Sonia Delaunay, who with her husband, Robert Delaunay, developed this colorful, symphonic sort of abstraction called Orphism, has an interesting history.
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Another interesting thing about her paintings is that they owe nothing to Impressionism, Orphism, Cubism, Dada, or Suprematism: they aren't connected to any of the movements that are considered inseparable from the first decades of abstraction.
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Iribarren's project is not unlike that of painters Mark Grotjahn or Matt Connors, who also work within pockets of modern abstraction, plucking from a range of idioms (Orphism, Primitivism, Constructivism), and reanimating them to create new forms.
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However, many of Kupka's titles are musical, since he intended for the viewer to look for and feel vibrations as in music — a common theme in Orphism which sought to evoke temporal and spiritual sensations through abstract means.
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According to Apollinaire Orphism represented a move towards a completely new art-form, much as music was to literature.Hajo Düchting, Orphism, MoMA, From Grove Art Online, 2009 Oxford University Press.
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348 and South, pp. 43, 55–56. MacDonald-Wright insisted, however, that Synchromism was a unique art form and "has nothing to do with Orphism and anybody who has read the first catalogue of Synchromism ... would realize that we poked fun at Orphism." The Synchromists' debts to Orphism remain a source of debate among art historians.
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However the inter-relation of Manicheanism, Orphism, Gnosticism and neo- Platonism is far from clear.
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Orphic views and practices have parallels to elements of Pythagoreanism, and various traditions hold that the Pythagoreans or Pythagoras himself authored early Orphic works; alternately, later philosophers believed that Pythagoras was an initiate of Orphism. The extent to which one movement may have influenced the other remains controversial.Parker, "Early Orphism", p. 501. Some scholars maintain that Orphism and Pythagoranism began as separate traditions which later became confused and conflated due to a few similarities.
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Study of early Orphic and Pythagorean sources, however, are more ambiguous concerning their relationship, and authors writing closer to Pythagoras' own lifetime never mentioned his supposed initiation into Orphism, and in general regarded Orpheus himself as a mythological figure.Betegh, G. (2014). Pythagoreans, Orphism and Greek Religion. A History of Pythagoreanism, 274-295.
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Soon, the Cubists were to do so in both the domain of form and dynamics; Orphism would do so with color too.
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In Orphic literature, the Titans play an important role in what is often considered to be the central myth of Orphism, the sparagmos, that is the dismemberment of Dionysus, who in this context is often given the title Zagreus.Nilsson, p. 202 calls it "the cardinal myth of Orphism"; Guthrie, p. 107, describes the myth as "the central point of Orphic story", Linforth, p.
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His expressionist painting style was closely connected with that of the Orphism movement. One of his more popular works is titled "In The Circus".
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Even after Apollinaire had separated from the Delaunays and Orphism had lost its novelty as a new art form, the Delaunays continued painting in their personal shared style. They may not have always called their work Orphic, but the aesthetics and theories were the same. Robert continued painting while Sonia delved into other media, including fashion, interior and textile design, all within the realm of Orphism.
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Cheenu has evolved a unique style of representation which is hybrid between European movements like cubism, expressionism, orphism and Indian sensibilities in terms of color schemes and layouts.
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Orphism as a movement was short-lived, essentially coming to an end before World War I. In spite of the use of the term the works categorized as Orphism were so different that they defy attempts to place them in a single category.Christopher Green, 2009, Cubism, MoMA, Grove Art Online, Oxford University Press Artists intermittently referred to as Orphists by Apollinaire, such as Léger, Picabia, Duchamp and Picasso, independently created new categories that could hardly be classified as Orphic. The term Orphism most obviously embraced paintings by František Kupka, Robert Delaunay and Sonia Delaunay, if limited to implications imposed by color, light, and the expression of non-representational compositions. Even Robert Delaunay thought this description misrepresented his intentions, though his temporary classification as Orphic had proved successful.
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More recently the association of the tablets with Orphism has been defended.Bernabé, Alberto, and Ana Isabel Jiménez San Cristóbal. Instructions for the Netherworld: The Orphic Gold Tablets. Boston: Brill, 2008: pp.204—205.
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The American painters Patrick Henry Bruce and Arthur Burdett Frost, two of Delaunay's pupils, strove to create a similar art-form circa 1912. The Synchromists Morgan Russell and Stanton Macdonald-Wright wrote their own manifestos in an attempt to distance themselves from the Orphism of Robert Delaunay, but their art at times inevitably appeared Orphic. Essentially a stylistic sub-category of Abstract art created by Apollinaire, Orphism was an elusive term from which artists included within its scope persistently attempted to detach themselves.
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II, The Prometheus Trust, Westbury, 2009 The dismemberment of Dionysus (the sparagmos) is often considered to be the most important myth of Orphism.Nilsson, p. 202 calls it "the cardinal myth of Orphism"; Guthrie, p.
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"A New Ritual of the Orphic Mysteries." The Classical Quarterly, Vol. 16, No. 2 April 1922: 79. In its beginnings, Orphism was influenced by the Eleusinian mysteries, and it adopted stories from other mythologies as its own.
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Dead souls drank from Lethe so they would not remember their past lives when reincarnated. In Orphism, the initiated were taught to instead drink from the Mnemosyne, the river of memory, which would stop the transmigration of the soul.
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Mary Swanzy HRHA (15 February 1882 – 7 July 1978) was an Irish landscape and genre artist. Noted for her eclectic style, she painted in many styles including cubism, futurism, fauvism, and orphism, she was one of Ireland's first abstract painters.
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Apollinaire coined several important terms of the avant-garde, such as Orphism (at the Salon de la Section d'Or in 1912)Hajo Düchting, Orphism, MoMA, From Grove Art Online, 2009 Oxford University Press and Surrealism (concerning the ballet Parade in 1917),Jean-Paul Clébert, Dictionnaire du surréalisme, A.T.P. & Le Seuil, Chamalières, p. 17, 1996Hargrove, Nancy (1998). "The Great Parade: Cocteau, Picasso, Satie, Massine, Diaghilev—and T.S. Eliot". Journal for the Interdisciplinary Study of Literature 31 (1) and was the first to adopt the term "Cubism" on behalf of his fellow artists (at the 1911 Salon des Indépendants, Brussels).
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In ancient Greek religion and mythology, Zagreus () was sometimes identified with a god worshipped by the followers of Orphism, the "first Dionysus", a son of Zeus and Persephone, who was dismembered by the Titans and reborn.Gantz, p. 118; Hard, p. 35; Grimal, s.v.
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See the article Eros at the Theoi Project. Aristophanes (c. 400 BC), influenced by Orphism, relates the birth of Eros: :At the beginning there was only Chaos, Night (Nyx), Darkness (Erebus), and the Abyss (Tartarus). Earth, the Air and Heaven had no existence.
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This exhibition was supported financially by the manufacturer and art collector Bernhardt Köhler.Erster Deutscher Herbstsalon, Berlin, 1913, list of artists and works displayed Apollinaire described the Herbst salon of 1913 as the first Orphist Salon. There were many works by Robert and Sonia Delaunay, in addition to abstract works by Picabia and Cubist works by Metzinger, Gleizes, Léger and a large number of Futurist paintings. This exhibition was a turning-point in Apollinaire's artistic strategy for Orphism. After becoming entangled through some remarks in an argument between Delaunay and Umberto Boccioni about the ambiguousness of the term ‘simultaneity’ he did not use the term Orphism again in his art related articles.
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Orphism has been described as a reform of the earlier Dionysian religion, involving a re-interpretation or re-reading of the myth of Dionysus and a re- ordering of Hesiod's Theogony, based in part on pre-Socratic philosophy.A. Henrichs, “‘Hieroi Logoi’ ” and ‘Hierai Bibloi’: The (Un) Written Margins of the Sacred in Ancient Greece,” Harvard Studies in Classical Philology 101 (2003): 213-216. The central focus of Orphism is the suffering and death of the god Dionysus at the hands of the Titans, which forms the basis of Orphism's central myth. According to this myth, the infant Dionysus is killed, torn apart, and consumed by the Titans.
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Orphic speculation influenced the cult of Mithras at times.Clauss, M., The Roman cult of Mithras, p. 70 In Orphism, Phanes emerged from the world egg at the beginning of time, bringing the universe into existence. There is some literary evidence of the syncretism of Mithras and Phanes.
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The Eleusinian Mysteries were the earliest and most famous of the mystery cults and lasted for over a millennium. Whenever they first originated, by the end of the 5th century BC, they had been heavily influenced by Orphism, and in Late Antiquity, they had become allegorized.
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Orphic mosaics were found in many late-Roman villas Orphism (more rarely Orphicism; ) is the name given to a set of religious beliefs and practicesSexuality in Greek and Roman Culture by Marilyn B. Skinner, 2005, page 135, "[...] of life, there was no coherent religious movement properly termed 'Orphism' (Dodds 1957: 147–9; West 1983: 2–3). Even if there were, [...]" originating in the ancient Greek and Hellenistic world,Three Faces of God by David L. Miller, 2005, Back Matter: "[...] assumed that this was a Christian trinitarian influence on late Hellenistic Orphism, but it may be that the Old Neoplatonists were closer [...]" as well as from the Thracians,History of Humanity: From the seventh century B.C.E. to the seventh century C.E. Routledge reference, Siegfried J. de Laet, UNESCO, 1996, , pp. 182–183. associated with literature ascribed to the mythical poet Orpheus, who descended into the Greek underworld and returned. Orphics revered Dionysus (who once descended into the Underworld and returned) and Persephone (who annually descended into the Underworld for a season and then returned).
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Riedweg states that, although these stories are fanciful, Pythagoras's teachings were definitely influenced by Orphism to a noteworthy extent. Of the various Greek sages claimed to have taught Pythagoras, Pherecydes of Syros is mentioned most often.Aristoxenus and others in Diogenes Laërtius, i. 118, 119; Cicero, de Div. i.
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In 1913 the Delaunays showed their works in the Salon des Indépendants and the Herbst Salon, the latter being the first Orphist Salon, which also hosted works by Picabia, Metzinger, Gleizes, Léger, and Futurist painters. Unlike others associated with Orphism, the Delaunays would return to this style throughout their lives.
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The skin of Epimenides was preserved at the courts of the ephores in Sparta, conceivably as a good-luck charm. Epimenides is also reckoned with Melampus and Onomacritus as one of the founders of Orphism. According to Diogenes Laërtius, Epimenides met Pythagoras in Crete, and they went to the Cave of Ida.
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According to some versions of his mythos, he was the son of Apollo, and during his last days, he shunned the worship of other gods and devoted himself to Apollo alone.Alberto Bernabé, Miguel Herrero de Jáuregui, Ana Isabel Jiménez San Cristóbal, Raquel Martín Hernández, Redefining Dionysos Poetry containing distinctly Orphic beliefs has been traced back to the 6th century BCBackgrounds of Early Christianity by Everett Ferguson, 2003, page 162, "Orphism began in the sixth century BCE" or at least 5th century BC, and graffiti of the 5th century BC apparently refers to "Orphics".W. K. C. Guthrie, The Greeks & Their Gods (Beacon, 1954), p. 322; Kirk, Raven, & Schofield, The Presocratic Philosophers (Cambridge, 1983, 2nd edition), pp. 21, 30–31, 33; Parker, "Early Orphism", pp.
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Kupka was an abstract artist who lived during the nineteenth and twentieth centuries. Though his role in the advent of abstract art is given much less emphasis, his work is just as crucial as that of the more celebrated abstractionists including Mondrian, Kandinsky, Malevich, and Delaunay. The influential art critic Guillaume Apollinaire labeled Kupka as an Orphic artist, and Kupka claimed to begin his Orphic artwork in 1911. As Hajo Düchting writes, Apollinaire used the term Orphism to describe “a new kind of joyously sensuous art, whose roots were in Cubism and which had a tendency towards abstraction.” Orphism also alluded to the myth of Orpheus and referenced the artist’s creative innovation through the sensuous interplay of color and light and color and music.
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Cambridge University Press), its first famous exponent, instituted societies for its diffusion. Some authorities believe that Pythagoras was Pherecydes' pupil, others that Pythagoras took up the idea of reincarnation from the doctrine of Orphism, a Thracian religion, or brought the teaching from India. Plato (428/427–348/347 BCE) presented accounts of reincarnation in his works, particularly the Myth of Er. In Phaedo, Plato has his teacher Socrates, prior to his death, state: "I am confident that there truly is such a thing as living again, and that the living spring from the dead." However Xenophon does not mention Socrates as believing in reincarnation and Plato may have systematised Socrates' thought with concepts he took directly from Pythagoreanism or Orphism.
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Plato refers to "Orpheus-initiators" (), and associated rites, although how far "Orphic" literature in general related to these rites is not certain.Parker, "Early Orphism", pp. 484, 487. Bertrand Russell (1947) pointed out about Socrates :He is not an orthodox Orphic; it is only the fundamental doctrines that he accepts, not the superstitions and ceremonies of purification.
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His work became increasingly abstract around 1910–11, reflecting his theories of motion, color, and the relationship between music and painting (orphism). In 1911, he attended meetings of the Puteaux Group (Section d'Or). In 1912, he exhibited his Amorpha. Fugue à deux couleurs, at the Salon des Indépendants in the Cubist room, although he did not wish to be identified with any movement.
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Orphism is named for the legendary poet-hero Orpheus, who was said to have originated the Mysteries of Dionysus.Apollodorus (Pseudo Apollodorus), Library and Epitome, 1.3.2. "Orpheus also invented the mysteries of Dionysus, and having been torn in pieces by the Maenads he is buried in Pieria." However, Orpheus was more closely associated with Apollo than to Dionysus in the earliest sources and iconography.
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Robert Delaunay (12 April 1885 – 25 October 1941) was a French artist who, with his wife Sonia Delaunay and others, co-founded the Orphism art movement, noted for its use of strong colours and geometric shapes. His later works were more abstract. His key influence related to bold use of colour and a clear love of experimentation with both depth and tone.
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Other American painters in Paris experimenting with Synchromism at the time included Thomas Hart Benton, Andrew Dasburg, and Patrick Henry Bruce, all of whom were friends with Russell and Macdonald- Wright. Bruce was also friendly with Sonia and Robert Delaunay, proponents of Orphism (a term coined in 1912 by the poet Guillaume Apollinaire). Similarities between Synchromism and Orphism led to later charges of plagiarism, which both Russell and Macdonald-Wright vehemently denied.South, Will, Color, Myth, and Music: Stanton Macdonald-Wright and Synchromism (Raleigh: North Carolina Museum of Art, 2001), p. 43 Russell and Macdonald- Wright had high hopes for acclaim and financial success when they introduced Synchromism to the New York art world. Though Russell exhibited in the famous Armory Show in New York in 1913 and in the prestigious Forum Exhibition of Modern American Painters in 1916, those hopes were never met.
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The dismemberment of Dionysus-Zagreus (the sparagmos) is often considered to be the most important myth of Orphism.Nilsson, p. 202 calls it "the cardinal myth of Orphism"; Guthrie, p. 107, describes the myth as "the central point of Orphic story", Linforth, p. 307 says it is "commonly regarded as essentially and peculiarly Orphic and the very core of the Orphic religion", and Parker 2002, p.
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However, when and to what extent there existed any Orphic tradition which included these elements is the subject of open debate.See Spineto pp. 37–39; Edmonds 1999, 2008, 2013 chapter 9; Bernabé 2002, 2003; Parker 2014. The 2nd century AD biographer and essayist Plutarch, makes a connection between the sparagmos and the punishment of the Titans, but makes no mention of the anthropogony, or Orpheus, or Orphism.
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His theories are mostly concerned with color and light and influenced many, including Stanton Macdonald-Wright, Morgan Russell, Patrick Henry Bruce, Der Blaue Reiter, August Macke, Franz Marc, Paul Klee, and Lyonel Feininger. Apollinaire was strongly influenced by Delaunay's theories of color and often quoted from them to explain Orphism. Delaunay's fixations with color as the expressive and structural means were sustained by his study of color.
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The following century produced Athanasius Kircher, a German Jesuit priest, scholar and polymath. He wrote extensively on the subject in 1652, bringing further elements such as Orphism and Egyptian mythology to the mix in his work, Oedipus Aegyptiacus. It was illustrated by Kircher's adaptation of the Tree of Life.Schmidt, Edward W. The Last Renaissance Man: Athanasius Kircher, SJ. Company: The World of Jesuits and Their Friends.
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It is probable that both were influenced by Orphism, and both believed in metempsychosis, transmigration of the soul. Pythagoras held that all things are number, and the cosmos comes from numerical principles. He introduced the concept of form as distinct from matter, and that the physical world is an imitation of an eternal mathematical world. These ideas were very influential on Heraclitus, Parmenides and Plato.
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Jean Metzinger, Note sur la peinture, Pan (Paris), October–November 1910 In France, offshoots of Cubism developed, including Orphism, Abstract art and later Purism.Hajo Düchting, Orphism, MoMA, Grove Art Online, Oxford University Press, 2009Magdalena Dabrowski, Geometric Abstraction, Heilbrunn Timeline of Art History, The Metropolitan Museum of Art, New York, 2000 The impact of Cubism was far-reaching and wide-ranging. In France and other countries Futurism, Suprematism, Dada, Constructivism, Vorticism, De Stijl and Art Deco developed in response to Cubism. Early Futurist paintings hold in common with Cubism the fusing of the past and the present, the representation of different views of the subject pictured at the same time, also called multiple perspective, simultaneity or multiplicity,Christopher Green, 2009, Cubism, Meanings and interpretations, MoMA, Grove Art Online, Oxford University Press, 2009 while Constructivism was influenced by Picasso's technique of constructing sculpture from separate elements.
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Kelpe's elaborate abstract painting techniques are reminiscent of those used in Purism and Orphism. The artistic movements which inspired him included Constructivism, Cubism, and Geometric abstraction. Kelpe has been referred to as "one of the key figures of Constructivist abstraction in America". In 1969 he retired from his work as a professor, living in Austin, Texas where he was able to devote his time to the pursuit of painting.
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The hymns, of uncertain date but probably composed in the 2nd or 3rd century AD, are liturgical texts for the mystery religion known as Orphism. In the hymn, Melinoë has characteristics that seem similar to Hecate and the Erinyes,Edmonds, "Orphic Mythology," pp. 84–85. and the name is sometimes thought to be an epithet of Hecate.Ivana Petrovic, Von den Toren des Hades zu den Hallen des Olymp (Brill, 2007), p.
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The influence of analytical Cubist work like Bottle, Glass, Fork on future artist movements was enormous. Picasso and Braque created a highly original method of relating objects to each other within space, developing a technique of painting that created a whole sensory experience rather than just a visual experience. Their ideas and structure have influenced later movements like Orphism, Futurism, Expressionism, Dadaism, Purism, Synchromism, and every genre of later abstract art.
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In Orphic cosmogony, Phanes is often equated with Eros and Mithras and has been depicted as a deity emerging from a cosmic egg, entwined with a serpent. He had a helmet and had broad, golden wings. The Orphic cosmogony is bizarre, and quite unlike the creation sagas offered by Homer and Hesiod. Scholars have suggested that Orphism is "un-Greek" even "Asiatic" in conception, because of its inherent dualism.
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At this time Swanzy's painting was influenced by orphism and was reviewed positively. Her work became more allegorical in later years, with The message in the Hugh Lane Gallery demonstrating this. During World War II Swanzy stayed with her sister in Coolock for three years. In 1943, she held a one-woman show at the Dublin Painters' Gallery, and she was also featured at the first Irish Exhibition of Living Art.
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An example of the usual composition with animals in the 6th-century Gaza synagogue is identified as David by an inscription in Hebrew, and has added royal attributes.Hachilli, 72-74 Another adaptation is a Christian mosaic of Adam giving names to the animals (Genesis 2: 19-20) in a church of around 486-502 in Apamea, Syria.Hachilli, 74 Some of the mosaics seem to relate to the rather elusive philosophical or religious doctrines of Orphism.
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In Orphism, Persephone is believed to be the mother of the first Dionysus. In Orphic myth, Zeus came to Persephone in her bedchamber in the underworld and impregnated her with the child who would become his successor. The infant Dionysus was later dismembered by the Titans, before being reborn as the second Dionysus, who wandered the earth spreading his mystery cult before ascending to the heavens with his second mother, Semele.Edmonds, R.G. III. (2011).
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Douglas Cooper, "The Cubist Epoch", pp. 11–221, Phaidon Press Limited 1970 in association with the Los Angeles County Museum of Art and the Metropolitan Museum of Art Gauguin is also considered a Post-Impressionist painter. His bold, colorful and design oriented paintings significantly influenced Modern art. Artists and movements in the early 20th century inspired by him include Vincent van Gogh, Henri Matisse, Pablo Picasso, Georges Braque, André Derain, Fauvism, Cubism and Orphism, among others.
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The intoxication that they sought was that of "enthusiasm," of union with the god. They believed themselves, in this way, to acquire mystic knowledge not obtainable by ordinary means. This mystical element entered into Greek philosophy with Pythagoras, who was a reformer of Orphism as Orpheus was a reformer of the religion of Dionysus. From Pythagoras Orphic elements entered into the philosophy of Plato, and from Plato into most later philosophy that was in any degree religious.
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Oceanside, California. 4th edition. The historical relations between these sects and the beliefs about reincarnation that were characteristic of Neoplatonism, Orphism, Hermeticism, Manicheanism, and Gnosticism of the Roman era as well as the Indian religions have been the subject of recent scholarly research.An important recent work discussing the mutual influence of ancient Greek and Indian philosophy regarding these matters is The Shape of Ancient Thought by Thomas McEvilley Unity Church and its founder Charles Fillmore teach reincarnation.
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Oceanside, California. 4th edition. The historical relations between these sects and the beliefs about reincarnation that were characteristic of Neoplatonism, Orphism, Hermeticism, Manicheanism, and Gnosticism of the Roman era as well as the Indian religions have been the subject of recent scholarly research.An important recent work discussing the mutual influence of ancient Greek and Indian philosophy regarding these matters is The Shape of Ancient Thought by Thomas McEvilley Unity Church and its founder Charles Fillmore teaches reincarnation.
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The intoxication that they sought was that of "enthusiasm," of union with the god. They believed themselves, in this way, to acquire mystic knowledge not obtainable by ordinary means. This mystical element entered into Greek philosophy with Pythagoras, who was a reformer of Orphism as Orpheus was a reformer of the religion of Dionysus. From Pythagoras Orphic elements entered into the philosophy of Plato, and from Plato into most later philosophy that was in any degree religious.
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Robert Delaunay, also preoccupied with relations between color and music, highlighted the purity and independence of color, and successfully exhibited with the Blaue Reiter at the invitation of Kandinsky. Fernand Léger and Marcel Duchamp, as they tended towards abstraction, were also included as Orphists in the writings of Apollinaire. Apollinaire stayed with the Delaunays during the winter of 1912, becoming close friends and elaborating on many ideas. Apollinaire wrote several texts discussing their work to promote the concept of Orphism.
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787 of the catalogueSociété des artistes indépendants. 29, Catalogue de la 29e exposition, 1913, Delaunay — Fernand Léger, Le modèle nu dans l'atelier (Nude Model In The Studio) 1912–13, Solomon R. Guggenheim Museum, New York — Juan Gris, L'Homme dans le Café (Man in Café) 1912, Philadelphia Museum of Art.Salon des Indépendants 1913 In room 45 hung the works of Robert Delaunay, Sonia Delaunay, František Kupka, Morgan Russell and Macdonald-Wright. This was the first exhibition where Orphism and Synchromism were emphatically present.
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From 1910 to 1911 Lentulov studied at the studio of Henri Le Fauconnier and the Académie de La Palette in Paris. The 1910s were for Lentulov a period of creative productivity and experimentation. He was drawn to Orphism influenced by the French artist Robert Delaunay. Whilst there, he became acquainted with contemporary French painters such as Albert Gleizes, Jean Metzinger, Fernand Léger and Robert Delaunay and after absorbing fauvists' and cubists' principles, developed his own unique colorful style of painting.
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Initially he was influenced by Impressionism, then by Fauvism and Art Nouveau. Around 1910 he began to experiment with Orphism, an offshoot of Cubism, and a style that would be enhanced by his association in New York City with Marcel Duchamp and Francis Picabia. A refugee from World War I, he looked to America as a place where he could live and develop his art. In New York, he shared a studio with Marcel Duchamp and met his sister, Suzanne Duchamp.
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The underlying theory behind Neo-Impressionism would have a lasting effect on the works produced in the coming years by the likes of Robert Delaunay. The Cubists were to do so in both form and dynamics, and the Orphists would do so with color too. The decomposition of spectral light expressed in Neo-Impressionist color theory of Paul Signac and Charles Henry played an important role in the formulation of Orphism. Robert Delaunay, Albert Gleizes, and Gino Severini, all knew Henry personally.
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Magnum Chaos, wood-inlay by Giovan Francesco Capoferri at the Basilica di Santa Maria Maggiore in Bergamo, based on a design by Lorenzo Lotto. The Greco-Roman tradition of prima materia, notably including the 5th and 6th century Orphic cosmogony, was merged with biblical notions (Tehom) in Christianity and inherited by alchemy and Renaissance magic. The cosmic egg of Orphism was taken as the raw material for the alchemical magnum opus in early Greek alchemy. The first stage of the process of producing the philosopher's stone, i.e.
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Before World War I the name was also applied to artists involved in the many collaborations and overlapping new art movements, between post-Impressionists and pointillism and Orphism, Fauvism and Cubism. In that period the artistic ferment took place in Montmartre and the well-established art scene there. But Picasso moved away, the war scattered almost everyone, by the 1920s Montparnasse had become a center of the avant-garde. After World War II the name was applied to another different group of abstract artists.
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15; West 1983, pp. 164–165; Linforth, pp. 326 ff.. The 2nd century AD biographer and essayist Plutarch, does make a connection between the sparagmos and the punishment of the Titans, but makes no mention of the anthropogony, or Orpheus, or Orphism. In his essay On the Eating of Flesh, Plutarch writes of "stories told about the sufferings and dismemberment of Dionysus and the outrageous assaults of the Titans upon him, and their punishment and blasting by thunderbolt after they had tasted his blood".
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Two-thousand years ago in the surrounding areas of Borino lived the Thracian tribe of Bessi. From these tribes have been discovered Thracian burial mounds on the Turlata Peak, located near Borino, and many shrines scattered throughout the area. The Shrine of Dionysius in the Rhodopes and the musical culture of the Thracians are connected with the name of the mythological Rhodope singer Orpheus, who fascinated the wind and wild beasts with the sounds of his lyre. He is the creator of the philosophical study Orphism.
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In the 1960s, academic Rosa del Conte proposed that the text alluded to Babylonian religion, Buddhism, Orphism, Mithraism, and Bogomilism.Cristina Gogâță, "Rosa del Conte, Eminescu or about the Absolute — Establishing Specificity in a European Context", in Studia Universitatis Babeș-Bolyai. Philologia, Vol. 56, Issue 3, September 2011, pp. 14–15 Philologist Anca Voicu also writes that the Gnostic source, a borrowing from the "fall of Sophia" myth (with some echoes from the Book of Proverbs and other orthodox writs), is Poor Dioniss very "narrative matter".
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Dionysian celebrations were connected in some way with Orphism, a group of mystical beliefs about the nature of the afterlife. Isis was originally a goddess in ancient Egyptian religion, which did not include Greek-style mysteries. Some Egyptian rituals were performed exclusively by priests, out of public view, but ordinary Egyptians were never permitted to join in. Ancient Egyptian funerary texts contained knowledge about the Duat, or underworld, that was characterized as secret and was meant to help deceased souls reach a pleasant afterlife.
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The historical relations between these sects and the beliefs about reincarnation that were characteristic of Neoplatonism, Orphism, Hermeticism, Manicheanism, and Gnosticism of the Roman era as well as the Indian religions have been the subject of recent scholarly research.An important recent work discussing the mutual influence of ancient Greek and Indian philosophy regarding these matters is The Shape of Ancient Thought by Thomas McEvilley In recent decades, many Europeans and North Americans have developed an interest in reincarnation, and many contemporary works mentions it.
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In 1910, through his friendship with Franz Marc, Macke met Kandinsky and for a while shared the non-objective aesthetic and the mystical and symbolic interests of Der Blaue Reiter. Macke's meeting with Robert Delaunay in Paris in 1912 was to be a sort of revelation for him. Delaunay's chromatic Cubism, which Apollinaire had called Orphism, influenced Macke's art from that point onwards. His Shops Windows can be considered a personal interpretation of Delaunay's Windows, combined with the simultaneity of images found in Italian Futurism.
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In 1912, SVU Mánes split, following the Cubist art scene in Paris: the Montmartre Cubism of Pablo Picasso and Georges Braque, and Section d'Or Cubism led by Albert Gleizes and Jean Metzinger. Prague's key followers of Montmartre Cubism in Prague were artists Emil Filla and Otto Gutfreund, while the nucleus of the opposing camp was created around the Čapek brothers. Bohemian Cubists combined Cubism with Expressionism, some with Futurism, Orphism and Rayonism, while others concentrated on national or existential subject matters. The artists influenced by Montmartre Cubism established Skupina výtvarných umelců [Group of Artists].
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Other elements, such as the celebration by a ritual meal of bread and wine, also have parallels. The omophagia was the Dionysian act of eating raw flesh and drinking wine to consume the god. Within Orphism, it was believed that consuming the meat and wine was symbolic of the Titans eating the flesh (meat) and blood (wine) of Dionysus and that, by participating in the omophagia, Dionysus' followers could achieve communion with the god. Powell, in particular, argues that precursors to the Catholic notion of transubstantiation can be found in Dionysian religion.
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Otto Kern, oil painting by Paul Moennich, 1906 Otto Ferdinand Georg Kern (14 February 1863 in Schulpforte (now part of Bad Kösen) - 31 January 1942 in Halle an der Saale) was a German classical philologist, archaeologist and epigraphist. He specialized in the field of ancient Greek religion, being known for his investigations of Greek mystery cults and Orphism, as well as the ancient city of Magnesia on the Maeander and later also the history of ancient studies. In 1907 he became professor at the University of Halle- Wittenberg, where he became rector in 1915/16.
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According to R. M. Hare, Plato's Republic may be partially based on the "tightly organised community of like-minded thinkers" established by Pythagoras at Croton. Additionally, Plato may have borrowed from Pythagoras the idea that mathematics and abstract thought are a secure basis for philosophy, science, and morality. Plato and Pythagoras shared a "mystical approach to the soul and its place in the material world" and it is probable that both were influenced by Orphism. The historian of philosophy Frederick Copleston states that Plato probably borrowed his tripartite theory of the soul from the Pythagoreans.
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He studied at the Universities of Leipzig and Bonn, where at the latter he was a student of Hermann Usener (1834-1905), who in 1899 became Dieterich's father-in-law. In 1888 he earned his doctorate, and three years later received his habilitation in Marburg with a dissertation on Orphism. Afterwards he traveled to Italy and Greece for research purposes. His grave in Heidelberg In 1895 he returned to Marburg as an associate professor, and two years later succeeded Eduard Schwartz (1858-1940) as chair of classical philology at the University of Giessen.
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54-7 The buildings were extended in 2000 with additional wings that conserve the architectural style of the original buildings. The campus grounds also feature large sculptures by a number of celebrated European sculptors, including Francois-Xavier and Claude Lalanne, who designed the original campus,CEDEP: 40 Years of Adding Value (an official history of CEDEP),CEDEP 2012, , p. 91 and Francesco Marino di Teana. The campus interior houses a notable collection of contemporary wall carpets by the likes of Sonia Delaunay (co-founder of the Orphism movement), and Natalia Dumitresco.
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Macdonald-Wright and Russell were among a number of avant-garde artists at work in the period immediately before World War I who believed that realism in the visual arts had long since reached a point of exhaustion and that, to be meaningful in the modern world, painting needed to sever any ties to older ideas about perspective and to literary or anecdotal content. The earliest Synchromist works were similar to Fauvist paintings. The multi-colored shapes of Synchromist paintings also loosely resembled those found in the Orphism of Robert and Sonia Delaunay.Hughes, p.
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Sutton, p. 2, mentions Dionysus as The Liberator in relation to the city Dionysia festivals. In Euripides, Bacchae 379–385: "He holds this office, to join in dances, [380] to laugh with the flute, and to bring an end to cares, whenever the delight of the grape comes at the feasts of the gods, and in ivy-bearing banquets the goblet sheds sleep over men." In his religion, identical with or closely related to Orphism, Dionysus was believed to have been born from the union of Zeus and Persephone, and to have himself represented a chthonic or underworld aspect of Zeus.
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The artists working in Paris between World War I and World War II experimented with various styles including Cubism, Orphism, Surrealism and Dada. Foreign and French artists working in Paris included Jean Arp, Joan Miró, Constantin Brâncuși, Raoul Dufy, Tsuguharu Foujita, artists from Belarus like Michel Kikoine, Pinchus Kremegne, the Lithuanian Jacques Lipchitz, the Polish artists Marek Szwarc and Morice Lipsi and others such as Russian-born prince Alexis Arapoff.Boston College University Libraries A significant subset, the Jewish artists, came to be known as the Jewish School of Paris or the School of Montparnasse.Roditi, Eduard (1968).
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František Kupka, Katedrála (The Cathedral), 1912-13, oil on canvas, 180 x 150 cm, Museum Kampa, Prague, Czech Republic The Orphists were rooted in Cubism but moved toward a pure lyrical abstraction, seeing painting as the bringing together of a sensation of pure colors. More concerned with the expression and significance of sensation, this movement began with recognizable subjects but was rapidly absorbed by increasingly abstract structures. Orphism aimed to dispense with recognizable subject matter and to rely on form and color to communicate meaning. The movement also aimed to express the ideals of Simultanism: the existence of an infinitude of interrelated states of being.
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Tate glossary Retrieved December 28, 2010 The decomposition of spectral light expressed in Neo-Impressionist color theory of Paul Signac and Charles Henry played an important role in the formulation of Orphism. Robert Delaunay, Albert Gleizes, and Gino Severini, all knew Henry personally.Robert Herbert, 1968, Neo-Impressionism, The Solomon R. Guggenheim Foundation, New York Charles Henry, a mathematician, inventor, esthetician, and intimate friend of the Symbolist writers Félix Fénéon and Gustave Kahn, met Seurat, Signac and Pissarro during the last Impressionist exhibition in 1886. Henry would take the final step in bringing emotional associational theory into the world of artistic sensation: something that would influence greatly the Neo-Impressionists.
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This mathematical expression resulted in an independent and compelling 'objective truth,' perhaps more so than the objective truth of the object represented. Indeed, the Neo-Impressionists had succeeded in establishing an objective scientific basis in the domain of color (Seurat addresses these problems in Circus and Dancers). Soon, the Cubists were to do so in both the domain of form and dynamics (Orphism) would later do so with color too. La Femme au Cheval (Woman with a horse), oil on canvas, 162 x 130 cm, Statens Museum for Kunst, National Gallery of Denmark. Published in Apollinaire's 1913 Les Peintres Cubistes, Exhibited at the 1912 Salon des Indépendants.
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Despite this, even these authors of the 5th and 4th centuries BC noted a strong similarity between the two doctrines. In fact, some claimed that rather than being an initiate of Orphism, Pythagoras was actually the original author of the first Orphic texts. Specifically, Ion of Chios claimed that Pythagoras authored poetry which he attributed to the mythical Orpheus, and Epigenes, in his On Works Attributed to Orpheus, attributed the authorship of several influential Orphic poems to notable early Pythagoreans, including Cercops. According to Cicero, Aristotle also claimed that Orpheus never existed, and that the Pythagoreans ascribed some Orphic poems to Cercon (see Cercops).
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Robert Delaunay, Simultaneous contrasts: Sun and moon, 1912, (video). Museum of Modern Art, New York. Retrieved April 4, 2020 In the prime of his career he painted a number of series that included: the Saint-Sévrin series (1909–10); the City series (1909–1911); the Eiffel Tower series (1909–1912); the City of Paris series (1911–12); the Window series (1912–1914); the Cardiff Team series (1913); the Circular Forms series (1913); and The First Disk (1913). Delaunay is most closely identified with Orphism. From 1912 to 1914, he painted nonfigurative paintings based on the optical characteristics of brilliant colors that were so dynamic they would function as the form.
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But in spite of his use of the term Orphism these works were so different that they defy attempts to place them in a single category. Also labeled an Orphist by Apollinaire, Marcel Duchamp was responsible for another extreme development inspired by Cubism. The ready-made arose from a joint consideration that the work itself is considered an object (just as a painting), and that it uses the material detritus of the world (as collage and papier collé in the Cubist construction and Assemblage). The next logical step, for Duchamp, was to present an ordinary object as a self- sufficient work of art representing only itself.
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His attraction to the latest innovations was expressed in almost completely Futurist forms in his drawings, while he developed a unique style in his painting that was a mixture of Art Nouveau, Fauvism, Expressionism and Orphism. It was not until 1917, after meeting with Giacomo Balla in Rome, and with Filippo Tommaso Marinetti in Naples (who later enthusiastically praised Conti's book Imbottigliature which was about to be printed) that Conti became part of the Futurist movement. His contribution to the movement was not only his literary works, but also the paintings and drawings he produced between 1917 and 1919—the years in which his work was taking on the metaphysical style. The 1920s were a complex period for Conti.
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The gallery featured pioneering exhibitions which included Fauvism, Orphism, De Stijl, and abstract art with Henri Matisse, Francis Picabia, and Pablo Picasso, in both collective and solo exhibitions. Dalmau published the Dadaist review 391 created by Picabia,Francis Picabia, 391, several issues available online and gave support to Troços by .Troços, digitalization available in the ARCA Portal (archive of antique Catalan magazines)Archive of Troços magazineJosep Maria Junoy, Arte & Artistas (Primera serie), Barcelona, Llibreria de L'Avenç, 1912 Dalmau was the first gallery in Spain to exhibit works by Juan Gris, the first to host solo exhibitions of works by Albert Gleizes, Francis Picabia, Joan Miró, Salvador Dalí and Angel Planells. It was also the first gallery to exhibit Vibrationism.
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Les Joueurs de football (Football Players) 1912-13, National Gallery of Art, Washington D.C — Robert Delaunay The Cardiff Team (L'équipe de Cardiff ) 1913, Van Abbemuseum, Eindhoven — Fernand Léger, Le modèle nu dans l'atelier (Nude Model In The Studio) 1912-13, Solomon R. Guggenheim Museum, New York — Juan Gris, L'Homme dans le Café (Man in Café) 1912, Philadelphia Museum of Art. In room 45 hung the works of Robert Delaunay, Sonia Delaunay, František Kupka, Morgan Russell and Macdonald-Wright. This was the first exhibition where Orphism and Synchromism were emphatically present. Apollinaire in L'Intransigeant mentioned la Salle hollandaise (room 43), which included Jacoba van Heemskerck, Piet Mondrian, Otto van Rees, Jan Sluyters en Leo Gestel and Lodewijk Schelfhout.
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The Orphic school, a mystery cult that originated in Thrace and spread to Greece in the 5th century BCE, held similar beliefs about the early days of man, likewise denominating the ages with metals. In common with the many other mystery cults prevalent in the Graeco-Roman world (and their Indo-European religious antecedents), the world view of Orphism was cyclical. Initiation into its secret rites, together with ascetic practices, was supposed to guarantee the individual's soul eventual release from the grievous circle of mortality and also communion with god(s). Orphics sometimes identified the Golden Age with the era of the god Phanes, who was regent over the Olympus before Cronus.
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The Salon d'Automne of 1912, held in Paris at the Grand Palais from 1 October to 8 November. Joseph Csaky’s sculpture Groupe de femmes of 1911–12 is exhibited to the left, in front of two sculptures by Amedeo Modigliani. Other works by Section d'Or artists are shown (left to right): František Kupka, Francis Picabia, Jean Metzinger and Henri Le Fauconnier. The Section d'Or, also known as Groupe de Puteaux, founded by some of the most conspicuous Cubists, was a collective of painters, sculptors and critics associated with Cubism and Orphism, active from 1911 through about 1914, coming to prominence in the wake of their controversial showing at the 1911 Salon des Indépendants.
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During these years MacDonald-Wright and Russell developed Synchromism (meaning "with color"), seeking to free their art form from a literal description of the world and believing that painting was a practice akin to music that should be divorced from representational associations. MacDonald-Wright collaborated with Russell in painting abstract "synchromies" and staged Synchromist exhibitions in Munich in June 1913, in Paris in October 1913, and in New York in March 1914. These established Synchromism as an influence in modern art well into the 1920s, though followers of other abstract artists (principally, the Orphists Robert and Sonia Delaunay) were later to claim that the Synchromists had merely borrowed the principles of color abstraction from Orphism, a point vehemently disputed by Macdonald-Wright and Russell.
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Janko's scholarship has focused primarily upon Bronze Age Greece, archaic Greek epic, especially the Iliad of Homer, ancient literary criticism, especially the "Poetics" of Aristotle, early Greek religion and philosophy (especially Empedocles, Orphism, and the Derveni papyrus), and the reconstruction of ancient books on papyrus-rolls. His study of epic diction, Homer, Hesiod and the Hymns, established by a statistical study of language the relative chronology of the corpus of early Greek epic poetry. Janko published a controversial book Aristotle on Comedy, arguing that a summary of the lost second book of Aristotle's Poetics on comedy and humour survives in a tenth-century manuscript in Paris, the Tractatus Coislinianus. This was shortly followed by an annotated translation of Aristotle's Poetics itself.
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The concept was well established among the French artists that painting could be expressed mathematically, in terms of both color and form; and this mathematical expression resulted in an independent and compelling 'objective truth,' perhaps more so than the objective truth of the object represented. Indeed, the Neo-Impressionists had succeeded in establishing an objective scientific basis in the domain of color (Seurat addresses both problems in Circus and Dancers). Soon, the Cubists were to do so in both the domain of form and dynamics (Orphism) would do so with color too. With the exception of Picasso (his Blue and Pink periods being entirely different intellectually), all the leading Cubists and Futurists came from Neo-Impressionism, believing its objective validity to be a scientific discovery.
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Domninus of Larissa, Syria was, simultaneously with Proclus, a pupil of Syrianus. Domninus is said to have corrupted the doctrines of Plato by mixing up with them his private opinions. This called forth a treatise from Proclus, intended as a statement of the genuine principles of Platonism.Damascius, Life of Isidore in the Suda, Domninos Marinus writes about a rivalry between Domninus and Proclus about how Plato's work should be interpreted, > [Syrianus] offered to discourse to them on either the Orphic theories or the > oracles; but Domninus wanted Orphism, Proclus the oracles, and they had not > agreed when Syrianus died...Bulmer-Thomas (1970-1990) The Athenian academy eventually choose Proclus' interpretation over Domninus' and Proclus would later become the head of the Academy.
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It contributed strongly to the Renaissance view of ritual magic's relationship with Christianity.Farmer, S.A; "Syncretism in the West: Pico's 900 Theses (1486)", Medieval & Renaissance Texts & Studies, 1999, Giambattista della Porta expanded on many of these ideas in his Magia Naturalis.The Occult Sciences in the Renaissance: A Study in Intellectual Patterns by Wayne Shumaker (University of California Press, 1972) Giovanni Pico della Mirandola promoted a syncretic worldview combining Platonism, Neoplatonism, Aristotelianism, Hermeticism and Kabbalah.Farmer, S.A; "Syncretism in the West: Pico's 900 Theses (1486)", Medieval & Renaissance Texts & Studies, 1999, Pico's Hermetic syncretism was further developed by Athanasius Kircher, a Jesuit priest, hermeticist and polymath, who wrote extensively on the subject in 1652, bringing further elements such as Orphism and Egyptian mythology to the mix.
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' The Herbst salon (Erster Deutscher Herbstsalon, Berlin) of 1913, organized by Herwarth Walden of Der Sturm, exhibited many works by Robert and Sonia Delaunay, Jean Metzinger's L'Oiseau bleu (1913, Musée d'Art Moderne de la Ville de Paris), Albert Gleizes' Les Joueurs de football (1912-13, National Gallery of Art), paintings by Picabia, and Léger, along with several Futurist paintings. This exhibition marked a turning-point in Apollinaire's relation with R. Delaunay (which would cool markedly), following some remarks in an argument with Umberto Boccioni about the ambiguity of the term 'simultaneity'. This would be the last time Apollinaire used the term Orphism in his critical analyses of art; as he turned his attention increasingly towards Picabia and Alexander Archipenko, but most of all towards the Futurists. Robert Delaunay, Champs de Mars.
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Access to the gallery passed through a long corridor adorned with anonymous unrestored old master landscapes and still lifes. For the coming years, this became the platform featuring pioneering exhibitions of Fauvism, Orphism, De Stijl, and abstract art with Francis Picabia, Kees van Dongen, Joaquín Torres- García, Henri Matisse, Juliette Roche, Georges Braque, André Derain, Auguste Herbin, Fernand Léger, André Lhote, Gino Severini, Louis Valtat, Félix Vallotton, Hans Arp, María Blanchard and others in both collective and solo exhibitions. Art historian Fèlix Fanés writes of the gallery: > To overcome the difficulties of the home market, Dalmau introduced > contemporary Catalan art to foreign markets. This strategy, together with > the arrival of numerous avant-garde artists in Barcelona during the First > World War, served to consolidate the modern image of the Galeries Dalmau.
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Along with Léger he identified these three with a new tendency, which he labelled Orphic Cubism or Orphism and which he considered of special significance for the future. Painters such as Gleizes, Metzinger, Delaunay and Duchamp were powerful influences alongside Picasso, Braque, Gris and Léger in the development of art related to Cubism in Russia, Czechoslovakia, Italy, the Netherlands, Britain, Spain and the USA.Christopher Green, Cubism, Origins and application of the term, MoMA, Grove Art Online, Oxford University Press, 2009 The Salon d’Automne of 1912 led to a debate on Cubism in the Chambre des Députés: since the exhibition was held in the State’s Grand Palais, the State was seen as subsidizing Cubism. It was against this background of public anger and revolt that Gleizes and Metzinger wrote Du "Cubisme".
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Povedano implemented academicism in the School he founded and was a consistent opponent of the new pictorial trends of the late nineteenth century and the avant-garde of the early twentieth century. Thus, he wrote that the works of synthesism, cubism, futurism and orphism were "studies of contemporary artistic pathology, [...] engenders of dementia, that it is not conceived how they could have been accepted for a moment without severe rejection in peoples who presume to go to the head of civilization ».Las exposiciones del 'Diario de Costa Rica' (1928-1937), s/f; consultado el 24.03.2015 As an essay dedicated to the plastic arts exhibitions held in San José from 1928 to 1937 points out, the School of Fine Arts was an "academy entirely with its back to the renovating tendencies of the time.
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Kostrowicki family's coat-of-arms Guillaume Apollinaire (; 26 August 1880 – 9 November 1918) was a French poet, playwright, short story writer, novelist, and art critic of Polish-Belarusian descent. Apollinaire is considered one of the foremost poets of the early 20th century, as well as one of the most impassioned defenders of Cubism and a forefather of Surrealism. He is credited with coining the term "Cubism"Daniel Robbins, 1964, Albert Gleizes 1881 – 1953, A Retrospective Exhibition, Published by The Solomon R. Guggenheim Foundation, New York, in collaboration with Musée National d'Art Moderne, Paris, Museum am Ostwall, Dortmund in 1911 to describe the emerging art movement, the term Orphism in 1912, and the term "Surrealism" in 1917 to describe the works of Erik Satie. He wrote poems without punctuation attempting to be resolutely modern in both form and subject.
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Jean Metzinger, 1911-1912, La Femme au Cheval (Woman with a horse), oil on canvas, 162 x 130 cm, Statens Museum for Kunst, National Gallery of Denmark. Published in Apollinaire's 1913 Les Peintres Cubistes, Exhibited at the 1912 Salon des Indépendants. Provenance: Jacques Nayral, Niels Bohr Albert Gleizes, 1911, La Chasse (the Hunt), oil on canvas, 123.2 x 99 cm. Published in L'Intransigeant, 10 October 1911, "Les Peintre Cubistes" 1913, by G. Apollinaire, and 'Au Salon d'Automne', Revue d'Europe et d'Amerique, Paris, October 1911. Exhibited at the 1911 Salon d'Automne, Valet de Carreau (Jack of Diamonds), Moscow, 1912, and Galerie de la Boétie, Salon de la Section d'Or, Paris, 1912 The Section d'Or ("Golden Section"), also known as Groupe de Puteaux or Puteaux Group, was a collective of painters, sculptors, poets and critics associated with Cubism and Orphism.
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Early traces of pantheist thought can be found within the theology of the ancient Greek religion of Orphism, where pan (the all) is made cognate with the creator God Phanes (symbolizing the universe),Damascius, referring to the theology delivered by Hieronymus and Hellanicus in :"... the theology now under discussion celebrates as Protogonus (First-born) [Phanes], and calls him Dis, as the disposer of all things, and the whole world: upon that account he is also denominated Pan." and with Zeus, after the swallowing of Phanes.Betegh, Gábor, The Derveni Papyrus, Cambridge University Press, 2004, pp. 176-178 Pantheistic tendencies existed in a number of early Gnostic groups, with pantheistic thought appearing throughout the Middle Ages. These included a section of Johannes Scotus Eriugena's 9th- century work De divisione naturae and the beliefs of mystics such as Amalric of Bena (11th12th centuries) and Eckhart (12th13th).
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" Sharif in London, 1983 Sharif graduated in 1984 and set about staging the first exhibitions of contemporary art in the Emirates. He founded Al Marijah Art Atelier in Sharjah in 1984, a meeting place for a generation of young artists in the country, and assembled several interventions around the city including ‘One Day Exhibition’ (1985) and an impromptu exhibition in the city’s central market. In this period, Sharif also penned numerous articles in the UAE’s nascent press about the history of art and translated into Arabic excerpts of 20th-century art manifestos and texts (notably about Post- Impressionism, Cubism, Abstract Expressionism, Orphism, Futurism, Dada and Surrealism, Constructivism, Fluxus, Arte Povera, Minimalism and Conceptual Art) so as to provoke a local engagement and show that his work is grounded in a discourse. "I didn’t only make art but I made my audience too.
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The Société Normande de Peinture Moderne, also known as Société de Peinture Moderne, or alternatively, Normand Society of Modern Painting, was a collective of eminent painters, sculptors, poets, musicians and critics associated with Post-Impressionism, Fauvism, Cubism and Orphism. The Société Normande de la Peinture Moderne was a diverse collection of avant-garde artists; in part a subgrouping of the Cubist movement, evolving alongside the so-called Salon Cubist group, first independently then in tandem with the core group of Cubists that emerged at the Salon d'Automne and Salon des Indépendants between 1909 and 1911 (i.e., Albert Gleizes, Jean Metzinger, Fernand Léger, Robert Delaunay and Henri Le Fauconnier). Historically, the two groups merged in 1912, at the Section d'Or exhibition, but documents from the period prior to 1912 indicate the merging occurred earlier and in a more convoluted manner.
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