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13 AUGUST 2013

Sonia Delaunay and the Art Simultané

"Together, the Delaunay [Sonia and Robert Delaunay] start a research on color that will be the essence, the content and the form but also the line of a new painting for a non–figurative art. Influenced by the Fauvism, she first presents works whose subjects and models are marked, slashed by the brutality of the shades. Creative perfection to aim at, the music offers to the artists, at this time, the philosophical assessment that will underlie their respective works. Powerful associations of rhythms and melodies, the compositions gather in the idea of 'simultaneous' what makes a new challenge for poets and painters. Sonia Delaunay then progressively develops a lyrical use and signification of the color, close from cubism, between rhythm and shade. Repetitions of forms, structures but also colors, her paintings take a direction all her artistic propositions will follow."

(Ozarts Etc, 3 December 2011)

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abstract artabstract artists • art and fashion • art simultanecar • Citroen • colour • colour and fashion • colour and light • colour blocking • contrasting colour • costume designcubist and abstract artcubist conceptionsdesign formalismdesignerfabricfashion design • Fauvism • female artistgeometric designsmodern artmodern womanmodernist aestheticsmodernist paintingmosaicmovement-imagemulti-disciplinary • multi-disciplinary artist • mural • non-figurative art • paintingpatchworkpatchwork quiltpatternrepetitionRobert DelaunaysimultaneismsimultaneitySonia Delaunaytextile design • textiles design • theatrical stage design • theatrical staging • Tissus Delaunay • vibrant colourvisual abstractionvisual artistvisual contrastvorticismwomen artistswomen in art and designzig-zag

CONTRIBUTOR

Simon Perkins
02 MARCH 2013

The Vorticists: a short-lived 20th century avant garde art movement

"The vorticists did not have many members; nor did the movement last long, because of unfortunate timing – it formed in 1914 as Europe hurtled towards war. By 1918 there was not much appetite for dogmatic groups such as theirs.

Nevertheless, the group holds an important place in 20th–century British art history.

'They were the first abstract modernist group in Britain,' said Stephens. 'It inevitably comes out of the revolution of cubism, but then, so does everything in the 20th century.'

They were part of a maelstrom of new, aggressive art 'ism' movements, not least the one practised by the Italian futurists, who were, in Lewis's eyes, the bad guys.

Stephens said: 'Unlike the futurists, who celebrate the energy of the machine and actual war as a purging force, the vorticists were engaged in more universal ideas of identity, time and movement in a philosophical sense.'"

(Mark Brown, 13 June 2011, The Guardian)

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1914 • 20th century • abstract modernist group • aggressive art • Alvin Langdon Coburn • angular shapesart exhibitionart movementavant-garde • Blast (journal) • British art • cometism • cubismcubist and abstract art • David Bomberg • disruptive pattern • Dore Gallery • Dorothy Shakespear • Edward Wadsworth • Ezra Pound • Futurism (art movement)Hayward Gallery • Helen Saunders • ism • jazz rhythm • Lawrence Atkinson • maelstrom • Manifesto for a Modern World • movementpaintingpattern • Penguin Club • purging force • short-lived • Tate Britainthe energy of the machine • universal ideas • universal modernity • vanished works • visual abstractionvorticism • vorticists • William Robertswomen artistswomen in art and designWorld War IWyndham Lewis

CONTRIBUTOR

Simon Perkins
08 OCTOBER 2012

The Feral Diagram: Graffiti and Street Art 2011

"This diagram was meant as a challenge to the prevailing art world hegemony. It was created to prove the argument that graffiti and street art were already at the center of the art world whether they were officially recognized or not.

Utilizing the same graphic vocabulary as Alfred H. Barr, Jr (the first director of MoMA for the cover of the catalog for Cubist and Abstract Art exhibition in 1937) to create an impression of authority equivalent to his diagram. The Feral Diagram picks up chronologically where Barr left off, thereby subverting and redirecting the officially recognized historical trajectory.

Six years after the first draft of this diagram, the acknowledgement of graffiti and street art as important movements within the fine art community, if not the most important movements at the beginning of the new millenium, has come to light with major museum retrospectives, a never ending stream of books on the subject, websites, products, etc."

(Daniel Feral, 2011, Flickr)

Fig.1 revised "Feral Diagram 2.0" version.

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19372011 • Alfred Barr • art movementauthorised voicechartcritiquecubist and abstract art • Daniel Feral • diagram • Feral Diagram 2.0 • Futurism 2.0 • graffitigraffiti art • graphic vocabulary • hegemony • historical imaginings • historical trajectory • information graphicsMoMANYC • Pantheon Projects Group • posterpowerstreet art • The Feral Diagram • visual artvisual communicationvisualisation

CONTRIBUTOR

Simon Perkins
14 NOVEMBER 2003

Robert Delaunay: Le Manege De Cochons (Carousel With Pigs)

This painting compresses pictorial and movement (space and time) information into a single frame.

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