Survage. Abstract or Cubist?
Somogy| N° d'inventaire | 20569 |
| Format | 25 x 28 |
| Détails | 170 p., 100 ill., bound. |
| Publication | Paris, 2017 |
| Etat | Nine |
| ISBN | 9782757212295 |
Born in Moscow in 1879 to a Finnish father and a Danish mother, naturalized French in 1927, Survage is, through his story and his career, one of the leading images of this modern culture which, in Paris, welcomed and confronted the Spanish Picasso, the Italian Modigliani, the Romanian Brancusi, the Japanese Foujita or the Dutch Mondrian… The invention in 1912 of the Rhythmes couleurs made Survage one of the first abstract painters, but also, as the current interest of American museums testifies, the first artist to have perceived that cinema could be a means of expression in the same way as painting or sculpture. Guillaume Apollinaire, who, upon discovering Rhythmes couleurs, was the first defender of his work, understood, after Gaumont's refusal to make this film, that a mutation of the painter would be necessary, but would always be at the forefront of the avant-garde, beyond Cubism, towards this anticipated thing that he had just called Surrealism. This is what, a century ago, he meant when he wrote that: "No one before Survage had been able to put an entire city with the interiors of its houses in a single canvas." In 2018, the Ministry of Culture and Communication will celebrate, as part of the National Commemorations, the 40th anniversary of the death of Léopold Survage.
Born in Moscow in 1879 to a Finnish father and a Danish mother, naturalized French in 1927, Survage is, through his story and his career, one of the leading images of this modern culture which, in Paris, welcomed and confronted the Spanish Picasso, the Italian Modigliani, the Romanian Brancusi, the Japanese Foujita or the Dutch Mondrian… The invention in 1912 of the Rhythmes couleurs made Survage one of the first abstract painters, but also, as the current interest of American museums testifies, the first artist to have perceived that cinema could be a means of expression in the same way as painting or sculpture. Guillaume Apollinaire, who, upon discovering Rhythmes couleurs, was the first defender of his work, understood, after Gaumont's refusal to make this film, that a mutation of the painter would be necessary, but would always be at the forefront of the avant-garde, beyond Cubism, towards this anticipated thing that he had just called Surrealism. This is what, a century ago, he meant when he wrote that: "No one before Survage had been able to put an entire city with the interiors of its houses in a single canvas." In 2018, the Ministry of Culture and Communication will celebrate, as part of the National Commemorations, the 40th anniversary of the death of Léopold Survage.