By compressing spiky forms into the veined skin of decalcomania, the technique of transferring wet paint onto a surface from a sheet of paper, or sharp-edged transparent planes into a granular black ground, Kaiser is able to bring order and violence, symmetry and dissolution, semi-transparent edges and depthlessness into the same visual field.
|
|
He also explored with the technique of decalcomania, which involves pressing paint between two surfaces.Max Ernst working in decalcomania is shown in the 1978 documentary on the Dada and Surrealist art movement, Europe After the Rain. Earst was also active, along with fellow Surrealists, at the Atelier 17. Ernst developed a fascination with birds that was prevalent in his work.
|
|
Advertisement for the decalcomania process in the 1870 New York City directory Decalcomania was invented in England about 1750 and imported into the United States at least as early as 1865. Its invention has been attributed to Simon François Ravenet, an engraver from France who later moved to England and perfected the process, which he called "" (derived from French , "tracing paper"). The first known use of the French term , in Mary Elizabeth Braddon's Eleanor's Victory (1863), was followed by the English decalcomania in an 1865 trade show catalog (The Tenth Exhibition of the Massachusetts Charitable Mechanic Association); it was popularized during the ceramic transfer craze of the mid-1870s. By around 1875 decalcomania designs printed in colored glazes were being applied to porcelain, an extension of transfer printing, which had been developed in England since the late 18th century.
|
|
Decalcomania (from ) is a decorative technique by which engravings and prints may be transferred to pottery or other materials. Today, the shortened version is "decal".
|
|
The decalcomania was applied over an already glazed surface and re- fired. The process began to be mechanized from the turn of the 20th century.
|
|
The surrealist Oscar Domínguez referred to his work as "decalcomania with no preconceived object". He took up the technique in 1936, using gouache spread thinly on a sheet of paper or other surface (glass has been used), which is then pressed onto another surface such as a canvas. Dominguez used black gouache, though colours later made their appearance. German artist Max Ernst also practised decalcomania, as did Hans Bellmer and Remedios Varo.
|
|
Cover by Salvador Dali: Pierre Mabille, Notes sur le Symbolisme [Notes on Symbolism]; E. Tériade, La Peinture surréaliste [Surrealist Painting]; André Breton, D'une Décalcomanie sans objet préconcu (Décalcomanie du Désir) [Of a decalcomania without preconceived object (Decalcomania of Desire)]; Benjamin Péret, Entre Chien et Loup [Between Dog and Wolf]; Decalcomania Illustrations by Jacqueline Breton, Oscar Dominguez, Georges Hugnet, Marcel Jean, and Yves Tanguy; André Breton, Le Château Étoilé [Starry Castle]; Dessins de Max Ernst [Drawings of Max Ernst]; Maurice Heine, Regards sur l'Enfer anthropoclasique [Perspectives on anthropoclastic Hell]; Salvador Dalí, Le Surréalisme spectral de l'Éternel Féminin préaphaélite [Spectral Surrealism of the Pre-Raphaelite Eternal Feminine]; Georges Bataille, Montserrat; Edward James, Trois sécheresses [Three Droughts]; Dessins de Salvador Dali [Drawings of Salvador Dali].
|
|
Do Disturb was released in two editions. The standard version cover of the mini-album depicts Jung in black- and-white monochrome, contrasted against colorful tropical plants in the form of decalcomania in order to emit a summery aura. Not part of the original design, the decalcomania was inspired by a trip Jung took to Hawaii, where he "fell in love with the place". Shot in the Hongdae, Seoul, Jung collaborated with a photographer of Arena Korea magazine for the album photography.
|
|
He was President of Rousseau Metal inc., until his retirement in 1985 and was succeeded by his son-in-law, Simon-Pierre Paré. From 1950 to 1960 Rousseau was a Director of Paul Dumont Ltd. in Saint-Romuald, Quebec, and of Artistic Decalcomania in Montreal.
|
|
The watercolorist Francisco Bonnín Guerín (born 1874) was a native of Santa Cruz, and founded a school to encourage the arts. Óscar Domínguez was born in La Laguna in 1906 and is famed for his versatility. He belonged to the surrealist school, and invented the technique known as decalcomania.
|
|
Tejero had her first studio in 1932, on Miguel Moya Street in Madrid. During the month of December, she held her first individual exhibit with mural projects, oil paintings in large formats and a collection of drawings with experimental techniques such as decalcomania for her witches series, a creation which was later attributed, in 1939, to Oscar Domínguez.
|
|
Painted over all, or part, of an artwork in progress (and left to dry), Liquin allows the artist to scrape or wipe back subsequent work to the Liquin layer, while preserving all work beneath. It can also be used as a simple carrier base and, when compressed together with paint under a layer of plastic wrap, produces effective decalcomania.
|
|
Decalcomania is a process of spreading thick paint upon a canvas then--while it is still wet--covering it with further material such as paper or aluminium foil. This covering is then removed (again before the paint dries), and the resultant paint pattern becomes the basis of the finished painting. The technique was much employed by artists such as Max Ernst.
|
|
We took that and used that as the base for the soundtrack as well so that's one of the reasons why it ended up with such a nostalgic tone to it. Within the decalcomania you'll see different objects, the beaker, the piano, the desk scraping sound. For example, the footsteps are synchronized to the music. The footsteps had an actual tempo.
|
|
Many slides were finished with a layer of transparent lacquer, but in a later period cover glasses were also used to protect the painted layer. Most handmade slides were mounted in wood frames with a round or square opening for the picture. A paper rimmed mass-produced slide. After 1820 the manufacturing of hand colored printed slides started, often making use of decalcomania transfers.
|
|
Goldberg's paintings combined approaches to abstract and representational art. She experimented with painting techniques and effects including washing paint off with turpentine; a process called decalcomania (also used by the Surrealists), in which paper is used to apply paint by taking impressions from paint layered on board. Known for landscapes of New Zealand, Goldberg has also painted portraits. Well known works include Landscape (1964), Life (1960) and BDG No 1 (1969).
|
|
According to Dalí, these objects have a minimum of mechanical meaning, but when viewed the mind evokes phantom images which are the result of unconscious acts. The paranoiac-critical arose from similar surrealistic experiments with psychology and the creation of images such as Max Ernst's frottage or Óscar Domínguez's decalcomania, two surrealist techniques, which involved rubbing pencil or chalk on paper over a textured surface and interpreting the phantom images visible in the texture on the paper.
|
|
Like his predecessor John R. Neill, Dick Martin was a veteran Oz illustrator who moved into Oz authorship; The Ozmapolitan of Oz is Martin's single sustained work of Oz fiction. He includes Decalcomania, Xenophobia, Yahooism, and Zymolysis in a list of human diseases;Dick Martin, The Ozmapolitan of Oz, Kinderhook, IL, The International Wizard of Oz Club, 1986; p. 45. his "Game Preserve" is a Parcheesi-like board game laid out in a landscape.The Ozmapolitan of Oz, pp. 52-7.
|
|
He worked in various styles and became distinctive early on, combining Hard-edge painting with landscape and seascape painting in kaleidoscopic perspectives, tropical landscapes, Art Nouveau borders and the surrealism of Gordon Onslow Ford, later incorporating collage, occasionally text art, Decalcomania. Clifford was openly same sex attracted however he described himself as a homophobic homosexual. His paintings of the human figure were usually male homoerotic nudes. His late paintings were Lyrical abstraction and have been compared to Ralph Balson's matter paintings of the early 1960s.
|
|
The surrealists quickly turned to painting and sculpture. The shock of unexpected elements, the use of Frottage, collage and decalcomania, the rendering of mysterious landscapes and dreamscapes were to become the key techniques through the rest of the 1930s. World War II ended the feast. Many surrealists like Yves Tanguy, Max Ernst, André Breton and André Masson fled occupied France for New York and the States (Duchamp had already been in the U.S. since 1936), but the cohesion and vibrancy were lost in the American city.
|
|
The provocative spirit of Dada became linked to the exploration of the unconscious mind through the use of automatic writing, chance operations, and, in some cases, altered states. The surrealists quickly turned to painting and sculpture. The shock of unexpected elements, the use of Frottage, collage, and decalcomania, the rendering of mysterious landscapes and dreamed images were to become the key techniques through the rest of the 1930s. Georges Braque, Violin and Candlestick, 1910 Immediately after this war the French art scene diverged roughly in two directions.
|
|
In early 1940, Păun graduated from the University of Bucharest Faculty of Medicine. He had resumed his caste friendship with Banuș, having recently married. His wife was Reni Zaharia (who would also eventually become a painter of decalcomania). Yvonne Hasan, "Desenele lui Paul Păun. Colecția Cabinetului de Stampe al Academiei Române", in Observator Cultural, Nr. 565, March 2011 Their private circle now included Marxist philosopher Constantin Ionescu Gulian, and poets Virgil Teodorescu and Tașcu Gheorghiu. In the winter of 1939, Păun was writing for Zaharia Stancu's newspaper, Lumea Românească.
|
|
The exhibition also includes Ernst's works that experiment with free association writing and the techniques of frottage, created from a rubbing from a textured surface; grattage, involving scratching at the surface of a painting; and decalcomania, which involves altering a wet painting by pressing a second surface against it and taking it away. Ernst's son Jimmy, a well-known German/American abstract expressionist painter, who lived on the south shore of Long Island, died in 1984. His memoirs, A Not-So-Still Life, were published shortly before his death. Max Ernst's grandson Eric and his granddaughter Amy are both artists and writers.
|
|
A decal being attached to a piece of machinery A decal (, , ) or transfer is a plastic, cloth, paper, or ceramic substrate that has printed on it a pattern or image that can be moved to another surface upon contact, usually with the aid of heat or water. The word is short for decalcomania, which is the English version of the French word décalcomanie. The technique was invented by Simon François Ravenet, an engraver from France who later moved to England and perfected the process he called "décalquer" (which means to copy by tracing); it became widespread during the decal craze or mania of the late 19th century.
|
|
That's why I decided to go with this unconventional method of composition." To record the soundtrack, Ushio and Yamada went to the real-life school the building in the film is based on, where Ushio recorded himself tapping and using the present objects in different ways, and later included those sounds in the soundtrack; he later remembered that Yamada "couldn't stop laughing" while he recorded. To compose, Ushio used a method Yamada qualified as "decalcomania", spilling ink on sheet music and folding it before putting the end result into music. He described it as "a way of representing how the two girls, that sort of disjoint between them and that gradual separation.
|
|
He commented on the work's genesis as a response to the trauma of longtime warfare:During the 1950s and '60s he moved to a more symbolic perspective, notions of human perfectibility. At this time he increasingly fashioned small psychedelic compositions made using the surrealist technique of decalcomania in the background, to suggest a landscape, and finished by adding a fastidiously painted male nude in the foreground. Many of his paintings had homoerotic undertones, something which reflected on Gleeson's own homosexuality. The ideas for these compositions also saw Gleeson move into collage with his Locus Solus series, where he produced a substantial body of work by placing dismembered photographs, magazine illustrations, diagrams and lines of visionary poetry against abstract pools of ink.
|
|