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.
'New Seeing' in the Works of Lorenzo Mattotti and Nicolas de Crécy
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
Hubert I. Cohen
Review of András Bálint Kovács, SCREENING MODERNISM: EUROPEAN ART CINEMA, 1950–1980
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.
Exhibition . New York : Museum of Modern Art . The Economist . 2006 . “ Rebecca Horn: It's Her Party. ” 23 November . https://www.economist.com/books-and-arts/2006/11/23/its-her-party . Weir , Lucy . 2015 . “ Abject Modernism: The Male Body in the
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).
Michael D. Picone
Initially, being mass produced and sequential, comic art was excluded from fine art museums. Some comics artists themselves have expressed ambivalence about the value of inclusion (but counter-arguments are proposed, challenging the perception of incompatibility). However, a pivotal element in the break from the ranks of artistic modernism has been the appropriation of comic art motifs for use in museum-grade pop art, figuration narrative and their successors. In counterpoint, comic art is replete with examples of museum art being appropriated in order to obtain diegetic enrichment of various sorts, either for the purpose of parody or in relation to plot construction. Against this backdrop, and abetted by the twin challenge that art museums are facing to remain relevant and to increase revenue, a game-changing development is afoot, leading to a co-operative re-positioning of art museums and comics artists. With the Louvre taking the lead, many art museums in France and Italy are now commissioning works of comic art based on the museum's own collections, often launched with companion exhibits. The resultant 'art within art' lends itself readily to rich experimentation with themes incorporating intertextuality and parallel narrative.
Religion and Reconciliation in French Society, 1919-1945
Stephen Schloesser, Jazz Age Catholicism: Mystic Modernism in Postwar Paris, 1919-1933 (Toronto, Buffalo, London: University of Toronto Press, 2005).
Geoffrey Adams, Political Ecumenism: Catholics, Jews, and Protestants in de Gaulle’s Free France, 1940-1944 (Montreal and Kingston, London, Ithaca: McGill-Queen’s University Press, 2006).
European Comic Art Reaches Its Tenth Year
resources of the medium; temporality and duration in comics; adaptation and the mutual influence between comics and other arts, including the novel, film, fine art (especially modernism) and the performing arts; and the diverse influences on the development
Tru Leverette and Barbara Mennel
Zélie Asava. Mixed Race Cinemas: Multiracial Dynamics in America and France (New York Bloomsbury, 2017). 216 pp., ISBN: 1501312456 (paperback: $35.96)
Elizabeth Otto and Patrick Rössler, eds. Bauhaus Bodies: Gender, Sexuality, and Body Culture in Modernism’s Legendary Art School (New York: Bloomsbury Visual Arts, 2019). xl + 345 pp., ISBN: 9781501344787 (hardback, $110), (paperback, $29.95)