Dada art making influenced by the following concepts

1. Dadaart making influenced by the following concepts • Cynicism and pessimism inspired by the disgust over World War I. • Not a school of art but A State of Mind. • Irrational anarchy • Nonsense • Destruction of tradition • Humor and whimsy • Emphasis on being intuitive and spontaneous. • Creative process is based around chance. • The unconscious as explored by Freud.

2. Marcel Duchamp Artist or non-artist 1870-1968 French but worked mainly in NYC. leading member of Dadaism. Created the readymade-a mass produced common object that he selected as an “art piece”. Did not believe in good or bad taste but simply indifferent taste. Probably the most influential artist of the 20th century because he radically challenged the notion of art making.

3. Figure 35-1 MARCEL DUCHAMP, Nude Descending a Staircase, No. 2, 1912. Oil on canvas, 4’ 10 “x 2’ 11”. Philadelphia Museum of Art, Philadelphia (Louise and Walter Arensberg Collection). Painting created a stir in the Armory show. Mixture of Cubist and Futurist styles. Depicts figure in motion similar to a film still. Critic described it as “an explosion in a shingle factory”.

4. Seeing New York with a Cubist“The rude descending a staircase”

5. Figure 35-28 MARCEL DUCHAMP, The Bride Stripped Bare by Her Bachelors, Even (The Large Glass), 1915-23. Oil, lead, wire, foil, dust, and varnish on glass, 9’ 1 1/2” x 5’ 9 1/8”. Philadelphia Museum of Art, Philadelphia (Katherine S. Dreier Bequest). Depicts humans as machines. Artwork is completed” by chance” when the glass planes broke during shipment.

6. Figure 35-27 MARCEL DUCHAMP, Fountain, (second version), 1950 (original version produced 1917). Readymade glazed sanitary china with black paint, 1’ high. Philadelphia Museum of Art, Philadelphia.

7. "Whether Mr. Mutt with his own hands made the fountain or not has no importance. He chose it. He took an ordinary article of life, placed it so that its useful significance disappeared under a new title and point of view -- he created a new thought for the object."

8. More Ready-mades by Duchamp

11. Ready-made of a postcardText written on card is a reference to Mona Lisa having a hot booty.

12. 1. The waterfall 2. The Illuminating GasInterior and Exterior view

13. OTHER IMPORTANT DADA ARTISTSImages show an early Dada exhibit and poster for a show.

14. Figure 35-26 JEAN (HANS) ARP, Collage Arranged According to the Laws of Chance, 1916–1917. Torn and pasted paper, 1’ 7 1/8” x 1’ 1 5/8”. Museum of Modern Art, New York. Arp explores the idea of chance in the process of creating art. He dropped torn paper onto a sheet of paper and glued them wherever they landed. Emphasis on the anarchy quality of Dada.

15. Figure 35-29 HANNAH HÖCH, Cut with the Kitchen Knife Dada through the Last Weimar Beer Belly Cultural Epoch of Germany, 1919–1920. Photomontage, 3’ 9” x 2’ 11 1/2”. Neue Nationalgalerie, Staatliche Museen zu Berlin, Berlin. Photomontage Image mocks the establishment. Also depicts fellow artists and radicals.

16. Figure 35-30 KURT SCHWITTERS, Merz 19, 1920. Paper collage, 7 1/4” x 5 7/8”. Yale University Art Gallery, New Haven, (gift of Collection Société Anonyme). Schwitters used random contemporary objects, materials to create a nonobjective collage.

17. Figure 35-33 MAN RAY, Cadeau (Gift), ca. 1958 (replica of 1921 original). Painted flatiron with row of 13 tacks with heads glued to the bottom, 6 1/8” x 3 5/8” x 4 1/2”. Museum of Modern Art, New York (James Thrall Soby Fund). Sculpture shows the Dada sense of humor. Piece was exhibited in the Armory Show.

18. Dada, Surrealists, Cubists, German Expressionists were all targets of the Nazi Degenerate Art exhibit. Many of these artists left Europe for the United States.

19. Naturalistic Surrealism- represents recognizable imagery that seem to have metamorphosed into a dream. Biomorphic Surrealism- largely abstract compositions without conscious control. Surrealism

20. Figure 35-46 GIORGIO DE CHIRICO, Melancholy and Mystery of a Street, 1914. Oil on canvas, 2’ 10 1/4” x 2’ 4 1/2”. Private collection. Mysterious style influenced later Surrealist artist like Dali.

21. Figure 35-47 MAX ERNST, Two Children Are Threatened by a Nightingale, 1924. Oil on wood with wood construction, 2’ 3 1/2” x 1’ 10 1/2” x 4 1/2”. Museum of Modern Art, New York. Ambiguous title typical of Surrealists work. Ernst plays with the traditional Renaissance idea of art as a window into the world.

22. Figure 35-49 SALVADOR DALÍ, The Persistence of Memory, 1931. Oil on canvas, 9 1/2” x 1’ 1”. Museum of Modern Art, New York. Dali was interested in depicting “images of concrete irrationality with the most imperialistic fury of precision”.

23. Figure 35-50 RENÉ MAGRITTE, The Treachery (or Perfidy) of Images, 1928–1929. Oil on canvas, 1’ 11 5/8” x 3’ 1”. Los Angeles County Museum of Art, Los Angeles (purchased with funds provided by the Mr. and Mrs. William Preston Harrison Collection). Use of text challenges the viewer’s rational reading of the painting. Magritte was known for using common objects as personal but ambiguous symbols.

24. Figure 35-51 MERET OPPENHEIM, Object (Le Déjeuner en fourrure), 1936. Fur-covered cup, 4 3/8” diameter; saucer, 9 3/8” diameter; spoon, 8” long. Museum of Modern Art, New York. Sculpture was inspired by a conversation with Picasso. Playful use of texture captures the humor and sexuality prevalent in Surrealist works.

25. Figure 35-52 JOAN MIRÓ, Painting, 1933. 5’ 8” x 6’ 5”. Museum of Modern Art, New York (Loula D. Lasker Bequest by exchange). Biomorphic approach Automatism

26. Figure 35-53 PAUL KLEE, Twittering Machine, 1922. Watercolor and pen and ink, on oil transfer drawing on paper, mounted on cardboard, 2’ 1” x 1’ 7”. Museum of Modern Art, New York. Influenced by Carl Jung’s concept of the collective unconscious. Depiction of shapes and symbols.