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ARP, JEAN.   Term Paper ID:18824 Click to get this paper

Essay Subject: Life & career of 20th Cent. French artist/sculptor associated with Dadaism & Surrealism.... More...

6 Pages / 1350 Words 11 sources, 21 Citations, MLA Format $24.00 Return to List of Papers

Paper Abstract: Life & career of 20th Cent. French artist/sculptor associated with Dadaism & Surrealism. Paper Introduction: Jean (Hans) Arp had a long and productive career in art during which he created numerous wood reliefs, collages and sculptures. Arp was associated with such movements as Dadaism, Surrealism, and Abstract-Creationism, and he experimented with elements of chance and automatism in his works. Arp's creations shocked the world when they were exhibited for the first time in 1916. However, it can be seen that Arp was presenting an important message regarding the relationship between art and life. In particular, by using chance elements, Arp tried to remove himself from his own art and to thereby allow his works to be closer to nature. This paper will explore this theme in Arp's work, and will relate it to the ideals of the various art movements that Arp was associated with. Jean Arp was born in 1887 in a part of France which was at Text of the Paper: The entire text of the paper is shown below. However, the text is somewhat scrambled. We want to give you as much information as we possibly can about our papers and essays, but we cannot give them away for free. In the text below you will find that while disordered, many of the phrases are essentially intact. From this text you will be able to get a solid sense of the writing style, the concepts addressed, and the sources used in the research paper. In Arp's words: "I do not think about it. The Spirit of Surrealism. London: Phaidon, 1973.Bois, Yve-Alain. New York: Oxford UP, 1978.Sylvester, David, ed. In bothcases, Arp felt that the highest ideal was attained by subordinating theconscious mind to the spontaneity and uncertainty of nature. Arp's creations shocked the world when they were exhibited forthe first time in 1916. For Arp, theidea of merging art with nature meant creating works in a natural way,without allowing the conscious mind to intervene in the process. Even the more abstract shapes used by Arp after 193 were based onnatural models, such as animals, plants, or the human body. The Bride and the Bachelors: Five Masters of the Avant- Garde. The Book of Art, Volume 8: Modern Art from Fauvism to Abstract Expressionism. Arp was critical of the ideathat man is the center of nature. In this regard, it may be noted that the concept ofautomatism only partially removes the artist from the work of art, becauseit is based on the use of the artist's subconscious mind. He continued workingin this medium until his death in 1966. An example of Arp's work using this technique is Squares ArrangedAccording to the Laws of Chance, a collage of randomly ordered paperrectangles from 1916 (Sylvester 17). Inthis regard, Eduard Trier has claimed that "each of his sculptures is astage of unfolding--a state of genesis become vivid, a genesis that knowsno definite stage, that remains becoming" (12). In contrast to the emphasis onpurely geometric shapes in most abstract works, Arp tended to use formswhich were "organic" ("Arp" 15). Dada is for nature against art. Although theartist may be in a trance, there is still an element of human controlinvolved in the actual creation process. Wewant to produce directly and without mediation. The formsarrive pleasant, or strange, hostile, inexplicable, mute, or drowsy. By using chance elements, Arp was making an effort to remove himselffrom his work and to thereby let his art be aligned with the spontaneousprocesses of nature. New York: Rizzoli, 1988.Hartt, Frederick. Arpalso stated that Dada was not mere nonsense, as many of its opponentsclaimed. Many people have considered Arp's later works ofsculpture to be purely abstract. His specific aim was to incorporateelements of nature in his work, and this gave him the idea for using theaspects of chance and randomness which are characteristic of nature. Rather, Arp compared Dada to nature by noting: "Dada is for thesense-less, which does not mean nonsense. 199 ): 151.Richter, Hans. Even after 193 , when he had dropped Surrealism and Dadaismand worked exclusively on his sculptures, Arp continued to incorporatechance elements in his work. Dada is without sense, likenature. In this regard, Arp made an important statementregarding the relationship between art in life which in turn reflects hisposition on the role which should be played by man in nature. One day in 1916, Arpwas having trouble finishing a drawing that he was working on. Dada is direct like nature. In Arp's words: "We do not wishto copy nature. From thisperspective, any intentional reproduction of nature would be a form of"abstraction," which was to be avoided. Art: A History of Painting, Sculpture, Architecture. Cage's compositions show a decided effort toward becoming completelyremoved from the work of art. Dada: Art and Anti-Art. Finally, indesperation, he tore up the picture and threw it on the floor. Theyare born from themselves. Dadais for infinite sense and for defined means" (Fauchereau 15). In this way, it can be arguedthat Arp's approach to chance "is not very different from the mystics'divine grace" (Bois 43). Many Surrealists created chanceworks under the guise of automatism, in which the artist goes into a tranceand lets the work of art come about spontaneously. Chancemovements of his hand and of the fluttering scraps of paper had achievedwhat all his efforts had failed to achieve, namely expression" (Richter51). Arp himself acknowledged that his technique onlypartially removed him from his work. In addition to maintaining an interest in chance elements in hislater sculptures, Arp also maintained an interest in the idea of mergingart with nature. "Report from Paris, Jean Arp: Chance and Necessity." Art in America 71 (Sep.1983): 41-43.Fauchereau, Serge. New York: Grolier, 1965.Tomkins, Calvin. After 193 , Arp placed all his efforts into thecreation of three-dimensional sculpture ("Arp" 15). He claimed that he preferredbeing guided by the work rather than trying to guide the work, as mostartists would. How meaningful! "Not So Still Lifes." Art and Antiques 7 (Oct. It seems to me as if all I do is move my hands"(Fauchereau 18). In fact, Arp onceclaimed that "an absolute degree of impersonality is impossible to achieve"(Bois 43). However, there are actually many aspectsof nature which can be detected in them. The couple remained togetheruntil Sophie's death in 1943. How telling! This paperwill explore this theme in Arp's work, and will relate it to the ideals ofthe various art movements that Arp was associated with. We do not want to reproduce, we want to produce. This idea was also contained in the Dadamovement, in which an effort was made to relate art to life by de-emphasizing the importance of both the artist and the work of art. The "music" of the composition is made up of whatever soundshappen to be around at the time of its "performance." It is apparent that the radical chance operations of Cage would nothave been possible if Arp had not paved the way with his collages andsculptures. We wantto produce as a plant produces a fruit and does not itself reproduce. In 1915, Arp moved to Zurich, where he met a youngartist named Sophie Taeuber. Arp's later sculpturesalso exhibit an element of chance because of their ambiguity of shape. This idea was alsoexpressed in a recent issue of Art and Antiques, in which it was notedthat, in Arp's later sculptures, "the surface doesn't imitate the varioustextures of nature: the homogeneous smoothness of his marble or bronze islike a universal skin that can house and express many voices" (Perl 151). However, Arp did not go nearly as far in his experiments as laterartists have. ed. Arp. For example, he explained that hisearly chance collages were not totally random, but were rather created "by'arranging' the pieces without will" (Henning 15). In thewords of Hans Richter, a fellow Dadaist: "Sometime later he happened tonotice these same scraps of paper as they lay on the floor, and was struckby the pattern they formed. Arp provided a living example of this ideal in his numerous collaborationswith Sophie Taeuber. On the contrary, all things and man shouldbe like nature, and not have any standard scale" (Alexandrian 86-87). It was during his period as a Dadaist in Zurich that Arp first cameup with the idea of using chance elements in his art. Abrams, 1989.Henning, Edward B. For example, in his early wood reliefs,Arp often used pieces of wood which were cut into fluid shapes but which atthe same time resembled "amoebas or other primitive forms of life" (Hartt916). New York: Viking Penguin, 1976.Trier, Eduard. Arp wasassociated with such movements as Dadaism, Surrealism, and Abstract-Creationism, and he experimented with elements of chance and automatism inhis works. Arp only went sofar in attaining the goal of complete impersonality in his art, because heretained such elements as organicism and the use of the subconscious mind.Nevertheless, Arp made an important contribution toward the development ofthe more extreme ideas of chance which appeared in the later part of thetwentieth century. London: Thames and Hudson, 1968.----------------------- 8 Surrealist Art. Thus, although organic forms can be seen in Arp's late works ofsculpture, he arrived at those forms in a free and spontaneous way whichwas related to the experiments in chance and automatism conducted earlierin his career. In his view: "Man should no longer bethe standard against which everything is measured, nor should he relateeverything to his own stature. The two collaborated on many works, and in1921, they were married (Alexandrian 234). However, other artists since the 195 s have argued this point.For example, the composer John Cage took Arp's idea of chance a stepfurther by showing that "he was as anxious to rule out the subconscious,with all its desires and tastes, as he was the conscious mind" (Tomkins111). With this composition, Cage created a work of art with no artistat all. Jean Arp: Sculpture 1957-1966. Arp further emphasized this point with his claim thattrue art should be "anonymous." He felt that artists should not onlystrive to remove themselves from their work, but that they "should help oneanother instead of competing; and they should even do work in common" (11). Arpbelieved that the best and most natural art resulted whenever the artistmade an effort to remove himself from the work itself. In 1916, Arp became a founding member of theZurich Dada movement, and in the early 192 s, he took part in theSurrealist movement. An extreme example of this can be seen inthe work 4'33'', which is nothing more than 4 minutes and 33 seconds ofsilence. ForArp, the best way to remove the artist from the work was through an"identification with Nature" (Richter 48). Jean (Hans) Arp had a long and productive career in art during whichhe created numerous wood reliefs, collages and sculptures. However, it can be seen that Arp was presenting animportant message regarding the relationship between art and life. Animportant aspect of Surrealism was the artist's effort to work directlythrough the subconscious part of the mind. Arp created numerous works throughout his life which reflected hisinterest in merging art with life. New York: Harry N. 3rd. Works CitedAlexandrian, Sarane. Arp's use of chance also related to the Surrealist movement. In this way, theSurrealist artists hoped to show "the significant role that the unconsciouscould play in the creative process" (Henning 15). Jean Arp was born in 1887 in a part of France which was at the timecontrolled by Germany. Inparticular, by using chance elements, Arp tried to remove himself from hisown art and to thereby allow his works to be closer to nature. Arp's experiments during his Dada and Surrealist periods paved theway toward chance operations in the arts during the later twentiethcentury. Nevertheless,Arp preferred the word "concrete" rather than "abstract" in describing hislater sculptures because he wanted to emphasize the fact that he was nottrying to create symbolic abstractions of nature in his work. His 193 sculpture Head with AnnoyingObjects, for example, is made up of various objects which are "separableand can be re-arranged as desired" (Sylvester 17). As noted by Yve-Alain Bois, Arp's first experimentswith chance in 1916 represented "the moment at which he soughtimpersonality in his art" (41). Arp described his ownchance techniques as a form of automatism. Cleveland: Cleveland Museum of Art, 1979.Perl, Jed. As there is not the leasttrace of abstraction in this art, we will call it concrete art" (Fauchereau2 ). London: Thames and Hudson, 1985."Arp, Jean." Phaidon Dictionary of Twentieth-Century Art. If this paper is not what you are looking for, you can search again: Search for: or Click here to request an essay written just for you.