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Anarchism and art --- Situation (Aesthetics) --- Arts, Modern --- Radicalism --- Art --- Extremism, Political --- Ideological extremism --- Political extremism --- Political science --- Aesthetics --- Anarchism and art. --- Arts, Modern. --- Politik i konsten. --- Radicalism. --- Situation (Aesthetics). --- Internationale situationniste. --- 1900-1999. --- Frankrike.

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"Considers the relation of anarchist ideology to avant-garde sculpture through an examination of iconic artists and writers whose work transformed European modernism: Jacob Epstein, Oscar Wilde, Umberto Boccioni, F. T. Marinetti, Henri Gaudier-Brzeska, and Ezra Pound"--

Sculpture, European --- Avant-garde (Aesthetics) --- Anarchism and art --- History --- Gaudier-Brzeska, Henri, --- Epstein, Jacob, --- Boccioni, Umberto, --- Criticism and interpretation.

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"When talking about 'artistic avant-garde', or 'historical avant-garde', whose emergence we commonly place in the first third of the 20th century, it is not strange to use the qualifying adjective 'anarchic'. This adjective, often ambiguous, alludes to a certain disruptive atmosphere associated with the period, which in the Spanish case refers to a historical reality: the coexistence, during the Second Spanish Republic (1931-1939), of highly politicized aesthetic isms with an important anarchist movement. Now, where do the avant-garde of galleries, pavilions, and magazines converge or distance themselves from the revolutionary actions of the CNT? To what extent do the practices of libertarian obrerismo correspond with the experimental theater of García Lorca, the cinema of Luis Bun̋uel, or Alberto Sánchez's sculpture? And with the feminist literature of Lucía Sánchez Saornil, the proletarian engraving of Helios Gómez, or the anticolonial painting of Wifredo Lam? Sin miedo a las ruinas proposes that the answer to these questions is to be found in the common questioning, by avant-garde and anarchists, not only of the dominant system of representation, but of the very concept of 'representation' and its alleged transparency. This book explores the limits of what can be represented, about the struggles and associated 'ruins' of representation, and of course, about its reconstructions; a book about the liberating potential that emerges between institutions and their worn-out ways of representing, whether political or artistic; a book, in short, about that libertarian drive, 'without fear of ruins,' that destroys and reorders the real under new collective principles, and that featured avant-garde art and Iberian anarchism at a critical moment in its history. Both isms, beyond their caricature as 'nihilistic', 'chaotic', 'utopian' or 'naive' phenomena, tested liberating proposals that we believe deserve to be revised. To this end, we propose this essay-collage of avant-garde 'texts,' genres, and authors that invite the reader to rethink the relationship between art and politics in republican Spain. And wherever representation is in crisis"--

Anarchisme --- Representation (Philosophie) --- Anarchisme et art. --- Arts, Spanish --- Anarchism --- Representation (Philosophy) --- Anarchism and art. --- Avant-garde (Aesthetics) --- Histoire. --- History --- Political aspects. --- History.

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The years before World War I were a time of social and political ferment in Europe, which profoundly affected the art world. A major center of this creative tumult was Paris, where many avant-garde artists sought to transform modern art through their engagement with radical politics. In this provocative study of art and anarchism in prewar France, Patricia Leighten argues that anarchist aesthetics and a related politics of form played crucial roles in the development of modern art, only to be suppressed by war fever and then forgotten. Leighten examines the circle of artists-Pablo Picasso, Juan Gris, František Kupka, Maurice de Vlaminck, Kees Van Dongen, and others-for whom anarchist politics drove the idea of avant-garde art, exploring how their aesthetic choices negotiated the myriad artistic languages operating in the decade before World War I. Whether they worked on large-scale salon paintings, political cartoons, or avant-garde abstractions, these artists, she shows, were preoccupied with social criticism. Each sought an appropriate subject, medium, style, and audience based on different conceptions of how art influences society-and their choices constantly shifted as they responded to the dilemmas posed by contradictory anarchist ideas. According to anarchist theorists, art should expose the follies and iniquities of the present to the masses, but it should also be the untrammeled expression of the emancipated individual and open a path to a new social order. Revealing how these ideas generated some of modernism's most telling contradictions among the prewar Parisian avant-garde, The Liberation of Painting restores revolutionary activism to the broader history of modern art.

Painting --- schilderkunst --- Art styles --- painting [image-making] --- History of civilization --- anno 1910-1919 --- anno 1900-1909 --- anno 1800-1899 --- Paris --- Painting, French --- Modernism (Art) --- Modernism (Aesthetics) --- Anarchism and art --- Art --- History --- Political aspects --- Vivelapeinture (Group of artists) --- Ziniars (Group of artists) --- Art, Modernist --- Modern art --- Modernism in art --- Modernist art --- Aesthetic movement (Art) --- Art, Modern --- Aesthetics --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Art, Primitive --- art, history, paris, modernism, anarchism, avant-garde, radical politics, anarchist aesthetics, form, kees van dongen, maurice de vlaminck, frantisek kupka, juan gris, pablo picasso, abstract, political cartoons, salon paintings, social commentary, critique, freedom, individual, liberation, equality, caricature, cubism, collage, war, revolution, les demoiselles davignon, lart negre, colonialism, nonfiction.