Review of András Bálint Kovács, SCREENING MODERNISM: EUROPEAN ART CINEMA, 1950–1980
Hubert I. Cohen
On the Wider Import of a Distinction Debora Silverman Develops in Van Gogh and Gaugin
This essay seeks to extend Debora Silverman's distinction between van Gogh's project of "spiritualizing the material" and Gauguin's related but opposed one of "dematerializing the world" to a wider range of modernist and avant-garde projects. It employs this distinction in connection with Astradur Eysteinsson's analysis of the problems of using such terms as modernism, the avant-garde, and postmodernism in relation to realism and the various revolts against it that have taken place since the age of romanticism. Eysteins-son's general approach is followed, but also in part questioned and given a different direction through discussions of Duchamp, the surrealists, Baudelaire, and Rimbaud.
'New Seeing' in the Works of Lorenzo Mattotti and Nicolas de Crécy
Both in literature and art, exponents of modernism sought new forms of expression that took into account changes in the social, economic, technical and political conditions of the time. A similar trend towards questioning outmoded forms of representation and establishing new ways of seeing has become apparent in European comics since the 1980s, a development that was initiated primarily in Italy and France. In Murmure (1989), Lorenzo Mattotti invokes expressionism and centres his mystical tale on the individual's inner being. In rejecting the representational norms traditionally applied to comics, Nicolas de Crécy also shows his allegiance to modernism yet reflects in his absurdly hyperrealist work, Foligatto (1991), the grotesque images of Otto Dix. The following article demonstrates how the two artists, despite the deliberate reversion to early twentieth-century art common to both, have, each in his own way, established a new approach to seeing in comics.
An Epilogue to Van Gogh and Gauguin: the Search for Sacred Art
Kenneth E. Silver
Silverman's intent is to emphasize the "critical role of religion in the development of modernism." As an addendum to that pursuit, it should be pointed out that, well into the twentieth century, religion remained crucial to artistic innovation and development (and still is). We now recognize how important apocalyptic imagery was to Wasily Kandinsky's abstraction. In the wake of the Second World War, and French occupation by the Germans, religion made a powerful reappearance in the art of the avant-garde. Henri Matisse's Chapel of the Rosary at Vence is one of the great works of this period; it is worth briefly examining the ways in which Matisse understood the intersection between modern art and his reengagement with Catholicism.
The Design Mode of Interwar Engineering in Belgium
Greet De Block and Bruno De Meulder
This article traces the implicit spatial project of Belgian engineers during the interwar period. By analyzing infrastructure planning and its inscribed spatial ideas as well as examining the hybrid modernity advocated by engineers and politicians, this article contributes to both urban and transport history.
Unlike colleagues in countries such as Germany, Italy and the United States, Belgian engineers were not convinced that highways offered a salutary new order to a nation traumatized by the First World War. On the contrary, the Ponts et Chaussées asserted that this new limited access road would tear apart the densely populated areas and the diverse regional identities in Belgium. In their opinion, only an integration of existing and new infrastructure could harmonize the historically fragmented and urbanized territory. Tirelessly, engineers produced infrastructure plans, strategically interweaving different transport systems, which had to result in an overall transformation of the territory to facilitate modern production and export logics.
On MoMA's Le Corbusier: An Atlas of Modern Landscapes
Nicole C. Rudolph
This article reviews the New York Museum of Modern Art's recent Le Corbusier retrospective and its accompanying catalogue. The author critically evaluates the curators' reassessment of Le Corbusier's legacy via the lens of landscape. A key insight gleaned from the show pertains to technologies of mobility: inspired by the views from the automobile, the steamer, and the airplane, Le Corbusier deployed modern materials and techniques of mass construction in order to maximize an inhabitant's contemplation of the natural world. What we learn from Le Corbusier: An Atlas of Modern Landscapes, the author argues, is that the architect valorized and designed to prioritize “3 Cs”: circulation, composition, and contemplation. The notion of contemplation may be more useful to understanding Le Corbusier's architecture than the concept of landscape.
At the beginning of the twentieth century, due to the spread of helmet diving beyond engineering communities, people started to attend to the remarkable qualities of underwater optics, differing radically from seeing through air. With the revelation of this unfamiliar planetary environment to a broader public, creators across the arts took inspiration from underwater optics to structure fantasy spaces of dream, hallucination, and marvel. To show the properties of underwater optics inspiring these fantasy spaces, this article analyzes undersea paintings by Walter “Zarh” Pritchard, reputedly the first artist to have painted en pleine mer. It then turns to aquatically-inspired works of surrealism, the movement offering the most famous appropriation of underwater optics for the arts, focusing notably on André Breton's L'Amour fou and Jean Vigo's L'Atalante.
Eric Michaud, Un Art de L’Éternité: L’image et le temps du national-socialisme (Paris: Gallimard, 1996).
Omer Bartov, Murder in Our Midst: The Holocaust, Industrial Killing and Representation (New York: Oxford University Press, 1996).
Michael Wildt, Vom kleinen Wohlstand: Eine Konsumgeschichte der fünfziger Jahre (Frankfurt: Fischer, 1996).
A Naturalized Aesthetics and the Challenge of Modernism
Alfred Hitchcock and Otto Preminger with the Soviet montage films of Sergei Eisenstein and Alexander Dovzhenko and the modernism of Robert Bresson, Luis Buñuel, and Raúl Ruiz, and this “comparative approach” ( Smith 2017: 9 ) has continued in his
Tru Leverette and Barbara Mennel
. Mulattas and Mestizas: Representing Mixed Identities in the Americas, 1850–2000 . Athens : University of Georgia Press . Elizabeth Otto and Patrick Rössler, eds. Bauhaus Bodies: Gender, Sexuality, and Body Culture in Modernism's Legendary Art