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Which clippings match 'Brutalism' keyword pg.1 of 1
16 JANUARY 2013

Call to Order: the subordination of the matter to the light of the form

"The French poet and filmmaker, Jean Cocteau, is usually given the credit for the title by which the neoclassical revival of the 1920′s and early 1930′s is known. Le Rappel a l'ordre or the Call to Order summoned the civilized world to its senses. These were the very organs, you will recall, that had been ripped away by a shell fragment in Dix's Skin Graft.

This 'call to order' actually had its roots in French wartime propaganda. The virtues of France's Latin–based civilization were ranged against the Teutonic brutalism of the Germans. Before the war, néoclassicisme had languished like a discarded stage prop. In 1918, with the 'Huns' surging for a second time toward the gates of Paris, Cocteau and others summoned the cultural icons of Greece and Rome to join the Allied ranks. That year, Cocteau published a book, Le Coq et l'Arlequin, which he revised and renamed in 1924 as Le Rappel a l'ordre. The message was the same, without the 'us versus them' jingoism of the war: civilization must look to its ancient past to regain its bearings and enhance its vitality.

Cocteau's thesis found an appreciative audience in many circles, including the United States. According to French writer Jacques Maritain, 'what makes the purity of the true classic is … a subordination of the matter to the light of the form.' The discipline and dedication of the artist would admit only the essential elements of art into the work being created, excluding anything that would 'debauch' the senses of the viewer."

(Ed Voves, 4 October 2010)

TAGS

1920s19241930s • ancient past • brutalismcall to orderchaos and classicism • civilized world • classical formcreative fundamentalism • cultural icons • debauch • enhance vitality • essential elements of artessentialismGermanGreek • Jacques Maritain • Jean Cocteaujingoism • light of the form • neoclassical • neoclassical revivalneoclassicism • neoclassicisme • nostalgiapurity • regain bearings • return to order • revival • Romanromanticism • senses of the viewer • Teutonic • Teutons • true classic • us versus them • wartime • wartime propaganda • World War I

CONTRIBUTOR

Simon Perkins
15 MAY 2011

Spomenik: monumental geometry echoing the shapes of flowers, crystals, and macro-views of viruses or DNA

"During the 1960s and 70s, thousands of monuments commemorating the Second World War – called 'Spomeniks' – were built throughout the former Yugoslavia; striking monumental sculptures, with an angular geometry echoing the shapes of flowers, crystals, and macro–views of viruses or DNA."

(Photo–Eye via Amazon.com)

Jan Kempenaers (2010). 'Spomenik', Roma Publications

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TAGS

1960s1970sabandoned places in Eastern Europeaesthetics • Antwerp • architectureBalkans • Bosnia • brutalismconcreteCroatiacrystaldeserted placesDNAdocumentary photographerEastern blocflowerfuturisticfuturistic designgeometric formsgeometry • Herzegovina • Jan Kempenaers • Kosovo • Macedonia • macro-views • melancholy beauty • Metohia • modernism • Montenegro • monument • monumental sculptures • neglect • neglected architecture • photographphotographersculpture • Serbia • SFRY • shapeSloveniaSocialist Federal Republic of YugoslaviaSoviet monuments • spomenik • symbolismtypology • victims • virusvisual representations of scientific concepts • Vojvodina • Willem Jan Neutelings • WWIIYugoslavia

CONTRIBUTOR

Simon Perkins
14 SEPTEMBER 2008

Tricorn Portsmouth 60s Brutalism

"The Tricorn Centre in Portsmouth was designed in 1963 and opened in 1966. The architect of the Tricorn Centre was Rodney Gordon. Rodney Gordon was strongly influenced by the three architectural giants of the twentieth century: Le Corbusier, Mies van der Rohe and Frank Lloyd Wright. Of these he felt that Le Corbusier's exploitation of the sculptural possibilities of concrete offered the best hope for good quality architecture for the masses. By using concrete – which was part of the structure of the building in any case – beautiful buildings could be produced at a cost that was economic. He was a realist, as well as a great architect. This was the main tenant of the philosophy behind Modernism – that form following function and truth to the materials not only made for good design, but that it was good design for everyone – not just the few."

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TAGS

architecturebrutalismbuildingconcreteFrank Lloyd Wright • Gordon • Le Corbusier • Luder • Ludwig Mies van der Rohemodernism • Portsmouth • post-war architecture • Tricorn Centre • UK

CONTRIBUTOR

Simon Perkins
30 NOVEMBER 2003

Futurist Manifesto: War is Beautiful

"For twenty–seven years we Futurists have rebelled against the branding of war as antiaesthetic.. . . Accordingly we state: ... War is beautiful because it establishes man's dominion over the subjugated machinery by means of gas masks, terrifying megaphones, flame throwers, and small tanks. War is beautiful because it initiates the dreamt–of metalization of the human body. War is beautiful because it enriches a flowering meadow with the fiery orchids of machine guns. War is beautiful because it combines the gunfire, the cannonades, the cease–fire, the scents, and the stench of putrefaction into a symphony. War is beautiful because it creates new architecture, like that of the big tanks, the geometrical formation flights, the smoke spirals from burning villages, and many others. . . . Poets and artists of Futurism! . . . remember these principles of an aesthetics of war so that your struggle for a new literature and a new graphic art ... may be illumined by them!"

(Walter Benjamin p.241–42.)

[Says Marinetti in his manifesto on the Ethiopian colonial war.]

Fig.1 "Funeral of the Anarchist Galli" by Carlo Carrà, 1911 in the Moma

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TAGS

1934brutalismdominionFilippo Tommaso MarinettiFuturism (art movement)historymanifesto • mortar shells • mustard gas • purging forcethe energy of the machineWalter Benjaminwar • war is beautif
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