Student

Prof. Rosemary O’Neil

Latin America

March 28th 2016

FROM LEONORA TO MODERN SURREALISM

Leonora Carrington, the one of most important artists in surrealism, passed away on

25th May in 2011. Her achievements, which are in art world and real life, could not be

ignored, even though she never thought that she was a transmitter of art. Leonora Carrington

was born in Clayton Green, which is a large affluent village in England. When she was ten

years old, it was her first time to see a surrealist painting and she was attracted to it. After

several years studying in Art School, she became familiar with surrealism and had her own

style. In1939, her first surrealist artwork, “The Inn of the Dawn Horse” was created. In 1947,

one business man bought a lot of Carrington’s paintings and arranged a show in New York.

From that on, the name, Leonora Carrington, was known by many people who are interested

in art.

After 1960s, she moved to in Mexico City and spent the rest of her life over there. A

mural, which is named “El Mundo Magico de los Mayas” and affected by the culture and

stories of region, was created, when she was living in Mexico City. In her whole life, she

created more than 1000 artworks, such as canvases, sculptures, tapestries and so on. Leonora

Carrington was great at using some animals, such as cats, birds and dogs, as the main role or

onlooker to create mysterious and dreamy scene in her artworks. Right now, her artworks still

are showed in Paris, Mexico and New York.

Leonora Carrington developed a woman centered of surrealist and her painting always

tried to express that not only her interests in alchemy and occult, but also her love of animals.

Meanwhile, her artworks reflected that she wanted to be detached reality. The idea of half-

human and half-animals is usually in her mind and she also thought that there is animal’s soul

in human’s body, so, in some of her paintings, some roles have an animal face with features

of human body. Carrington shared the surrealists’ keen interest in the unconscious mind and

dream imagery. Meanwhile, she put her own unique culture and style, such as Celtic

literature, Renaissance painting, Central American folk art, medieval alchemy, and Jungian

psychology. Carrington’s arts try to state the idea of sexual identity and express the

independent side of female. Her paintings are about her life and friendships and represent

women’s self-perceptions. Her paintings are light which could drive people into crazy or

blind people’s eyes. In coming few paragraphs, some of Carrington’s important life events are

explained through her paintings.

This painting, which name is

Self-Portrait, drawn in 1937-

38, could provide Carrington’s

perception of reality and

exploration of her own

femininity. She drew this

painting about her daily life.

In this painting, she is wearing

a riding clothes and facing to audience. Her pet, a female hyena, is standing right next to her

and trying to catch Carrington’s hand, when Carrington extends her hand to hyena.

Carrington is good at using hyena or other animals as surrogate for herself in her art works.

She always put herself into a painting with animal’s rebellious spirit. For instance, in this

painting, there are two horse. One is running into the forest and the other is sculpture which is

hang on the wall. Carrington uses the sculpture of horse to express about her childhood. She

grew up in an aristocratic

household in the English

countryside and fought for her

education and dream. The

horse, which is running into

forest in painting, states her

dream and expresses about her

dream of freedom.

This painting, “The Meal of Lord Candlestick” Finished soon after her departure from

England and the start of her issue with Max Ernst in 1938. This canvas catches Carrington's

defiant soul and dismissal of her Catholic childhood. "Master Candlestick" was a handle that

Carrington used to refer to her dad. The title of this work accentuates Carrington's release of

her dad's fatherly oversight. In this scene, Carrington likewise changes the custom of the

Eucharist into a dynamic presentation of savageness: ravenous female figures eat up a male

newborn child lying on the table. The table itself is a representation of one utilized as a part

of the colossal meal lobby in her guardian's bequest, Crookhey Hall. Carrington purposefully

upsets the typical request of maternity and religion as her very own announcement subversive

move towards individual flexibility in France.

This portrait is called “Portrait of Max Ernst”, by

Carrington was finished as a tribute to her

association with the Surrealist craftsman Max

Ernst. In the closer view, Ernst is indicated

wrapped in an unusual red shroud and yellow

striped tights holding a murky, elongated light. A

white steed, an image Carrington much of the time

incorporated into her works of art as her creature

surrogate, is indicated balanced and solidified out of sight, watching Ernst. The two are

distant from everyone else in a solidified and devastate no man's land, a scene typical of the

sentiments Carrington experienced while living with Ernst in involved France.

In many

Carrington’s art works,

women are presented as

witches. In this painting

which the name is La Dame

Ovale, artwork in 1939, the

witch is wrapped by sheet

and there are some animals

inside the cauldron on the witch’s left side. It tries to state how historically witches were

punished until they confessed their crimes. Meanwhile, it satirizes the inequality between

male and female in old days. On the right side of witch, there are two horses tied to a tree, it

indicates that female are always restricted in traditional culture. Carrington was the ideal

Surrealist artist and she also crossed the boundaries of painter, sculptor, set designer, weaver,

writer and mother, and in addition she had experienced being in a mental asylum. She put a

lot of her experience in life into her artworks.

Carrington has also shown

interest in the topics of change

and transformation. This artistic

creation, The Giantess (The

Guardian of the Egg) in 1947,

demonstrates a fantastic girl in a

red dress and a light green cape

towering over a timberland of trees. Two geese seem, by all accounts, to be rising up out of

underneath the figure's cape, and gently painted creature figures and shapes are depicted on

the Giantess' outfit. The Giantess ensures an egg, a general image of new life, caught in her

grasp, while geese hover clockwise around her and small figures and creatures chase and

gather in the closer view. The palette, scale, and facture of the canvas show Carrington's

enthusiasm for medieval and gothic symbolism: the substance of the Giantess looks like a

Byzantine symbol, painted straight and lit up with an overlaid circle that edges her

appearance. The incorporation of geese may mirror her enthusiasm for Irish society, in which

this fledgling is an image of relocation, travel, and homecoming. In a compositional

procedure reminiscent of Hieronymus Bosch, Carrington has incorporated a large group of

abnormal assumes that seem, by all accounts, to be coasting out of sight. While the marine

hues show that the boats and pictures are likely adrift, Carrington's hieratic strategy in this

depiction consolidates the ocean and sky incorporated into one picture, accentuating her

enthusiasm for workmanship's ability to join universes.

The hybrid characters that populate the overly complex universe of “Ulu's Pants”, an

artwork of 1952,

uncover

Carrington's

wistfulness for the

Celtic mythology

she learned as a

kid, and also her

introduction to different social conventions amid her time in Mexico. The vexing gigantic

figures in the closer view are organized in a static column, as though acting in a play. An egg,

typical of ripeness and resurrection, is watched at the lower right by an interesting figure with

a red head. Carrington was profoundly worried with ceaseless recharging through self-

disclosure, a thought incarnated by shape-moving figures in the closer view and by the far off

animals hunting down a pathway through the labyrinth out of sight.

Later in her vocation, Carrington added

depictions of more seasoned ladies to her visual

vocabulary of rehashed settings and figures. The

“Bird Bath” in 1974, is an example of this. The

structure out of sight of Bird Bath reviews her

youth home, Crookhey Hall, which was

brightened with elaborate winged animals themes. In the frontal area, an elderly female figure

dressed all in dark (as Carrington herself dressed, in more seasoned age) showers red paint

onto an astounded looking fowl. The utilization of a substantial bowl of water and a spotless

white material (held by the conceal collaborator) reviews the Christian ceremony of

submersion, and the white winged animal may imply the typical pigeon of the Holy Spirit.

Nonetheless, the function instituted by these characters appears to be diverting and

additionally serious. The lady in the scene has experienced her own change, from young lady

to hag, while holding her inventive force.

The Tate exhibition is the first

run through the 15ft (4.5) wall

painting, The Magical World

of the Mayas, has been in plain

view outside Mexico. It is

additionally the first occasion

when her work has been

appeared in England since 1991. According to the exhibition curator: “’The Magical World of

the Mayas’, her 1964 mural, explains Carrington’s heartily relation with Mexico.” Her every

single portray explain a specific portion of her life, but in this single picture, she has

explained her overall affiliation and her thoughts for Mexico.

Surrealism was an art movement that started in Paris in the early 1920s, and then

spread throughout the globe. A number of Surrealist artists moved to New York at the

outbreak of World War II because they were deemed a threat by the Nazis. The movement

spanned a variety of art forms, including visual art, literature, film and music and the

Surrealists had an interest in politics, psychology and sociology. Predominantly Surrealist

artists were interested in creating work that came from their unconscious mind, so they tried

to lose themselves in making the work and allow their subconscious take over. They were

interested in bridging dream worlds and reality, and to support their work they referenced a

variety of sources including, mythology, psychology, ‘madness’ and symbolism. Surrealism is

that artists use unreal images or paintings to express their mind in strange way. The beginning

of surrealism is also in beginning of 20th century and the word “surrealism” was created in

1917 by Guikkaume Apollinaire when he used it in program notes for the ballet Parade. The

surrealism took some features of the anti-rationalism of Dada. In surrealist paintings, there

are two styles: hyperrealism and automatism. The hyperrealism is that the artists use color of

either saturated or monochromatic way to create the dreamlike scene in paintings. Compared

to hyperrealism, the automatism is that the artists use various techniques to produce

unconscious thought, including collage, doodling, frottage, decalcomania and graftage.

Leonora Carrington is one of this style of artist.

Realism art represents the truly life or objects without any artificiality and avoids

artistic. It began in 19th century and it believed in the philosophy of objective reality.

Surrealism can be translated to beyond world. The surrealists were bored with real world in

normal expression, so they decided to use strange way to express their minds, philosophies

and feelings. Meanwhile, the surrealist strongly believed in interpretations of dreams and

exploring the darkest corners of mind. The difference between realism and surrealism is that

realism tried to use the copy of reality to express the artist’s feeling, however, surrealism used

unconscious way to describe the world or feelings. Even though this two art are totally

different in painting style, somehow they are the same. For instance, both of them are trying

to express reality and concerns of daily life in different ways. Another similarity is that they

both try to make an art or model which is close to perception of human eye and idea.

Surrealists use strange ways to do that, realists do not.

Romanticism is formed in the end of 18th century and it was artistic, literary and

intellectual. Romanticism reflected the emphasis on emotion and individualism. Romanticism

is a reaction to The Age of Enlightenment which was a movement of philosophy and truth in

the early 18th century. Romanticism rejected rationality in life and science, religion, politics

and so on. It was the idea of "romanticizing" life and ideals and the aesthetics of this

movement focused on emotions, imaging and perfect painting. Artists did not want to break

the natural laws of The Age of Enlightenment. Surrealism is the revolution of romanticism

and it is the most striking and the most fascinating example of a romantic current in the 20 th

century. Surrealism is very popular when it is a break from the usual standards and aesthesis

of art.

Today, surrealism (Modern Surrealism) has diversified with installation art. The

influence of surrealism in commercial mass media has been gotten attention from everyone in

the world. Some surrealists create new style of surrealism. For instance, the Mass Surrealism

has been a global phenomenon in the contemporary art world. Many surrealists associate in

other areas, such as not only cartoons and comics, but also electric products. Also, surrealism

is used into fashion. From the 20 century art movement to today’s perception of reality. What

began as a fashion experiment with a contemporary-art movement has become a source of

inspiration for ready-to-wear and fast-fashion labels worldwide. Surrealists are trying to

change the common way of looking at the world. It is the revolution of the mind against the

tradition and ordinary. Some of modern day Surrealists and there work is explained below.

André Breton was a unique individual from the Dada bunch who went ahead to begin

and lead the Surrealist development in 1924. In New York, Breton and his partners curated

Surrealist presentations that presented thoughts of automatism and instinctive craftsmanship

making to the principal Abstract Expressionists. He worked in different imaginative media,

concentrating on collection and printmaking and in addition writing a few books. Breton

advanced courses in which content and picture could be joined through chance relationship to

make new, wonderful word-picture mixes. His thoughts regarding getting to the oblivious and

utilizing images for self-expression served as an essential calculated building obstruct for

New York specialists in the 1940s.

Breton was a noteworthy individual from the Dada bunch and the originator of

Surrealism. He was devoted to vanguard craftsmanship making and was known for his

capacity to join different craftsmen through printed matter and curatorial interests. Breton

drafted the Surrealist Manifesto in 1924, announcing Surrealism as "unadulterated psychic

automatism," profoundly influencing the technique and beginnings of future developments,

for example, Abstract Expressionism. One of Breton's basic convictions was in craftsmanship

as a hostile to war challenge, which he proposed amid the First World War. This idea re-

picked up power amid and after World War II, when the early Abstract Expressionist

craftsmen were making attempts to show their shock at the barbarities happening in Europe.

His most important art piece is “Exquisite Corpse” (1928). In this community oriented

montage, seven Surrealist specialists (Cadavre Exquis with André Breton, Max Morise,

Jeannette Ducrocq Tanguy, Pierre Naville, Benjamin Péret, Yves Tanguy, Jacques Prévert )

and writers gathered a human structure by stacking discovered printed pictures of

commonplace protests: an umbrella is the abdominal area, a trunk is the middle, and settled

pots are two thighs, which one member reached out in pencil.

The nearness of the umbrella reviews an

expression the Surrealists embraced from the writer

Comte de Lautréamont (conceived Isidore Ducasse)

as a perfect portrayal of the rule of juxtaposition: "As

excellent as the chance experience of a sewing

machine and an umbrella on a working table."

Diego Rivera is mainly viewed as the most powerful Mexican craftsman of the twentieth

century, Diego Rivera was genuinely an overwhelming figure who spent noteworthy times of

his profession in Europe and the U.S., notwithstanding his local Mexico. Together with David

Alfaro Siqueiros and Jose Clemente Orozco, Rivera was among the main individuals and

originators of the Mexican Muralist development. Sending a style educated by dissimilar

sources, for example, European advanced bosses and Mexico's pre-Columbian legacy, and

executed in the system of Italian fresco painting, Rivera took care of significant topics

suitable to the size of his picked fine art: social imbalance; the relationship of nature,

industry, and innovation; and the history and destiny of Mexico. More than a large portion of

a century after his passing, Rivera is still among the most respected figures in Mexico,

celebrated for both his part in the nation's masterful renaissance and re-invigoration of the

wall painting class and also for his outsized persona.

Rivera made the artwork of wall paintings his essential strategy, welcoming the

substantial scale and open availability—the opposite he viewed as the elitist character of

works of art in exhibitions and galleries. Rivera utilized the dividers of colleges and other

open structures all through Mexico and the United States as his canvas, making an

exceptional assemblage of work that restored enthusiasm for the wall painting as a fine art

and rehashed the idea of open workmanship in the U.S. by making ready for the Federal Art

Program of the 1930s. Mexican society and history constituted the real topics and impact on

Rivera's craft. Rivera, who amassed a huge gathering of pre-Columbian ancient rarities, made

all encompassing depictions of Mexican history and everyday life, from its Mayan

beginnings up to the Mexican Revolution and post-Revolutionary present, in a style to a great

extent obliged to pre-Columbian society.

A deep rooted Marxist who had a place with the Mexican Communist Party and had

essential binds to the Soviet Union, Rivera is a model of the socially dedicated craftsman. His

craft communicated his straightforward responsibility to left-wing political causes,

delineating such subjects as the Mexican lower class, American specialists, and progressive

figures like Emiliano Zapata and Lenin. Now and again, his straightforward, uncompromising

liberal governmental issues slammed into the desires of rich supporters and stimulated huge

contention that radiated inside and outside the craftsmanship world.

Diego Rivera's first

government-charged wall

painting, Creation was made

through the span of a year and spreads over a thousand square feet. It is a figurative structure

with fanciful and religious motifs. The figures in the painting are more than twelve feet high,

which were in extent to the gigantic channel organ which encompassed the divider. At the

main an image, which could speak to the Divine Trinity with gift hands. It additionally takes

after old Egyptian iconography of Aton, the image of the inventive sun. At the base Eva and

Adam. Over them on both sides the nine Muses. Furthermore, on the following level the

Christian Virtues: From the left: Love, Hope and Faith and on the right side: Prudence,

Justice and Strength. In the sky Wisdom and Science. Everything is in established renaissance

style, where comparative moral stories are basic. The figures depend on life models. Note that

the photo does not have any political, ideological inclination. The artistic creation procedure

is encaustic, which implies that the colors were connected suspended in liquid wax. A

confused system which the old Egyptians definitely knew.

Frida Kahlo's work was impacted by traumatic physical and mental occasions from her

youth and early adulthood, including an injuring mischance and the disloyalty of her better

half. Notwithstanding individual issues, Kahlo's regularly agonizing and reflective topic

likewise manages inquiries of national personality. Her blended family line - Mexican and

German - gave a rich wellspring of topic, especially amid the Second World War, when Kahlo

changed the spelling of her first name to one that was less Germanic. Her works are regularly

classified as Surrealist on account of her occasionally odd and exasperating topics, yet not at

all like the Surrealists, Kahlo was not inspired by topic got from dreams or the subliminal -

her specialty was quite often starkly self-portraying. In later life, she was compelled to

depend on painkillers that influenced the nature of her yield. She has now turned into a social

symbol and is particularly loved in her nation of origin for her emphasis on her Mexican

personality, or Mexican dad.

Utilizing her own tragedies - both physical and mental - consolidated with a practical

painting style, Kahlo delivered pictures that were candidly crude and outwardly aggravating.

Her aesthetic yield was ruled without anyone else's input pictures that regularly demonstrate

the craftsman enduring. Kahlo's enthusiasm for her own blended German-Mexican family

line in conjunction with the impact of her better half's solid patriotism in his own particular

craftsmanship implied that a number of Kahlo's works managed consolidated issues of

national character, her significant other's approaching nearness as a craftsman in his own

privilege, and/or her part as La Mexicana, the conventional Mexican lady and spouse. In spite

of the fact that not an official individual from Surrealism, Kahlo's odd symbolism alongside

her direct style was reminiscent of Surrealists, for example, Salvador Dalí with the distinction

being that Kahlo's topic was profoundly individual as opposed to funny or scholarly. She was

not inspired by programmed composing, bio morphism, dreams or the inner mind, all of

which gave a center to Surrealism.

This double-faced self-representation is

one of Kahlo's most perceived structures, and

is typical of the craftsman's agony amid her

separation from Rivera and the consequent

transitioning of her built character. On the

privilege, the craftsman is appeared in

cutting edge European clothing, wearing the

ensemble she wore before her marriage to Rivera. All through their marriage, given Rivera's

solid patriotism, Kahlo turned out to be progressively intrigued by indigenes and started to

investigate conventional Mexican ensemble, which she wears in the picture on the left. It is

the Mexican Kahlo that holds a memento with a picture of Rivera. The stormy sky out of

sight, and the craftsman's draining heart - an essential image of Catholicism furthermore

typical of Aztec custom penance - complement Kahlo's own tribulation and physical torment.

Typical components much of the time have different layers of significance in Kahlo's photos;

the intermittent subject of blood speaks to both magical and physical enduring, signaling

additionally to the craftsman's conflicted demeanor toward acknowledged ideas of

womanhood and richness.

Conclusion

Modern day Surrealism is a social and craftsmanship development that began in the

1920s. It envelops all structures, for example, craftsmanship, figure, music, writing, film and

rationality. Surrealism is a sandbox of the human intuitive personality. Craftsmen and

journalists of the development trust Surrealism to be a progressive philosophical development

to begin with, utilizing visual works just as a relic.

After the World War I, specialists and intelligent people were searching for a break

against the brutality of reality. They needed to change the world their own specific manner,

and Freud has given them a solid impact; by taking advantage of the oblivious part of our

cerebrum. In 1924, the Surrealist gathering was shaped; its foremost individuals being Max

Ernst, Joan Miro and Andre Masson.

Specialists were exceptionally intrigued with the intuitive; with dreams, mental trips and

dazes, as depicted in Sigmund Freud's works. The gathering, alongside Andre Breton, made

fine arts, verse and draws under entrancing and programmed composing. Regularly they

deliver strange, dream-like and oblivious works. In the expressions of Salvador Dali,

Surrealism is said to be the typical dialect of the intuitive; really an all-inclusive dialect, it

doesn't rely on education, society or insight.

Some Modern Day Surrealism Art Piece