather than its separatist politics. He painted for much of his life in a house he bought in Port Lligat, near the family holiday home in Cadaqués, but the radical political beliefs that his father had taught him were to be replaced by a self-conscious monarchism and Catholicism. Dalí’s first contact with painting was through Ramon Pichot (...