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The Other Legacy of Vienna 1900: The Ars Combinatoria of Friedl Dicker-Brandeis
Austrian History Yearbook ( IF 0.400 ) Pub Date : 2020-04-01 , DOI: 10.1017/s006723782000017x
Julie M. Johnson

This article positions multidisciplinary artist Friedl Dicker-Brandeis at the center of a web that spans Vienna 1900, the Weimar Bauhaus, and interwar Vienna. Using a network metaphor to read her work, she is understood here as specialist of the ars combinatoria, in which she recombines genre and media in unexpected ways. She translates the language of photograms into painting, ecclesiastical subject matter into a machine aesthetic, adds found objects to abstract paintings, and paints allegories and scenes of distortion in the idiom of New Objectivity, all the while designing stage sets, costumes, modular furniture, toys, and interiors. While she has been the subject of renewed attention, particularly in the design world, much of her fine art has yet to be assessed. She used the idioms of twentieth-century art movements in unusual contexts, some of these very brave: in interwar Vienna, where she created Dadaistic posters to warn of fascism, she was imprisoned and interrogated. Always politically engaged, her interdisciplinary and multimedia approach to art bridged the conceptual divide between the utopian and critical responses to war during the interwar years. Such engagement with both political strains of twentieth-century modernism is rare. After integrating the interdisciplinary lessons of Vienna and the Weimar Bauhaus into her life's work, she shared these lessons with children at Terezin.

中文翻译:

1900 年维也纳的其他遗产:Friedl Dicker-Brandeis 的 Ars Combinatoria

本文将跨学科艺术家 Friedl Dicker-Brandeis 置于跨越 1900 年的维也纳、魏玛包豪斯和两次世界大战之间的维也纳的网络中心。使用网络比喻来阅读她的作品,她在这里被理解为艺术组合的专家,她以意想不到的方式重新组合流派和媒体。她将摄影语言转化为绘画,将教会题材转化为机器美学,在抽象绘画中添加现成的物体,并以新客观性的成语描绘寓言和扭曲的场景,同时设计舞台布景、服装、模块化家具,玩具, 内饰. 虽然她重新受到关注,尤其是在设计界,但她的大部分艺术作品尚未得到评估。她在不寻常的背景下使用了二十世纪艺术运动的习语,其中一些非常勇敢:在两次世界大战之间的维也纳,她在那里制作了达达主义海报以警告法西斯主义,她被监禁和审讯。她始终参与政治,她的跨学科和多媒体艺术方法弥合了两次世界大战期间对战争的乌托邦式和批判性反应之间的概念鸿沟。这种与 20 世纪现代主义的两种政治张力的接触是罕见的。在将维也纳和魏玛包豪斯的跨学科课程融入她的生活工作后,她与特雷津的孩子们分享了这些课程。她对艺术的跨学科和多媒体方法弥合了两次世界大战期间对战争的乌托邦式和批判性反应之间的概念鸿沟。这种与 20 世纪现代主义的两种政治张力的接触是罕见的。在将维也纳和魏玛包豪斯的跨学科课程融入她的生活工作后,她与特雷津的孩子们分享了这些课程。她对艺术的跨学科和多媒体方法弥合了两次世界大战期间对战争的乌托邦式和批判性反应之间的概念鸿沟。这种与 20 世纪现代主义的两种政治张力的接触是罕见的。在将维也纳和魏玛包豪斯的跨学科课程融入她的生活工作后,她与特雷津的孩子们分享了这些课程。
更新日期:2020-04-01
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