Exposition Art Blog: essayist
Showing posts with label essayist. Show all posts
Showing posts with label essayist. Show all posts

Alberto Savinio - Surrealism

Alberto Savinio real name Andrea Francesco Alberto de Chirico (25 August 1891 – 5 May 1952) was an Italian writer, painter, musician, journalist, essayist, playwright, set designer and composer. He was the younger brother of 'metaphysical' painter Giorgio de Chirico. His work often dealt with philosophical and psychological themes, and he also was heavily concerned with the philosophy of art.Throughout his life, Savinio composed five operas and authored at least forty-seven books, including multiple autobiographies and memoirs. Savinio also extensively wrote and produced works for the theater. Savinio's work received mixed reviews during his lifetime, often due to his pervasive use of modernist techniques. He was influenced by and a contemporary of Apollinaire, Picasso, Jean Cocteau, Max Jacob, and Fernand Léger, and had a significant influence on the surrealist movement.(....) 1927, he gave his first one-man show as a painter, at the Bernheim Gallery in Paris. Savinio's contributions to the Avant-Garde movement during this period sharply contrast with the provincialism that was favored by the National Fascist Party in Italy at this time. Angelica o la Notte di Maggio (Angelica or the Night in May), which was a parodical and surreal revisitation of the Ancient Greek myth of Eros and Psyche was published this year, as well. The novel tells the story of Angelica- a poor actress working in a second rate theater in Greece at the end of the nineteenth-century and Baron Felix Von Rothspeer, a loveless, older aristocrat. In many ways, Savinio makes the theater a central character in the plot; it is painted as a place where the senses and romance can be deeply explored and discovered.Judgments of Savinio's work varied wildly depending on the phase of his life and the reviewer. Many of Savinio's most critically praised works are also amongst his most disliked and misunderstood. This is largely due to Savinio's frequent and controversial use of modernist techniques for creative expression.From a very young age, Savinio's piano playing impressed critics nearly unanimously. Guillaume Apollinaire once said of Savinio's piano playing: " I was surprised and beguiled; Savinio mistreated his instrument so much that after each piece the keyboard had to be cleared of chips and splinters. I foresee that within two years he will have gutted every piano in Paris. Savinio will then go on to destroy every piano in the universe, which may be a true liberation."Judgment of his body of work as a whole was seen in 1954, when the Venice Biennale created a room devoted solely to Savinio's artistic legacy.According to the art historian Jean Clair, the works of Savinio and his brother Giorgio de Chirico were the basis of both the surrealist movement and magic realism.Wikipedia

















Jan Tarasin

"Jan Tarasin was a painter, graphic designer, drawer, photographer, and author of philosophical essays on art. He was born on September 11th 1926 in Kalisz and died on August 8th 2009 in Warsaw. Between 1946 and 1951 he studied painting at the Academy of Fine Arts in Kraków with professors Zygmunt Radnicki, Wacław Taranczewski, and Zbigniew Pronaszko as well as graphic design with Andrzej Jurkiewicz and Konrad Strzednicki. He made his debut as a student in 1948, at the first Exhibition of Modern Art in Kraków. From 1962 he was a member of the Kraków Group. Between 1963 and 1967 he gave lectures at the Department of Interior Decoration at the Academy of Fine Arts in Kraków. In 1967 he moved to Warsaw, where in 1974 he started working at the Academy of Fine Arts in an independent painting studio. In 1985 he became a professor of the school and in 1987 he was appointed rector, a position he held until 1990. He worked and lived in Warsaw.
In 1976 he was awarded the Cyprian Kamil Norwid critics’ prize for best painting exhibition and in 1984 – the Jan Cybis prize.






 Jan Tarasin is a classic of contemporary Polish painting. He is considered a disciple of the abstract movement, but in his work he never fully resigned from figurative art. His early paintings from the 1950s are mostly still lives composed from ordinary objects, painted in the spirit of aescetic realism. Realism different from that which was officially in force, clearly existential and symbolic, was widely present in Tarasin’s litographies from that time (the cycle Nowa Huta i jej mieszkańcy / Nowa Huta and its Inhabitants, 1954). In the second half of the 1950s, the objects on Tarasin’s paintings gradually lost their similarity to the originals, gaining their own, specific features. The forms on the pictures became more and more objectified and abstract. Arrangements of elements – called simply “objects” by the artist – were placed in an imaginary, allusive space (like in the cycles Uczta / Feast, 1957; Brzeg / Shore, 1962-64; Antykwariat / Antique shop, 1968).






Tarasin was always interested in the world of objects. He began with a realistic record of objects that he simplified and reduced until a system of abstract signs was formed. These are sign-objects, sign-symbols, traces of shapes taken from the surrounding reality that are reminiscent of letters taken from a non-existent alphabet. Complicated action takes place in the space of Tarasin’s paintings. Objects and people – or rather signs of objects and people – simplified and condensed, turned into a colourful spot, diffuse and regroup accordingly to the inner logic of the composition. Tarasin treats the picture as an intellectual model which speaks about the harmony and disharmony of the world through visual signs. He was interested in searching for mechanisms, through which nature projects and complicates phenomena, concentrates and diffuses them, creates and destroys them. He was also interested in the correlation between logic, determination, imperative laws and chance. The main rule of Tarasin’s paintings was to build arrangements out of objects, searching for the rules that govern them and then defying them. ...."(Author: Ewa Gorządek, Centre for Contemporary Art at the Ujazdowski Castle, December 2004; translation N. Mętrak-Ruda, October 2015. www.culture.pl)