This wonderful review of recent learn on Dada and Surrealism blends specialist synthesis of the most recent scholarship with thoroughly new examine, providing old assurance in addition to in-depth dialogue of thematic components starting from criminal activity to gender.
• This ebook offers a good evaluate of recent learn on Dada and Surrealism from a number of the most interesting proven and up-and-coming students within the field
• deals old insurance in addition to in–depth dialogue of thematic parts starting from illegal activity to gender
• one of many first experiences to supply worldwide insurance of the 2 pursuits, it is also a piece facing the serious and cultural aftermath of Dada and Surrealism within the later 20th century
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Additional info for A Companion to Dada and Surrealism (Blackwell Companions to Art History, Volume 10)
This association between the experience of art and the experience of the Divine was characteristic of the twelfth century. It was connected with the philosophical thesis that reason is both human and divine, and unites man and God in a ‘single, delightful concordance of one superior, well-tempered harmony’. There was no leap of faith across an otherwise unbridgeable gulf, but a smooth progression from the material and corporeal to the immaterial and spiritual. This is what underlies one of the most famous passages in Suger, in which he describes how the experience of art conducts him to a state of mystical ecstasy: Thus when—out of my delight in the beauty of the house of God—the loveliness of the many-coloured gems has called me away from external cares, and worthy meditation has induced me to reflect, transferring that which is material to that which is immaterial, on the diversity of the sacred virtues: then it seems to me that I see myself dwelling, as it were, in some strange region of the universe which neither exists entirely in the slime of the earth nor entirely in the purity of heaven; and that, by the grace of God, I can be transported from this inferior to that higher world in an anagogical manner.
Their value lies partly in their beauty which is appropriate for the adornment of churches, and partly in their commemorative and educational role in recording the events of Scripture. Religious images should not, therefore, be broken or destroyed. The Carolingian view of religious pictorial art can be summed up as follows: • Pictures are inferior to language as a method of articulating and communicating the truths of religion, but they are valuable for the instruction of the unlettered. • Pictures are also useful as a way of illustrating and commemorating significant events in Scripture and the lives of the saints.
They found it ludicrous, however, that anyone should think of worshipping a picture. They constructed what is now called a thought experiment, in which they imagined an iconophile being shown two pictures of women, and told that one is a picture of God’s mother and the other a picture of the goddess Venus: He turned to the painter and asked him which was the picture of Mary and which of Venus—for they were alike in every way The painter gave to one picture the title Mary, and to the other he gave the title Venus.