Man Ray, Matisse, Bonnard, Duchamp, Breton, Cocteau, Joyce, Benjamin, Beauvoir - photographs by Gisèle Freund.
The Dream - Odilon Redon
Jean Michel Basquiat (1960-1988)
René Magritte, works from the Période vache (1947-1948)
Regarding both their motifs and their style, the works of Magritte’s Période vache do not constitute a consistent ensemble but rather present themselves as a patchwork of different pseudo-styles borrowing more or less openly from other artists and drawing on the artist’s own earlier works. These elements are transformed into something comic, trivial, or grotesque by being blended with aspects of popular visual culture. With numerous art historical references Magritte ridicules traditional cultural values and aesthetic norms and distances himself from an art scene lusting for innovation. Contrary to his “classical” works, their cool, precise and realistic approach, and the conceptual consideration behind them, the works of Magritte’s Période vache strike us as colorful, two-dimensional, quickly painted, and radiating an astounding directness and spontaneity.
With his manifesto-like protest against all varieties of arrogance and reprimands in the arts, Magritte has become a model for the artist’s triumph over the workings of an art scene that seem to be more overpowering today than they ever were. (via)
"Often when I imagine you,
your wholeness cascades into many shapes.
You run like a herd of luminous deer,
and I am dark;
I am forest."
Rainer Maria Rilke,from Rilke’s Book of Hours, I, 45.
Works by Shōmei Tōmatsu
The atomic bomb, American occupation and the fragmentation of traditional values defined the post-War generation in Japan. As an active part of avant-garde artistic circles, Tōmatsu avidly chronicled the life and mores of bohemia, where he found salient evidence of this cultural shift. Applying his keenly surreal eye to the human body, Tōmatsu creates a disquieting sense of freedom and abandon. His oeuvre, in the words of writer Leo Rubinfien ‘presses us still harder with another, different kind of ambiguity, fundamentally modern, fundamentally photographic, and distant from the exquisite fogs, magical gestures and decorous circumspection of classical Japan.’ (via)
Lucian Freud, Self Portrait, 1956, oil on canvas
A naked Spanish man throws flower petals at the picture of the Birth of Venus by Botticelli
John Baldessari, Four Events and Reactions, 1975
yves klein (1960) / ana mendieta (1982) / janine antoni (1992)
Kazuo Shiraga painting at the 2nd Gutai Art Exhibition, Tokyo, 1956, photographs by Kiyoji Otsuji
Cy Twombly, panel from Coronation of Sesostris, 2000, acrylic, pencil, and crayon on canvas
#8 Water and Persian Rugs, 2004