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‘The appeal * of primitive and ancient ritual art to Moore,** the element of surprise in children's toys for Calder,** and the wellsprings of irrationality from which Arp** and Giacometti** drank were for those men the means by which wonder and the marvellous could be restored to sculpture. While their works were often violent transmutations of life, *** their objectives were peaceful….’

****

*(See also ff in E[ncyclopaedia] B[ritannica] [27:110] on the egg form in J. B. Flanagan’s & Brancusi’s sculptures)

**[See last previous ts journal entry]

****– ibid [Encyclopaedia Britannica 27:] 109-110

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[continued]

‘Of greater artistic importance was the sculpture of a second group that included Alberto Giacometti, Jean Arp, Lipschitz, Henry Moore, Barbara Hepworth, Picasso, Julio González, and Alexander Calder. Although those sculptors were sometimes in sympathy with surrealist objectives, their aesthetic and intellectual concerns prohibited a more consistent attachment. Their art, derived from visions, * hallucinations, reverie, and memory, might best be called the sculpture of fantasy, Giacometti's “Palace at 4 a.m." (Figure 78),** for example, integrates the artist's vision not in terms of the external public world but in an enigmatic, private language. **Moore's series of “Forms” suggest shapes in the process of forming under the influence of each other and in the medium of space.

***

*g~

**

	C
↓/↓	?	↓\↓

*** [– ibid (Encyclopaedia Britannica 27:109)]

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{Surrealist and Fantasist sculpture}

‘Sculpture of fantasy (1920-45[ce]).* One trend of Surrealist sculpture of the late 1920s[ce] to the 1930s consisted of compositions made up of found objects, such as Meret Oppenheim’s “Object, Fur Covered Cap (1936[ce]). As with Dadaist fabrications, the unfamiliar conjunction of familiar objects in these assemblies was dictated by impulse ** and irrationality and could be summarised by Isadore Ducasse’s often-quoted statement, “Beautiful … as the chance meeting on a dissecting table of a sewing machine with an umbrella.”

***

*

				64C1920ce
			/		\
		r~		1928[ce]		S~
	/						\
g~				1936[ce]				M~
	\						/
		j~		1944[ce]		U~

**r~ & g~

*** [– ibid (Encyclopaedia Britannica 27:109)]

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{– Conservative Reaction in Sculpture}

‘Conservative reaction (1920s). * In the 1920s[ce] modern art underwent a reaction comparable to the changes experienced by society as a whole. **|In the postwar search for security, permanence and order,|** the earlier insurgent art seemed by many to be antithetical to these ends, and certain avant-garde artists radically changed their art and thought. Lipchitz’ portraits of “Gertrude Stein” (1920[ce]) & “Berthe Lipchitz” (1922[ce]) return volume and features of to the head but not an intimacy of contact with the viewer. Tatlin & Alexander Rodchenko broke with the Constructivists around 1920[ce]. Jacob Epstein developed some of his finest naturalistic portraiture in this decade.’

***

‘In Germany, George Kolbe’s “Standing Man and Woman” of 1931[ce] seems a prelude to the Nazi health cult, and the serene but vacuous figures of Arno Breker, Karl Albiker, & Ernesto de Fiori were simply variations on a studio theme in praise of youth & body culture.’

***

*64C1920|S1928[ce]

**{I}[Vertical emphasis line in margin]

*** – ibid [Encyclopaedia Britannica 27:109]

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{Dadaist Assemblage}

‘A second important offshoot of the Cubist collage was the fantastic object or Dadaist assemblage. The Dadaist movement, while sharing Constructivism's iconoclastic vigour, opposed its insistence upon rationality. Dadaist assemblages were, as the name suggests, “assembled” from materials lying about in the studio, such as wood, cardboard, nails, wire, and paper….’

*

* – ibid [Encyclopaedia Britannica 27:109]

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‘Constructivism & Dada. Between 1928 and 1914[ce] there emerged an antisculptural movement, called Constructivism, that attacked the false seriousness and hollow moral ideals of academic art. The movement began with the relief fabrications of Vladimer Tatlin in 1913[ce]. The Constructivists & their sympathizers preferred industrially manufactured materials, such as plastics, glass, iron, and steel, to marble and bronze. Their sculptures were not formed by carving, modelling & casting, but by twisting, cutting, welding, or literally constructing: thus the name Constructivism.

‘Unlike traditional figural representation, the Constructivists’ sculpture denied mass as a plastic element and volume as an expression of space; for these principles, they substituted geometry and mechanics. In the machine, where the Futurists saw violence, the Constructivists saw beauty. Like their sculptures, it was something invented; it could be elegant, light, or complex, and it demanded the ultimate in precision & calculation.

‘Seeking to express pure reality, with the veneer of accidental appearance stripped away, the Constructivists fabricated objects totally devoid of sentiment or literary association.… their aesthetic principles are reflected in much of the furniture, architecture & typography of the Bauhaus.’

*

* – ibid [Encyclopaedia Britannica 27:] 109

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{– Futurist Sculpture}

‘Duchamp-Villon may have been influenced by Umberto Boccioni, one of the major figures in the Italian Futurist movement and a sculptor who epitomised the Futurist love of force & energy deriving from the machine. In “Unique Forms of Continuity in Space” (Figure 76)* and “Head + House + Light” (1911[ce]), he carried out** his theories that the sculptor should model objects as they interact with their environment, thus revealing the dynamic essence of reality.’

***

*[Figure 76 not included in ms or ts]

**[sic]

*** – ibid [Encyclopaedia Britannica 27:108]

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‘Avant-garde sculpture (1909-20). In the second decade of the 20^th century [ce] the tradition of body rendering extending from the Renaissance to Rodin was shattered, and the Cubists, Brancusi & the constructivists emerged as the most influential forces. Cubism, with its compositions of imagined rather than observed forms & relationships, had a similarly marked influence.*

‘One of the first examples of the revolutionary sculpture is Picasso's “Woman's Head” (1909[ce]). The sculptor no longer relies upon traditional methods of sculpture or upon his sensory experience of the body; what was given to his outward senses of sight & touch was dominated by strong conceptualizing.’**

***

*(?to what?)

**{NB}

*** – ibid [Encyclopaedia Britannica 27:] 108

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‘The French sculptor Auguste Rodin found in it* a new basis for life modelling and thus restored to the art a stylistic integrity that it had hardly possessed for more than two centuries.’

‘From Honore Daumier, Rodin had learned the bold modelling of surfaces that are emotive rather than literal; the statue is only a rough approximation that avoids the definitive finish of earlier sculpture and remains in a state of becoming. Eventually, Rodin even worked with mere fragments, such as broken torsos, and he enormously enlarged the range of figure composition.

The mass, until then the principal vehicle of sculptural composition, was explosively opened by these methods;** in contrast to earlier sculpture, which depended on the interplay of solid and void, Rodin's works are fused with the surrounding space.’***

****

*[See last previous ts entry]

**{

↑	↑/↑
R~	→

}

***

	C
↑/↑

**** – ibid [Encyclopaedia Britannica 27:] 107

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[continued]

‘Modern Sculpture

‘19th-century Beginnings

‘The origins of modern art are usually traced to the mid 19th-century [ce] rejection of the Academic tradition in subject matter and style by certain artists & critics. Painters of the Impressionist school that emerged in France in the late 1860s [ce] sought to free painting from the tyranny of the subject and to explore the intrinsic qualities of colour, brushwork & form. This expansive notion of visual rendering had a revolutionary effect on sculpture as well.

*

*– E[ncyclopaedia] B[ritannica] 27:107

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At the moment I can't make much analytical sense (in C[ircles] A[nalysis &] S[ynthesis] terms) of the post-war period, and even the inter-war period requires greater depth of study. (eg Did Expressionism and Surrealism ‘end’ in the late 1930’s [ce], or ‘continue’ until the late 1940’s / early 1950’s [ce], or what?)*

*{See [[Redbook10:63][19910512:1718es]{Modern Art Cycles}[12th May 1991],] 63}

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*

**

*[Marginal note above:]

NB

G~
	↑\↑
		J~

**[– ibid (Encyclopaedia Britannica 25:)376]

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