Exploring the Surreal

Need some help getting to grips with Surrealism? The Doctor will see you now.

Peter Capaldi, a former art student, and the latest actor to play Doctor Who, settles down on Freud’s couch to deliver his wry take on the Surrealist movement.

‘Unlock Art’ is Tate’s new short film series, offering a witty inside track on the world of art.  Doctor Who actor Peter Capaldi joins forces with rock duo The Kills, comedian Frank Skinner, Girls star Jemima Kirke and other celebrity art fans to introduce some of the big ideas that have shaped art history. A new film is released each month, with topics ranging from the history of the nude and the nature of the art market, to Pop art.

Thanks to Tate, Unlock Series

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Olympia

Edouard_Manet_-_Olympia_1863

Olympia. Edouard Manet. 1863.

A Parody of Manet's Olympia with Junyer and Picasso. By Pablo Picasso. 1902.

A Parody of Manet’s Olympia with Junyer and Picasso. By Pablo Picasso. 1902.

The Black and The White. Felix Vallotton. 1919

The Black and The White. Felix Vallotton. 1919

Mel Ramos, Manet's Olympia, 1974. Lithograph.

Mel Ramos, Manet’s Olympia, 1974. Lithograph.

Portrait (Futago). Yasumassa Morimura. 1988

Portrait (Futago). Yasumassa Morimura. 1988

5.1.2

Olympia, YSL Spring 1999 ad campaign for Rive Gauche, shot by Mario Sorrenti.


The Birth of Olympia

With Olympia, Manet reworked the traditional theme of the female nude, using a strong, uncompromising technique. Both the subject matter and its depiction explain the scandal caused by this painting at the 1865 Salon. Even though Manet quoted numerous formal and iconographic references, such as Titian’s Venus of Urbino, Goya’s Maja desnuda, and the theme of the odalisque with her black slave, already handled by Ingres among others, the picture portrays the cold and prosaic reality of a truly contemporary subject. Venus has become a prostitute, challenging the viewer with her calculating look. This profanation of the idealized nude, the very foundation of academic tradition, provoked a violent reaction. Critics attacked the “yellow-bellied odalisque” whose modernity was nevertheless defended by a small group of Manet’s contemporaries with Zola at their head.

Text from Musée d’Orsay

Titian Venus of Urbino

Venus of Urbino. Titian. 1538

maja desnuda Goya

La Maja Desnuda. Francisco Goya. 1797-1800

Odalisque with slave by Ingres 1842

Odalisque with Slave. Ingres. 1842.

Olympia. Edouard Manet. 1863.

Olympia. Edouard Manet. 1863.


Ophelia

“There, on the pendent boughs her coronet weeds
Clambering to hang, an envious sliver broke;
When down her weedy trophies and herself
Fell in the weeping brook. Her clothes spread wide;
And, mermaid-like, awhile they bore her up:
Which time she chanted snatches of old tunes;
As one incapable of her own distress,
Or like a creature native and indued
Unto that element: but long it could not be
Till that her garments, heavy with their drink,
Pull’d the poor wretch from her melodious lay
To muddy death.”

― William Shakespeare, Hamlet

Ophelia. John Everett Millais. 1851.

Ophelia. John Everett Millais. 1851.

Millais‘ emblematic representation of Shakespeare’s Ophelia recreated through the ages:

Virginia Madsen recreate Ophelia in this scene from the film Fire with Fire, 1986.

Virginia Madsen recreates Ophelia in this scene from the film Fire with Fire, 1986.

The Way Home. Tom Hunter. 1999-2001.

The Way Home. Tom Hunter. 1999-2001.

Untitled (Ophelia). Gregory Crewdson. 2001.

Untitled (Ophelia). Gregory Crewdson. 2001.

Alessandra Sanguineti. Ophelia. 2002.

Alessandra Sanguineti. Ophelia. 2002.

Erin Oconnor Posing as Ophelia. Nadav Kander. 2004.

Erin Oconnor Posing as Ophelia. Nadav Kander. 2004.

Almere - Ophelia. Ellen Kooi. 2006.

Almere – Ophelia. Ellen Kooi. 2006.

“Lay her i’ the earth:
And from her fair and unpolluted flesh
May violets spring!”


Passengers

chris-marker-Untitled202 passenger series

chris marker passenger serieschris-marker-Untitled200 passenger series chris-marker-Untitled201 Passenger series

Passengers: A Subway Quartet. Chris Marker. 2008-2010.

In this series of photographs Chris Marker captures the passengers of Paris Metro at their most banal, illuminating the beauty and poetry of our everyday lives. In this sub-series, A Subway Quartet, Marker insets a famous classical painting which mirrors the expression and/or pose of his character.

chrismarker.org


A Sudden Gust of Wind

Travellers Caught in a Sudden breeze at Ejiri. Katsushika Hokusai. ca. 1832. Woodprint.

Travellers Caught in a Sudden breeze at Ejiri. Katsushika Hokusai. ca. 1832. Woodcut.

Study for 'A Sudden Gust of Wind (After Hokusai)'. Jeff Wall. 1993.

Study for ‘A Sudden Gust of Wind (After Hokusai)‘. Jeff Wall. 1993.

A Sudden Gust of Wind (after Hokusai).  Jeff Wall. 1993. Transparency on Light Box.

A Sudden Gust of Wind (after Hokusai). Jeff Wall. 1993. Transparency on Light Box.

A Sudden Gust of Wind (after Hokusai) by Jeff Wall is a large colour photograph displayed in a light box. It depicts a flat, open landscape in which four foreground figures are frozen as they respond to a sudden gust of wind. It is based on a woodcut, Travellers Caught in a Sudden breeze at Ejiri(c.1832) from a famous portfolio, The Thirty-six Views of Fuji, by the Japanese painter and printmaker Katsushika Hokusai (1760-1849). Wall photographed actors in a landscape located outside his home town, Vancouver, at times when similar weather conditions prevailed over a period of five months. He then collaged elements of the photograph digitally in order to achieve the desired composition. The result is a tableau which appears staged in the manner of a classical painting. As in Hokusai’s original, two men clutch their hats to their heads while a third stares up into the sky, where his trilby is being carried away by the wind. On the left, a woman’s body is halted in a state of shock, her head concealed by her scarf which has been blown around her face. A sheaf of papers in her hand has been dispersed by the gust and their trajectory, over the centre of the image, creates a sense of dynamic movement. Two narrow trees, also in the foreground, bend in the force of the wind, releasing dead leaves which mingle with the floating papers. In Hokusai’s image the landscape is a curving path through a reed-filled area next to a lake, leading towards Mount Fuji in the far distance. In Wall’s version, flat brown fields abut onto a canal. Small shacks, a row of telegraph poles and concrete pillars and piping evoke industrial farming. The unromantic nature of the landscape is reinforced by a small structure made of corrugated iron in the foreground. The pathway on which the figures stand is a dirt track extending along the front of the photograph from one side to the other. There is no sense of connection between the characters, whose position in the landscape appears incongruous. Two wear smart city clothes, adding to the sense of displacement.

Text from Tate