David Hopkins analyses the extensive network of shared concerns and images in the work of Marcel Duchamp and Max Ernst, the greatest names associated with Dada and Surrealist art. This book covers a broad period from c.1912 to the mid-1940s, during which the emergence of Dada and Surrealism in Europe and the United States challenged earlier movements such as Cubism and Expressionism, creating scope for the expression of the unconscious fears and desires of artists acutely sensitive to the troubled nature of their times. Examining Duchamp's and Ernst's subversion and manipulation of religious and hermetic beliefs such as Catholicism, Rosicrucianism and Masonry, David Hopkins demonstrates the ways in which these esoteric concerns intersect with themes of peculiarly contemporary relevance, including the social construction of gender and notions of ordering and taxonomy. This detailed comparison of components of Duchamp's and Ernst's work reveals fascinating structural patterns, enabling the reader to discover an entirely new way of understanding the mechanisms underlying Dada and Surrealist iconography.
impresssive study .../ copiously illustrated and pleasingly annotated.../ For any reader wishing to deepen their knowledge of these particular paintings the book is a welcome shake-up of more canonical readings. Dr Hopkins finely spun theoretical framework - dancing as it does from Rosicrucianism to Dutch Symbolism to Descartes and back again - sometimes veers toward hermeticism itself, but nonetheless opens unexpected new prospects on the four central works./ A.A., Art Newspaper, July-Aug 1999.
|'Constructing' and 'Unveiling' the Bride: Duchamp's Mariée and the Ideology of Gender||p. 5|
|The Tripartite Bride: Belief Systems as Structure||p. 41|
|The Robing of the Bride: Max Ernst's Response to Duchamp||p. 95|
|Identity, Taxonomy, Narrative: Geometry in Ernst's Vox Angelica and Related Works||p. 154|
|Conclusion: Loplop and Rrose Sélavy||p. 181|
|Selected Bibliography||p. 191|
|Table of Contents provided by Publisher. All Rights Reserved.|
Series: Clarendon Studies in the History of Art
Number Of Pages: 230
Published: 1st December 1997
Publisher: Oxford University Press
Country of Publication: GB
Dimensions (cm): 28.58 x 23.5 x 2.54
Weight (kg): 1.16