The 50 years that changed painting 1867–1917 — Lecture 4: Poetic abstraction — Symbolist Aesthetics скачать в хорошем качестве

The 50 years that changed painting 1867–1917 — Lecture 4: Poetic abstraction — Symbolist Aesthetics

ANU Drill Hall Gallery Lecture Series with Terence Maloon: The 50 years that changed painting 1867–1917 Lecture 4: Poetic abstraction — Symbolist Aesthetics Stéphane Mallarmé was a French poet who wrote the most obscure and recondite verse of the 19th Century. His poetry was published in tiny editions, yet visual artists were among his most enthusiastic readers. Mallarmé’s portraits were painted or drawn by Manet, Whistler, Renoir, Gauguin, Vallotton, and Munch, and Matisse illustrated a magnificent edition of Mallarmé’s Poésies. This lecture explores his revolutionary poetics and the ways it anticipated the advent of abstract art. ----- This series of 12 lectures — 6 in 2024 and 6 in 2025 — looks at the reorientation of painting from 19th-century Naturalism to 20th-century Abstraction, exploring the shifts and examining the rationalisation that gained a pervasive influence over the entirety of modern and contemporary art. In 1867 James Abbott McNeill Whistler changed the title of one of his paintings, renaming it Symphony in White — the implications of this change were more far-reaching than anyone could have imagined. Whistler’s subsequent work, which took on a musical and colouristic emphasis, began an ineluctable drift towards abstraction. Over the next 50 years a sequence of bold initiatives seemed to intuit a common goal. The paintings of Claude Monet were more abstract than those of Whistler, Cézanne was more abstract than Monet, the followers of Gauguin even more so… until around 1910–1911, when the first non-objective paintings began to appear in public in various places in Europe. One of the strangest facts surrounding the birth of Abstraction was that it was not seen as a new movement or a novel idiom. The first non-objective paintings appeared surrounded by a multitude of near-abstract, quasi-abstract and abstract-tending works which were associated with modernist movements such as Cubism, Fauvism, Futurism, Expressionism and much besides. The eventuation of abstract painting was the outcome of a gradual evolution or a continual stripping-down or purification which was consistently enacted by anti-academic or avant-garde painters over half a century. An “abstract way of seeing” infiltrated not only non-objective painting, but a whole gamut of figurative painting, photography, graphic design, sculpture and architecture, and became a defining feature of modernism. This lecture series is based on the exhibition Paths to Abstraction 1867–1917 curated by Terence Maloon for the Art Gallery of New South Wales in 2008, yet it will embrace the opportunities to expand visual references and explore the ramifications for art in Australia, as well as to incorporate many afterthoughts stimulated by the 2008 exhibition. Presented by Drill Hall Gallery, Australian National University, Canberra. Supported by the Dyer Family. For information on attending upcoming lectures visit https://dhg.anu.edu.au/event_post/lec... Become a Friend of the Drill Hall Gallery Friends of the Drill Hall Gallery congregate throughout the year for cultural, social, intellectual, musical and literary delights in the company of a diverse community of interested and interesting art lovers. Join us on the last Friday of the month for our Friend’s Night soirée from 5:30pm-7:00pm at the Gallery, for lectures, visits to artists’ studios, book launches, concerts and more. Drill Hall Gallery Friends are supportive, greatly valued members of our gallery community and anyone is welcome to join. During gallery infrastructure upgrades in the first half of 2024, join or renew your membership and receive a six month extension for free — current members will also receive this extension. https://dhg.anu.edu.au/friendsofthedr...