Seven Dada Manifestos and Lampisteries
Tristan Tzara—poet, literary iconoclast, and catalyst—was the founder of the Dada movement that began in Zürich during World War I. His ideas were inspired by his contempt for the bourgeois values and traditional attitudes towards art that existed at the time. This volume contains the famous manifestos that first appeared between 1916 and 1921 that would become the basic texts upon which Dada was based. For Tzara, art was both deadly serious and a game. The playfulness of Dada is evident in the manifestos, both in Tzara's polemic—which often uses dadaist typography—as well as in the delightful doodles and drawings contributed by Francis Picabia. Also included are Tzara's Lampisteries, a series of articles that throw light on the various art forms contemporary to his own work. Post-war art had grown weary of the old certainties and the carnage they caused. Tzara was on the cutting edge at a time when art was becoming more subjective and abstract, and beginning to reject the reality of the mind for that of the senses.
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Cubism was born out of a simple manner of looking at objects: Cézanne painted
a cup twenty centimetres lower than his eyes, the cubists look at it from above,
others complicate its appearance by cutting a vertical section through it and ...
... the ear will take itself out of the envelope rigid like all marine equipment and
the products of Aa & Co's firm, chewing-gum for example and dogs have blue
eyes, I drink camomile tea, they drink the wind, DADA introduces new points of
The claim of the blood to distribute in my body and my event the accident of
colour of the first woman I touched with my eyes in these tentacular times. The
bitterest banditry is to finish one's thought-out phrase. The banditry of the
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Monsieur Antipyrines Manifesto
Tristan Tzaras Manifesto
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