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Informations provenant du Partage des connaissances anglais.Modifiez pour passer à votre langue.
To Katie and Melissa Margaret and Benjamin
Premiers mots
Informations provenant du Partage des connaissances anglais.Modifiez pour passer à votre langue.
Art historians assert that Manierre Dawson was America's originator of abstract art; in fact, recent scholarship has suggested he was one of the first artists in the world to paint in completely non-representational form.
Citations
Informations provenant du Partage des connaissances anglais.Modifiez pour passer à votre langue.
Whistler may have influenced Dawson's artistic philosophy as well. In 1885, Whistler published his first book, Ten O'Clock Lecture, in which he asserted his belief that art needs no justification; it existed for and of itself.
The winter/spring of 1910 was a prolific and pivotal year for Manierre Dawson and for art history. It was the year that twenty-two-year-old Dawson emerged as the pioneer of abstract art. When the year began, Manierre retained a fundamental connection to the natural world (see House at Bridge, p. 206), but soon progressed to paintings completely abstract. Manierre combined his training as an engineer and his passion as an artist to execute non-representative works prior to Arthur Dove in America and Wassily Kandinsky in Munich, who are generally credited in the history books as the first abstract painters. These seven early abstractions completed in the first few months of 1910, all contained principles from Manierre's engineering studies. Arches, circles, grids, and lines, some in muted tones and others in vibrant reds, yellows, oranges, greens, and blues, reflected the invisible forces that underlay the perceptible surface.
However, naming a piece of art was always problematic for Manierre. He wanted the titles to reflect the emotions each piece evoked, but instead they often clouded the viewer's vision. Once titled, the typical viewer tried to see the representation alluded to in the abstraction's title rather than to feel the emotions aroused by the artistic piece.
He was once again frustrated by the scarcity of time to paint
Beginning with a portrait from a master artist as the "bone," Manierre applied a semi-cubist/geometrical style to create his own personal vision to make it "right." Similar to his abstractions of 1910, Manierre's reinterpretation of the great European masterpieces continued to reject conventional subject matter. His study of Cezanne, his focus of the underlying structure and lines of work, and his belief that emotions should take precedent over subject attracted him to complex compositions for his reinventions. Although he borrowed motifs from the old masters, he did not copy or imitate their style. Instead he used a process "of simplification; the elimination of extraneous details and the reduction of the original composition to its most essential components." Manierre used beautiful blends of pinks, greens, blues, oranges, and flesh tones to create what has been described as "artfully contrived" "visual puzzles."
Time and again I have had the thought that all artists in all times past and present are trying to do the same thing, to make a picture and make it right. Sculptures are pictures. All buildings are pictures, that is, visual presentation of feelings about form. While architecture concerns itself with utility and the mechanics of construction, to be right it must also make a picture. I use the word, "picture," to mean the rightness of view of a thought... (M.D., April 2, 1911)
All nature is bearing down on us day after day. We cannot avoid it. Every form that we could use is there. But away from nature and in the seclusion of the mind we can invent arrangements to be found nowhere else. One answer to the question, "What is it," is to point to the picture and say, "It is that." "It exists nowhere else." (M.D., April 2, 1911)
An artist could work autonomously, but an architectural firm generally catered to the whims of its clients' tastes. These diametric views frustrated Manierre as he tried to find a common denominator between his modern viewpoint and conventional career.
"What I have frequently harped on is the universality and continuity of art. To me the art of the Greeks, the Persians, the Aztecs, the Africans, [and] the Chinese had one and the same intent. And the art of all the great painters and sculptors of other times is not art of the past. It is as much alive today as it ever was. Art is always of the present and it continues, in the present. Modes of expression change, but form, which is good, is always good."
Manierre Dawson Ludington Daily News, October 11, 1952
Derniers mots
Informations provenant du Partage des connaissances anglais.Modifiez pour passer à votre langue.
Manierre's oeuvre is an inspiration to American modernism.