The Concise Oxford Dictionary of Art and Artists (29 page)
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Authors: Ian Chilvers
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Ault , George
.
.
Auto-destructive art
.
.
Term applied to works of art deliberately intended to self-destruct. Works of art not made to endure are not unique to the 20th cent. (witness the butter sculptures of Tibet and the sand paintings of some North American Indian tribes), but the originator of the modern concept of auto-destructive art is the German-born Gustav Metzger (1926– ), who is best known for painting with acid on nylon cloth in front of an audience. The most famous of all auto-destructive works was Jean
Tinguely's
Homage to New York
, which blew itself up at the Museum of Modern Art, New York, in 1960, watched by a distinguished audience.
Tinguely's
Homage to New York
, which blew itself up at the Museum of Modern Art, New York, in 1960, watched by a distinguished audience.
automatism
.
.
Method of producing paintings or drawings in which the artist suppresses conscious control over the movements of the hand, allowing the subconscious mind to take over. The idea is anticipated to some extent in Alexander
Cozens's
blot drawings
, but automatism in its fully developed form is associated particularly with the
Surrealists
and
Abstract Expressionists
. With
Action painters
such as Jackson
Pollock
, the automatic process in principle permeated the whole process of composition, but with the Surrealists, once an interesting image or form or texture had been achieved by automatic or chance means it was often exploited with fully conscious purpose.
Cozens's
blot drawings
, but automatism in its fully developed form is associated particularly with the
Surrealists
and
Abstract Expressionists
. With
Action painters
such as Jackson
Pollock
, the automatic process in principle permeated the whole process of composition, but with the Surrealists, once an interesting image or form or texture had been achieved by automatic or chance means it was often exploited with fully conscious purpose.
Automatistes , Les
.
.
A radical group of seven Montreal abstract painters active
c.
1946–51. The oldest of them, mainly responsible for the formation of the group, was Paul-Émile
Borduas
, and the other outstanding member was Jean-Paul
Riopelle
. Members of the group were influenced by the
Surrealists
, from whom they took over their techniques of
automatism
. Their first exhibition, in 1946, was the first exhibition by a group of abstract painters to be held in Canada. In 1948 they caused outrage by publishing
Refus Global
(‘Total Refusal’), an anarchistic manifesto attacking various aspects of Canadian life and culture, including the church.
c.
1946–51. The oldest of them, mainly responsible for the formation of the group, was Paul-Émile
Borduas
, and the other outstanding member was Jean-Paul
Riopelle
. Members of the group were influenced by the
Surrealists
, from whom they took over their techniques of
automatism
. Their first exhibition, in 1946, was the first exhibition by a group of abstract painters to be held in Canada. In 1948 they caused outrage by publishing
Refus Global
(‘Total Refusal’), an anarchistic manifesto attacking various aspects of Canadian life and culture, including the church.
Avanzo
.
.
Avercamp , Hendrick
(1585–1634).
Dutch painter, active in Kampen, the most famous exponent of the winter landscape. He was deaf and dumb and known as ‘de Stomme van Kampen’ (the mute of Kampen). His paintings are colourful and lively, with carefully observed skaters, tobogganers, golfers, and pedestrians. Avercamp's work enjoyed great popularity and he sold his drawings, many of which are tinted with watercolour, as finished pictures to be pasted into the albums of collectors (an outstanding collection is at Windsor Castle). His nephew and pupil
Barent Avercamp
(1612–79) carried on his style in an accomplished manner.
Dutch painter, active in Kampen, the most famous exponent of the winter landscape. He was deaf and dumb and known as ‘de Stomme van Kampen’ (the mute of Kampen). His paintings are colourful and lively, with carefully observed skaters, tobogganers, golfers, and pedestrians. Avercamp's work enjoyed great popularity and he sold his drawings, many of which are tinted with watercolour, as finished pictures to be pasted into the albums of collectors (an outstanding collection is at Windsor Castle). His nephew and pupil
Barent Avercamp
(1612–79) carried on his style in an accomplished manner.
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