Dadaism & Surrealism: Use of Objects

Objects figure prominently in Dada and Surrealism, starting with Marcel Duchamp’s (1887-1968) introduction of the assisted ‘Ready-Made’[1] and branching out into the ‘Surrealist Object’ which 34 took its cue from Duchamp’s conception and initial use of the ‘Found Object’. Attached to Dada as a disruptive art of ‘noise’[2], props and masks were used, incorporating objects … Continue reading Dadaism & Surrealism: Use of Objects

Dadaism & Surrealism: Responses to Culture

Dada and Surrealism respond to cultural circumstances, into which their respective aesthetic and ideological frameworks come into play. The dadaist response post-WWI is overtly politicised in Berlin, where the aftermath of war in Germany was felt acutely, providing a state of social and political disorder which German artists could exploit through the dada channel. Dada, … Continue reading Dadaism & Surrealism: Responses to Culture

The Impressionists – Introducing ‘Le Flâneur’

We've explored how painters like Renoir and Degas concerned themselves with capturing scenes of the capital by day and by night, an occupation which stemmed from Paris opening like a cultural flower in the mid-19th century - its new environs practically buzzing with diversions to catch the eye. The monolithic intentions of city planner Baron … Continue reading The Impressionists – Introducing ‘Le Flâneur’

Prince Albert: Patron & Collector – A Curatorial Character

Prince Albert had quite the curatorial character, something expressed through the fervor of his collecting habits and especially when outfitting an estate. In the management of art works belonging to the royal households, Albert proved himself to be meticulous, a factor which Lucy Whittaker examines when writing on his ‘systematic approach to art and frames’1. … Continue reading Prince Albert: Patron & Collector – A Curatorial Character