Brassaï’s portfolio was executed in the medium of cliché-verre, a hybrid medium that combined aspects of drawing on a light-sensitized plate derived from photography. Unaware of earlier works in the medium by artists from the previous century, such as Corot and Daubigny, he returned to photographic plates he had executed of a female nude, allowing them to become a point of departure for subsequent images drawn from his imagination. He described these works as "released" forms, and considered their creation analogous to the process, pursued in his sculptures, of unearthing the hidden form from the surrounding stone. From these photographs, Brassaï created hybrid musical instruments and other images based on forms suggested by the female nude. As the artist stated in the foreword to the portfolio, "From the photographic image to the engravings (cliché-verres), realism was outweighed by oneirism. The photograph is now and then volatilized. At times some debris has survived: a piece of quivering breast, a foreshortened face, a leg, an arm. Enshrined in graphism this debris gives to our obsessions, to our dreams the flash of the instant, the breath of reality. Without doubt, different strata of our being were engaged in the processes of the photo and that of the engraving."
Label copy from exhibition "Dreamscapes: The Surrealist Impulse," August 22 - October 25, 1998
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Brassaï’s portfolio was executed in the medium of cliché-verre, a hybrid medium that combined aspects of drawing on a light-sensitized plate derived from photography. Unaware of earlier works in the medium by artists from the previous century, such as Corot and Daubigny, he returned to photographic plates he had executed of a female nude, allowing them to become a point of departure for subsequent images drawn from his imagination. He described these works as "released" forms, and considered their creation analogous to the process, pursued in his sculptures, of unearthing the hidden form from the surrounding stone. From these photographs, Brassaï created hybrid musical instruments and other images based on forms suggested by the female nude. As the artist stated in the foreword to the portfolio, "From the photographic image to the engravings (cliché-verres), realism was outweighed by oneirism. The photograph is now and then volatilized. At times some debris has survived: a piece of quivering breast, a foreshortened face, a leg, an arm. Enshrined in graphism this debris gives to our obsessions, to our dreams the flash of the instant, the breath of reality. Without doubt, different strata of our being were engaged in the processes of the photo and that of the engraving."
Label copy from exhibition "Dreamscapes: The Surrealist Impulse," August 22 - October 25, 1998
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Brassaï’s portfolio was executed in the medium of cliché-verre, a hybrid medium that combined aspects of drawing on a light-sensitized plate derived from photography. Unaware of earlier works in the medium by artists from the previous century, such as Corot and Daubigny, he returned to photographic plates he had executed of a female nude, allowing them to become a point of departure for subsequent images drawn from his imagination. He described these works as "released" forms, and considered their creation analogous to the process, pursued in his sculptures, of unearthing the hidden form from the surrounding stone. From these photographs, Brassaï created hybrid musical instruments and other images based on forms suggested by the female nude. As the artist stated in the foreword to the portfolio, "From the photographic image to the engravings (cliché-verres), realism was outweighed by oneirism. The photograph is now and then volatilized. At times some debris has survived: a piece of quivering breast, a foreshortened face, a leg, an arm. Enshrined in graphism this debris gives to our obsessions, to our dreams the flash of the instant, the breath of reality. Without doubt, different strata of our being were engaged in the processes of the photo and that of the engraving."
Label copy from exhibition "Dreamscapes: The Surrealist Impulse," August 22 - October 25, 1998
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Brassaï’s portfolio was executed in the medium of cliché-verre, a hybrid medium that combined aspects of drawing on a light-sensitized plate derived from photography. Unaware of earlier works in the medium by artists from the previous century, such as Corot and Daubigny, he returned to photographic plates he had executed of a female nude, allowing them to become a point of departure for subsequent images drawn from his imagination. He described these works as "released" forms, and considered their creation analogous to the process, pursued in his sculptures, of unearthing the hidden form from the surrounding stone. From these photographs, Brassaï created hybrid musical instruments and other images based on forms suggested by the female nude. As the artist stated in the foreword to the portfolio, "From the photographic image to the engravings (cliché-verres), realism was outweighed by oneirism. The photograph is now and then volatilized. At times some debris has survived: a piece of quivering breast, a foreshortened face, a leg, an arm. Enshrined in graphism this debris gives to our obsessions, to our dreams the flash of the instant, the breath of reality. Without doubt, different strata of our being were engaged in the processes of the photo and that of the engraving."
Label copy from exhibition "Dreamscapes: The Surrealist Impulse," August 22 - October 25, 1998
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
For more than twenty years Dotty Attie has adapted scenes from famous Old Master paintings, calling attention both to her sources and her reinterpretations. This lithograph culls the figures of Venus and Cupid from Bronzino's mid-16th century painting "The Exposure of Luxury." To this portrayal of incest she juxtaposes a series of details. These present fragments of their bodies, which fetishizes those anatomical parts. These details are interspersed with texts that comment ironically on this perverted mother-child relationship.
Inscription
On paper adhered to verso of mount, in typscript?, UL:7.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Brassaï gave the name "transmutations" to a type of hybrid work he created from a photographic glass negative on which he incised other images. The resulting negative, when placed on paper, and exposed to a strong light source produced a variant of the mid-19th century "cliché-verre," an artistic medium midway between a photograph and a print made popular by artists like Corot and Daubigny. Brassaï created surprising new variants on the human form in the manner of a Cubist collage or Surrealist painting.Brassaï’s portfolio was executed in the medium of cliché-verre, a hybrid medium that combined aspects of drawing on a light-sensitized plate derived from photography. Unaware of earlier works in the medium by artists from the previous century, such as Corot and Daubigny, he returned to photographic plates he had executed of a female nude, allowing them to become a point of departure for subsequent images drawn from his imagination. He described these works as "released" forms, and considered their creation analogous to the process, pursued in his sculptures, of unearthing the hidden form from the surrounding stone. From these photographs, Brassaï created hybrid musical instruments and other images based on forms suggested by the female nude. As the artist stated in the foreword to the portfolio, "From the photographic image to the engravings (cliché-verres), realism was outweighed by oneirism. The photograph is now and then volatilized. At times some debris has survived: a piece of quivering breast, a foreshortened face, a leg, an arm. Enshrined in graphism this debris gives to our obsessions, to our dreams the flash of the instant, the breath of reality. Without doubt, different strata of our being were engaged in the processes of the photo and that of the engraving."
Label copy from exhibition "Dreamscapes: The Surrealist Impulse," August 22 - October 25, 1998
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
This print was pulled at the Atelier Lacourière, where Masson experimented with color. The differences in aquatint grain and variations in biting by the acid produce numerous textures and tones, which the artist exploited to suggest indeterminate dimensions. Whether or not there are here any vestiges of automatic procedures, the effect is one of freedom and energy.
Label copy from exhibition "Dreamscapes: The Surrealist Impulse," August 22 - October 25, 1998
Inscription
Signed, pencil, l.r. margin: André Masson Edition, in pencil, l.l margin: 26/100 Watermark: Arches Blind stamp, l.l. margin: ATELIER/LACOURIERE/PARIS
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Brassaï’s portfolio was executed in the medium of cliché-verre, a hybrid medium that combined aspects of drawing on a light-sensitized plate derived from photography. Unaware of earlier works in the medium by artists from the previous century, such as Corot and Daubigny, he returned to photographic plates he had executed of a female nude, allowing them to become a point of departure for subsequent images drawn from his imagination. He described these works as "released" forms, and considered their creation analogous to the process, pursued in his sculptures, of unearthing the hidden form from the surrounding stone. From these photographs, Brassaï created hybrid musical instruments and other images based on forms suggested by the female nude. As the artist stated in the foreword to the portfolio, "From the photographic image to the engravings (cliché-verres), realism was outweighed by oneirism. The photograph is now and then volatilized. At times some debris has survived: a piece of quivering breast, a foreshortened face, a leg, an arm. Enshrined in graphism this debris gives to our obsessions, to our dreams the flash of the instant, the breath of reality. Without doubt, different strata of our being were engaged in the processes of the photo and that of the engraving."
Label copy from exhibition "Dreamscapes: The Surrealist Impulse," August 22 - October 25, 1998
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
A highly abstracted photographic composition in which the viewer catches glimpses of a female nude seen in the stomach at center and the keyhole glimpse of a breast to the viewer's right; the overall composition is dark with patterned, textured overlapping fabrics
Subject Matter
A highly abstracted figure of a reclining nude female holding a mandolin. The figure and the instrument share the same organic form and suggest sensuality and harmony.
Label Copy
Brassaï’s portfolio was executed in the medium of cliché-verre, a hybrid medium that combined aspects of drawing on a light-sensitized plate derived from photography. Unaware of earlier works in the medium by artists from the previous century, such as Corot and Daubigny, he returned to photographic plates he had executed of a female nude, allowing them to become a point of departure for subsequent images drawn from his imagination. He described these works as "released" forms, and considered their creation analogous to the process, pursued in his sculptures, of unearthing the hidden form from the surrounding stone. From these photographs, Brassaï created hybrid musical instruments and other images based on forms suggested by the female nude. As the artist stated in the foreword to the portfolio, "From the photographic image to the engravings (cliché-verres), realism was outweighed by oneirism. The photograph is now and then volatilized. At times some debris has survived: a piece of quivering breast, a foreshortened face, a leg, an arm. Enshrined in graphism this debris gives to our obsessions, to our dreams the flash of the instant, the breath of reality. Without doubt, different strata of our being were engaged in the processes of the photo and that of the engraving."
Label copy from exhibition "Dreamscapes: The Surrealist Impulse," August 22 - October 25, 1998
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
