Analysis Of The Human Condition By Rene Magritte

This is a cultural movement that began in the early 1920s, and is best known for its visual artworks and writings. Artists sought to channel the unconscious to unlock the power of the imagination. They believed the rational mind repressed the power of the imagination. Artist’s images were outlandish and perplexing. It is meant to jolt the viewer out of their comforting imagery. Nature was a frequent imagery. Salvador Dali’s works often included ants or eggs. The Accommodations of Desire in 1929 was an important piece of art. It is a prime example of his ability to portray his vivid bizarre dreams. He developed a paranoid-critical method that involved irrational thought and self-induced paranoia to access his unconscious. It combined his usual hyper-realistic painting style with more experimental collage techniques.

Steinberg’s essay, “The Philosophical Brothel,” of 1972 was a new account of Picasso’s masterwork, Les Demoiselles d’Avignion [Fig. 13]. Steinberg roots his analysis of the painting in its relationship to the viewer. Steinberg extends the role of the viewer until it is he who completes the painting as the male solicitor of the women in the painting: “The picture is a tidal wave of female aggression; one either experiences the Demoiselles as an onslaught, or shuts it off. But the assault on the viewer is only half of the action, for the viewer, as the painting conceives him on this side of the picture plane, repays in kind.”98 The horizontality of the flatbed picture plane, and the new content it allows, makes the viewer’s role an active

In Abstract Expressionism - a certain construction of the world we call “individuality” is revealed in its true, that is to say, contingent, vulgarity. And so is painting; or rather, so are paintings like Hofmann’s “The Garden” and Adolph Gottlieb’s “Black, Blue Red” - done as they were under the sign or spell of such a construction, by “individuals” believing utterly (innocently, idiotically) in its power.

In this discussion, I hope to put a different spin on surrealism and the grotesque by drawing on the works of Sartre, and if we're not too dizzy from spinning when all is said and done, I shall have put together a way to investigate the grotesque in Modernist art and contemporary life. After a summary of the surrealist's use of Freud and a look at Sartre's criticism of surrealism, we will look at surrealism in Sartre's work and derive an existentialist definition of the grotesque and examine how this might reconfigure the surrealist goal of liberation. Surrealist art is almost always analyzed in terms of Freudian psychoanalytic theory because the surrealists openly announced Freud's study of the psyche as the inspiration for the practice of surrealism. Andr‚ Breton, author of the many surrealist "Manifestoes" and the self-appointed spokesman and scribe of the surrealist movement, eulogized Freud, who died in 1939, by writing that: ". .

Often inspired by the repression of unconscious observations, surrealist art and writing often contains no discernable organization or structure, and is open to the imagination and the “world of the private mind” (metmuseum), an antithesis of traditional art based on rationality, reason, and societal norms. These concepts were what the surrealists sought to upend in their manifesto, and thus much of their work, such as Rene Magritte’s "La Trahison des Images" or Marcel Duchamp’s “Bride Stripped Bare by Her Bachelors, Even (The Large Glass)” sought to “overturn the world view of scientific positivism, exposing the dogmatic conceptions of vision and language, the supposed guarantors of truth and being, as arbitrary, deceptive tools of modernity’s oppressive “rational” ideology” (sensesofcinema). Additionally, surrealism intended to capture “freedom” of the mind and imagination that modern logic and reason suppressed through constraints of social norms and expectations. These modern patterns of thought, in the eyes of surrealists, were influenced by social doctrine (surrealism lecture) and thus needed to be undermined in order to discover the true unconscious perception of reality

Despite evident differences in the compositional elements of Picasso’s Les Demoiselles and Manet’s A Bar at the Folies-Bergère, both utilise a composition with a shallow plane to distort visual perception in their work. This distortion promotes the spectator to revaluate the way they perceive these female prostitute subjects. Picasso’s treatment of paint and use blocked colours in Les Demoiselles creates the sensation of a flat, two-dimensional image, signifying a radical break from traditional modes of representation. The lack of depth in the painting pushes the figures of female prostitutes on top of each other, layering the stark angles and sharp forms that make up their bodies. In addition, this layering on such a large scale (243.9 cm × 233 cm) creates a feeling that the figures are pushing beyond the boundaries of the work and imposing themselves onto the spectator. Furthermore, the stances of the prostitutes, who are dramatically flaunting their bodies with arms raised and torsos presented openly, fills the frame, refusing the spectator to accesses to other areas of the image. Instead the female figures dominate the attention of the viewer, in some ways empowering these figures who previously lacked representation. These formal elements of composition all come together in Les Demoiselles to challenge the spectator’s ways of viewing the females in the work.

Raoul Dufy’s 1906 painting Still Life with Closed Shutters emphasizes the emotion in modern reality rather that the eighteen century’s focus on the physical aspects in its reality. The work of art uses different styles in Modern Art to reflect the symbolic view of the sentiments. The canvas contains the Impressionist characteristic of focusing more on capturing the essence of the atmosphere by sacrificing the dark shadows for brighter shades of color. This greatly contrasts with the eighteen centuries’ attention on the finer details to show the item’s appearance in real life. The portrait also has the Abstract Art aspect of withdrawing the items’ outlines to create a visual representation of the human emotions. The modern reality cares more

Thus, the painting demonstrates an idealized view of the beginning of society through the formations of religion, logic, trade, and a human’s creation of their own fate. This theme can be seen

It is in that way which the non practical human event of a painting may draw attention to the human observer, there truth may be revealed and through truth of the unique feeling of the sublime in accordance to Schopenhauer, wherein the pleasure is gained from beholding the violent object and its immeasurable nature. 61Through this it is argued the art will not be disenfranchised by the structure and it gains the capacity for change.  This is what Merleau-Ponty calls a “brute fabric of meaning” 62wherein the painter takes upon the raw fabric of the world when he renders their experience in a painting. Then the completed painting is quite literally a brute fabric that the viewer draws upon in his interpretation of what is rendered. The revelation

Pablo Picasso’s Les Demoiselles D’Avignon is considered by many to be a revolutionary breakthrough in the history of modern art. Demoiselles is a “great manifesto of modernist painting” as Picasso had abandoned all known form of traditional art, a radical break from the Western tradition that very much led to the Cubism movement (Bishop, 2002). What made Demoiselles revolutionary was that "in it Picasso broke away from the two central characteristics of European painting since the Renaissance: the classical norm for the human figure, and the spatial illusionism of one-point perspective" (Fry, 1966). Cubism had “destroyed […] the realist conventions for three-dimensional perspective which had been dominant in art since the Renaissance” (Butler, 2010). While generally credited as the first Cubist painting, art historians such as John Golding have argued that it was only a “starting point for the history of Cubism” (1958). Indeed, the picture predicates key characteristics of Cubism like the distortion and break down of objects and figures into distinct shapes, rather than being itself a Cubist painting. This analysis will concentrate on the elements of Cubism in Demoiselles and how it led to the movement.

Groseclose focuses on studying the artwork’s use of lighting and the identity of the subjects, their postures, and facial expressions. Also, she interprets the painting

Finally, the depiction of figure is perhaps the most interesting and intellectually challenging element in this piece. The figure, while emotionally withdrawn from the viewer, is physically imposing. She is looking down and away from the viewer, as if the isn’t aware that she is being watched. Her mask-like facial features also do little in the way of conveying emotion. Her body, however, is quite different. The dark thick lines shaping her muscles and limbs, the detail in the curls of her hair, the placement of her fingers, and her exposed breast all demand the attention of the viewers’ eye. The bold lines that define her legs, waist, and hip, make her seem intrusively part of our space. The awkward placement of her

The era of Mannerism is renown for its increasingly complex works of art, much like the High Renaissance before it, and the discipline of sculpture is no exception. Out of this period comes more intricate poses, forms, and emphasis on the illusion of movement which is perhaps most evident in Giambologna's "The Rape of the Sabine Women". His sculpture depicts a young man attempting to carry a struggling young woman as he stands over the contorted body of an older man, either the woman's husband or father. What is interesting about this work is not only the realistic human forms and perceived chaos of the moment, but also the lack of a dominant side from which this sculpture would be viewed. In order to achieve these features, Giabologna utilizes a combination of various textures and diagonal lines to create the complete illusion of muscle, flesh, energy, and multiple focus points.

René Descartes was a French philosopher and also mathematician. His method of doubt led him to the famous "cogito ergo sum" when translated means "I am thinking, therefore I exist". This cogito was the foundation for Descartes' quest for certain knowledge. He explored doubt and how we can prove our own existence, by taking the first steps of scepticism. His book "Meditations On First Philosophy", was written in six parts. Each representing the six days that God took to create the world. Not to upset the Church, Descartes would need to prove the existence of God, and the soul. Within Descartes' argument, we find some important areas. Two, which require focus, are his

The famous Belgian surrealist artist “Rene Magritte” was famous for his everyday imaginary and interesting graphics.