«Figuration narrative» - «narrative figuration" - "Narrative Image"

[Ухтомский]

In 1964, the grand prize in Venice Biennale for the first time in history was not a European, and American-born Robert Rauschenberg. This event marked the international triumph of American pop art. But even before that point in different European countries emerged flow close pop art in its pathos. "Return to reality" was the main slogan of the era. Pop art has become synonymous with a new lifestyle of young generation. Pop in a broad sense has become a fusion of public and political activities of the new left.
In 1960 the French critic Pierre Rastani united and led the international team of artists ( "New Realists"), which included the Italian Mimmo Rotella, Daniel Spoerri Romanian Jews (Isaac Feinstein), the Bulgarian Christo, the Swiss Jean Tinguely, Arman French, Raymond Enns, Jacques de la Viyegle, Francois Dyufrenn, Niki de Saint-Phalle. An apartment Yves Klein (idol new realists) signed the manifesto.
Works by Yves Klein, was friends with Restany, in its metaphysical essence went far beyond the facilities of the New Realists, however, the use of sponges to create the famous "blue monochrome, and the first designed them Environnement and prompted Restany to find a way out to the" sredovye "art .
Realism, in the understanding of members of the group had nothing to do with figurative painting. According Restany, "new realists believe the world is like painting a huge fundamental work, parts of which they can borrow."
"New Realists" worked with the city garbage - torn advertising posters, film posters, food waste, every kind of junk and scrap metal. Rubbish subjected to artistic elaboration, "revived" in the words of Jean Tinguely, in accordance with the laws of classical art. Tengeli, who worked in Paris, became the creator of moving objects from scrap metal and parts of machinery, as if "irony" of the kinetic sites in the first avant-garde (http://visaginart.narod.ru/POST/kin.htm) . Assemblages Daniel Spoerri were shaped like a traditional still life. "Accumulation" Arman (garbage enclosed in a display of transparent plastic) laid claim to the status of sculpture. Pribivaya on canvas fragments violins, Arman argued that thus brings to the logical conclusion that not completed the Cubists, "divided" subject only to the picture.
At the very choice of material containing critical pathos to consumer society, which becomes obvious when comparing the works of "new realists" with the American pop art. American Pop artists worked with samples of "commercial paradise." "New Realists" created image "commodity hell", underside of civilization. For example, Mimmo Rotella are making their "dekollazhi" plucked from the walls of scraps of advertising posters. To pick the posters on the walls - for me the only way to protest against a society which has lost all desire for change ", - he declared.
Yet interest in social issues at the "new realists" wore a rather declarative character. Movement «narrative figuration» ( «Figuration narrative») or "Narrative image", while emerged in France and Italy, made more consistent, making his work an instrument of social control.

Attitudes towards American cultural expansion in Europe has been mixed. Conservative critic mourned the death of European culture under the onslaught of pop art, which she called "non-art," art supermarket, "kitsch," Coca-colonization of Europe. "Some leaders of Left parties have also considered the American pop art as a glorification of American imperialism . I looked for a new European figurative painting, believing that it can become a "tool to critique the overall system of the modern world." European artists wanted to make pop art to be popular, popular, democratic art. And even more - a means of political struggle.
In June 1964, a Parisian critic Gérald Gassiot-Talab, and two artists, Bernard Ransiyak and Herve Telemachus, organized a group exhibition "Modern Mythology" in the Paris Museum of Modern Art. Young artists eksperementatory Arroyo, Bertolo, Bertini Falstrem, Klyazen, Monor, Ransiyak, Rekalkati, Sol, Telemachus, Voss and others (total 34 artworks) was first put under one roof: from that moment the movement becomes more and more popular ..
Young Artists' Movement united by one goal - to make art a powerful new tool for social transformation.
Visual images are dictated by the tumultuous 60's everyday life: movies and snapshots, wall advertising, illustration, comics, combined with the classic painting and sculpture, received a most unexpected overtime. Such "re-use of popular characters and clichés removes authoritarianism their primary message, allowing you to find other ways of artistic narrative and reveal the political subtext of reality.

[Ухтомский]

In 1965, an exhibition with the declarative title "narrative-figurative direction of contemporary art, where Gilles Ayo, Eduardo Arroyo and Antonio Rekallkati submitted jointly written by eight paintings titled" Live and let die, or the tragic end of Marcel Duchamp. " Making a symbolic "killing" idol neoavangardistov, young French painters opposed themselves to trends that have emerged under the influence of aesthetics Ready-Made (http://visaginart.nm.ru/POST/redi.htm). Interestingly, even the rejection of individual creativity was seen as a political gesture - "artists, like the workers, should be solidarity."

[Ухтомский]

Great influence on the new French figurativistov had an American artist Peter Saul, the representative of the Chicago school of pop art in the early 1960's who lived in Paris. In the works of Saul combined eccentric comic book imagery and powerful pictorial gesture of abstract expressionism. Especially attractive for the European left has politicized artists Saul and his attack on bourgeois "good taste". "I have it carefully so as not to lose a single gram of vulgarity," said the artist. In his works, beginning 1960 Sol mercilessly mocks the values of American society, personified heroes of popular culture. In mid-1960 he actively opposed the Vietnam War, calling their work "indictment". His paintings are like political cartoons. Sol had a great influence on the style of real comics and applied graphics, making it one of the fathers of punk aesthetics.

[Тютчев]

Сообщение от Ukhtomsky

great influence on the new French figurativistov had an American artist Peter Saul, the representative of the Chicago school of pop art in the early 1960's who lived in Paris .... ... Sol had a great influence on the style of real comics and applied graphics, making it one of the fathers of punk aesthetics.

Price (sale) works PETER SOLA auction CHRISTIE'S:


1. The Mad Butcher is a Good Boy
    signed and dated 'SAUL '62' (lower center)
    pastel on paper
    26 x 34 in. (66 x 86.4 cm.)
    Drawn in 1962.

    Price Realized: $ 19,200

    Sale Information
    Sale 1517
    post-war and contemporary art (morning session)
    12 May 2005
    New York, Rockefeller Plaza


2. Untitled
     signed and dated 'SAUL '64' (lower right)
     crayon and ink on paper
     27 x 27 in. (68.5 x 68.5 cm.)
     Drawn in 1964.
    
    Price Realized: $ 21,510
 
     Sale Information
     Sale 1269
     post war and contemporary art
     23 September 2003
     New York, Rockefeller Plaza


3. High Class San Francisco
     signed and dated 'SAUL '67' (lower right)
     oil on canvas
     63 ¼ x 71 ½ in. (160.7 x 181.6 cm.)
     Painted in 1967.

     Price Realized: $ 66,000
 
     Sale Information
     Sale 1517
     post-war and contemporary art (morning session)
     12 May 2005
     New York, Rockefeller Plaza


4. Ice Box#8
     signed and dated 'Saul 63' (lower left)
     oil on canvas
     75 x 63 in. (190.5 x 160 cm.)
     Painted in 1963.

Price Realized: $ 107,550
         
      Sale Information
      Sale 1432
      post-war and contemporary art (morning sale)
      11 November 2004
      New York, Rockefeller Plaza

[Ухтомский]

Panel «EKIP Kronik» was born in Valencia in 1964, of Thomas thesis Llorenç (Tomas Llorens), developed during the last period of the dictatorship of Franco and the transition to democracy. The group included artists Juan Antonio Toledo (Juan Antonio Toledo), Manuel Valdes (Manolo Valdés) and Rafael Solbes (Rafael Solbes), but after a year Toledo left the group.
Thomas Llorenç - critic, adjacent to the "old guard" of the communist movement, the ideologist of "Estampa Popular in Valencia, was the main theoretician of activity and almost full member of the association" EKIP Kronik ". Subsequently, he became the founder of the Valencia Institute of Modern Art, one of the founders of the Center of Queen Sofia and artistic director of the Museum Thyssen-Bornemiza in Madrid. Thomas Llorenç area of interest was, first of all, museum activities, and he will play a key role in the process of democratic institution-building era.
In his early works "EKIP Kronik criticizes the Spanish dictatorship and global militarism.

"EKIP Kronik" ¡America, America, 1965:
Mickey Mouse, one of the characteristic images of American culture, a symbol of good humor of the American consumer society, the emblem of happiness. "EKIP Kronik" using the technique of Andy Warhol (multiple recurrence of the image), is placed among the Mickey Mouse mushroom exploding atomic bombs dropped on Japan.

[Ухтомский]

Gallery "EKIP Kronik":

Fotos del recorrido conjunto con Rafael Solbes y Manolo Valdés

[Ухтомский]

Gallery "EKIP Kronik":

Fotos del recorrido conjunto con Rafael Solbes y Manolo Valdés

[Ухтомский]

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Gallery "EKIP Kronik":

Fotos del recorrido conjunto con Rafael Solbes y Manolo Valdés

[Ухтомский]

Сообщение от Ukhtomsky , 572 025

In 1965 , an exhibition with declarative title " narrative, figurative direction in modern art ," which Giles Ayo , Eduardo Arroyo and Antonio Rekallkati submitted jointly written by eight paintings titled " Live and let die , or tragic end of Marcel Duchamp . " Making a symbolic "murder" neoavangardistov idol , the young French painters opposed themselves to the trends that emerged under the influence of ready-made aesthetic .

Gilles Aillaud, Eduardo Arroyo et Antonio Recalcati "Vivre et laisser mourir ou La fin tragique de Marcel Duchamp", 1965

[Тютчев]

Сообщение от Ukhtomsky

At the very choice of material containing critical pathos to consumer society, which becomes obvious when comparing the works of "new realists" with the American pop art. American Pop artists worked with samples of "commercial paradise." "New Realists" created image "commodity hell", underside of civilization.

      That is why the Europeans me somehow closer. Generally, it seems to me that the pop-art a fresh sound without the social. You know, like food without salt!