1972 Munich Olympics Art Industry Exhibit
"World Cultures and Modern Art”
ONLINE
The English Catalogue is a shortened version of the German Exhibition Catalogue but contains several additional contributions
1972 Munich Olympics Art Industry Exhibit
The English Catalogue is a shortened version of the German Exhibition Catalogue but contains several additional contributions
The encounter of 19th and 20th century European art and music with Asia, Africa, Oceania, Afro- and Indo- America
Exhibition on the occasion of the Games of the XXth Olympiad Munich 1972
June 16 to September 30
Haus der Kunst
from 9 a.m. to 6 p.m. Tuesday and Thursday from 9 a.m. to 10 p.m.
Bruckmann Publishers Munich
Note:
The webpage is an initiative to give access to a material, worth to be mentioned for its contents and for its historical value (says artgraphic-db); it was the catalogue of the above mentioned exhibition, containing contributions about art under the topic of cultures encountering (referring to the Olympics symbolic of people encountering).
To the knowledge of artgraphic-db, the catalogue was not published on a long term period and it has been a good opportunity to get a copy that is a pleasure to share in a digital form.
It has been said the following about the publishers (in that time):
Studio Bruckmann was founded one year ago to serve as a communication center and gallery for the publishing and printing company Bruckmann Munchen; within a few months, it has become a well-known institution in Munich. .../... Renowed artists and authors are presenting their new works in Studio Bruckmann: Oskar Kokoschka, Max Bill, HAP Grieshaber, Friedensreich Hundertwasser, Victor Vasarely
Article: Art as a Universal Phenomenon
by Oto Bihalji-Merin
citation
Environmental awareness creates a bridge between the old accidental and the new programmed events of human existence
Marshall McLuhan (https://www.marshallmcluhan.com/)
[merger of far and near, of space and time]
[beginnings of a world climate of creative influence embracing all peoples]
Impressionism,
Post-Impressionism,
Art Nouveau,
Fauvism,
Expressionism,
Cubism,
Dadaism,
Surrealism,
Action Painting,
Art Informel
- have taken over elements or methods from:
the art of Asia
or from art which until then had been designated primitive.
Key words: muscle and mind; Pierre de Coubertin;
Whereas the term "world culture" evokes mild associations with:-
world economy,
world politics,
world planning or, its opposite,
world destruction,
Civilisation and the Janus Face of Europe
citation
Our task is to realize the history of all known present and vanished cultures as a unity.
Arnold J. Toynbee (quoted from memory)
Key words: Phoenician alphabet; code of King Hammurabi; Bel, the Lord of heaven and earth; Will Durant
In the first volume of his "History of Civilization" which he entitled "Our Oriental Heritage," Will Durant attributed most of the achievements of civilization to the Orient:
agriculture and commerce,
the horse and chariot,
the minting of coins and the letter of credit,
the trades and handicrafts,
laws and government,
mathematics and medicine,
drainage systems,
astronomy and geometry,
the calendar and the clock,
paper, ink, books, libraries, schools and much more besides.
Key words: Aristotle, Leonardo, Johann Sebastian Bach, Marcel Proust, Pablo Picasso and Albert Einstein; Siemens and Krupp
Signs of the East
Key words: mythical creatures assimilation; Kufic script; Turco- Islamic; Capella Ruccelai; Günter Bandmann; world of the fantastic; Temptation of St. Antony;
Key words: bizet, Saint-Saëns, Verdi; Delacroix and Ingres, Pierre Loti, Rudyard Kipling, August Macke; Conceptual Art;
citation
From the object, which no longer appears oppressive to me, a tension is emitted which grows in luminosity and continues like an echo in all directions to the limits of the canvas. The lofty teaching of Turner and the spiritual message of Zen painting have come home to me.
André Masson, 1953
English scholars in a fifty-volumed work entitled "Sacred Books of the East" had drawn the attention of Europe to the mythological forms and beliefs of India.
[In China and Japan writing has always been of outstanding importance.]
Dialectic Resurrection of Totem, Fetish and Idol
[The primitive artists belong without exception to pre-industrial economic systems]
Encounter of Ancient Amerindian Cultures with Technological Civilization
citation
Until recently the fine arts employed the same means as those used by ancient man in his cave paintings - the manual means of drawing, incising, modelling, applying paint with a brush or spray technique. The computer compels art, as it were, to make the leap from the Stone Age to the Computer Age...
Herbert W. Franke
[a feeling of inferiority based on …/… the great European art styles.]
[the virtue of an unprepossessed and independent art]
[people and artist to be bridged via the simplicity of modern primitivism]
Key words: Henri Rousseau's exotic motifs; Max Ernst's dream forests; Mayan calendar; Indian totem-pole; Aboriginal Indian symbols; Torres-Garcia and Gottlieb; Willi Baumeister and André Masson; Atlan, Victor Brauner and Paul Klee; Diego Rivera; biblia pauperum; José Clemente Orozco; David Alfaro Siqueiros;
Key words: Julio Le Parc, Horacio Garcia Rossi, Francisco Sobrino, Marta Boto, Vardanega, Hugo Demarco; Frank Lloyd Wright; Henry Moore; Chac-Mool figures; Fritz Wotruba;
Key words: Action Painting to Pop Art; Conceptural Art -from Environment to Cybernetic Art-
Musical Universalism
[Herder's "Stimmen der Völker in Liedern"]
[Debussy's encounter]
[The Rite of Spring, The Firebird and Petrushka]
[encounter of the primitive African rhythm]
[mantra and serial 12-note system]
The Unity of the World in the Vision of Art
citation
We know that the world is changing and that man is changing the world and the world man. Jean Paul Sartre
[emancipationists movements]
[Encounters of the cultures]
[art acts as a mediator]
cat4-girodet-trioson-belley
cat5-gericault-negro
cat7-muller-sphinx-visage
cat8-makart-japanese-woman
cat9-bodmer-pehriska-ruhpa
cat10-gauguin-tahitian
cat11-nolde-women-of-new-guinea
cat12-kokoschka-marabout-detail
CATALOGUE
Orientalizing Architecture
De-Morgan-Pottery and Successors
Alhambra Vases
Metalwork
Syrian enamelled Glass and its Reception from about 1865 to Gallé Mosque Lamps and their Imitation
Joseph Brocard
Anonymous Glass
Glass from Russia
Emile Gallé
Oriental Textiles and European Fashion - Europe and the Oriental Carpet
European Fashion
Fashion Engravings
The Indian Shawl
CATALOGUE
European Handicrafts and Japanese Motifs
The Kimono
Movement as an Autonomous Element in Hokusai and in the Pastels and Drawings of Edgar Degas
Some Observations on the "Bridge" as a Motif in Far-Eastern and European Painting during the Nineteenth Century
Rocks in the Sea, a Theme of Japanese and European Painters in the Nineteenth and Twentieth Centuries
The Lily and Iris as European Picture Motifs in the Ninetenth and Early Twentieth Centuries
Methods of Composition The Diagonal as extreme Optical Line in the Japanese Wood- engraving and in European Painting and Graphic Art at the Close of the Nineteenth Century
The Detail and Asymmetrical Composition in Far-Eastern and Western Painting in the Nineteenth and Twentieth Centuries
Folding Screens (Nyôbu) and their European Successors in the Nineteenth and Twentieth Centuries
The "en hauteur" Format in the Nineteenth and Early Twentieth Centuries under the Influence of Japanese Prototypes
The Silhouette Style in Europe and the Japanese Woodcut
Influences of Japanese Sumi Ink Painting on European Modern Art
European Symbolism around 1900 and the Influence of Hokusai's Spectres
CATALOGUE
和尚
Urasenke XV. Sohitsu Sen, Kyoto; Japanese Tea House "Kanshoan" and Japanese Garden on an island in the Eisbach, English Gardens, opposite Haus der Kunst, Munich; 1971/72.
The Teahouse and Garden was built for the Olympic Games specially for the exhibition "World Cultures and Modern Art" by the head of a family that has been famous for centuries for its cultivation of the Tea Ceremony. The whole was pre-fabricated in the workshops of the Urasenke family in the spring of this year and then erected by five Japanese carpenters within a period of two months. Not a single nail was used on the entire structure. The island on which the Tea House stands and the river bank opposite have been transformed into a Japanese garden. In the years to come the Tea Ceremony will be carried out under the supervision of a member of the Urasenke family.
Historically the Tea Ceremony can be traced back to an ancient custom of the Zen priests who drank tea to keep awake for their nocturnal exercises. The ritual was described in the thirteenth-century booklet on the "Healing Influence of Tea" by the monk Eisan. After the ceremony had been transformed almost into a purely social event by the profane fourteenth century, Sen-no Rikyu restored the rite in the sixteenth century to its ancient simplicity. The Tea Ceremony is still performed today according to the rite of Sen-no Rikyu; plates
Translation: P.J. D.
CATALOGUE
The first Encounter with Negro Music in the Nineteenth Century
Cake-walk
Ragtime
Blues
Jazz Compositions from 1946-1954
Jazz and American Composers
Opera
Negro Music in Latin America
Latin American Dances
Latin American Composers
Music Program
The Instruments
African and Afro-American Instruments and their Use in Symphonic Music
Rattles
Scrapers
Percussion Bells
Percussion sticks
Drums
Sansa
Banjo
Percussion Idiophones: Xylophone, Marimbaphone, Vibraphone
Musical Instruments of the American Indians
Jazz and Symphonic Music
Film Section
CATALOGUE
Music Program
Traditional and New Music from the Near East
Afro-American Music and Modern Techniques of Composition
Sound Enrichment by extra-European Instruments
Rhythm. Improvisation. Music as gradual Process
Stimulus provided by the No drama and the Gagaku
Nó drama and European Music
Gagaku
Integration of extra-European Music
Concrete and Electronic Music of the Groupe de Recherches O.R.T.F. Paris
Eastern Thought influences of Composition
Chance, Music and Meditation
Shakuhachi Music
Asiatic Texts in Western Music
Compositions commissioned for the exhibiton
Analytical Recordings (Idea: Simha Arom, Paris)
Sovu Dance (Ghana)
Sogba or Sogo Dance (Ghana)
Icila Dance (North Rhodesia)
Films
Musical Instruments
Asia
Africa
Instruments at the public's disposal
Program of musical and art events during the exhibition
Film Sections
Orient
Far East
Africa, Oceania, Indo-America
Acknowledgements
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Jane Avril Toulouse-Lautrec
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cat1969-hopi-katchina-mask.png
cat1983-calder-three-personalities.png
cat1987-aztec-squatting-god.png
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cat2003-aztec-rattlesnake.png
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cat2015-chichen-itza-red-house.png
cat2016-wright-barnsdall-house.png
cat2017-palenque-sun-temple.png
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Article: Portraits of Extra-Europeans in the Art of the Nineteenth and Twentieth Centuries
by Siegfried Wichmann
Key words: Hall of the Nations; "Chinese Emperor";
Key words: portraits of the inhabitants of other continents; travels and guide books; Robinson Crusoe; surveys; traffic routes; the imperial way of thinking
Key words: Delacroix in Algeria; the slave or the Red Indian;
Key words: Theodor Géricault and Eugène Delacroix; Charles Bodmer; 'Dog dance’
Key words: Makart; Carl Leopold Müller; caravans; Paul Gauguin; Emil Nolde; ancestral skulls of the Hiva Oa; Schmidt-Rottluff, Heckel and Kirchner; Brücke
Key words: Kokoschka, Leopold Carl Müller
Articles:
Art and Sacral Drugs in the Orient
Egyptian Vogue
The Orient and Nineteenth- and Twentieth-Century Architecture
Orientalizing Architecture
European Ceramics and their Islamic Prototypes
William de Morgan's Islamic and Oriental Sources
Paul Dresler
Islamic Glass
Ludwig Lobmeyr
Art Nouveau Lustre Glass and the Orient
The Rose-Water Sprinkler - its Role between East and West around the Year 1900
Peacock Motifs
by Rudolf Gelpke, Wolfgang Pehnt, Horst Ludwig, Roger Pinkham, Wilhelm Hein, and al
outlines are currently in-work
[]
Article:
Oriental Colouring in the Music of the Nineteenth Century
by Ramón Pelinski
outlines are currently in progress
Articles:
Chronological Survey of the Japanese Influence
Manual Techniques of Japanese and European Wood-engraving and the Artists of the Utagawa School
Vincent van Gogh's Search for the Serene Life in the Japanese Wood-Engraving
The Far-Eastern "Dash- Dot-Line" in the Work of Vincent van Gogh
The Far-Eastern Pattern- Background Principle as Source of initial Attempts at Abstraction in Western Painting at the Close of the Nineteenth and Beginning of the Twentieth Centuries
The Japanese Motif
Some Observations on the "Bridge" as a Motif in Far-Eastern and European Painting during the Nineteenth Century
Rocks in the Sea, a Theme of Japanese and European Painters in the Nineteenth and Twentieth Centuries
The Lily and Iris as European Picture Motifs in the Nineteenth and Early Twentieth Centuries
Methods of Composition
The "Wave" as Picture and Ornamental Form in Japanese Art and its Influence on European Art in the Nineteenth and early Twentieth Centuries
The Far Eastern Pattern- Background Principle as Source of initial Attempts at Abstraction in Western Painting at the Close of the Nineteenth and the Beginning of the Twentieth Centuries
Japanese Dyeing Stencils (Katagami) and European Monochrome Graphic Art around 1900
Influences of Japanese Sumi Ink Painting on European Modern Art
by Yujiro Shinoda, Siegfried Wichmann, Hans Jaffé, Chisaburoh F. Yamada, and al
outlines are currently in-work
[]
Articles:
European Symbolism around 1900 and the Influence of Hokusai's Spectres
"Abstractions" in Landscape-Representations of Japanese Chrome Wood-Engraving
The "Waterfall" - a Japanese Motif and its Adaptation by European Art in the Nineteenth and Twentieth Centuries
Java and the “Nieuwe Kunst”
Javanese Batiks and their Influence on the Textiles, Book Covers and Ceramics of the "Nieuwe Kunst"
Japan's Contribution to Modern Western Architecture
The Oriental Influence on the Decorative Arts in France and England
The Influence of the Far East on British Pottery in the Nineteenth and Twentieth Century
The Importance of the Far East for the Renaissance in French Ceramic Art towards the Close of the Nineteenth Century
German Ceramics from the Art Nouveau to the Bauhaus Period
Asia and Europe Meet in Contemporary German Ceramic Ware
The White Porcelain of the Sung Period
Celadon Ware and its Renaissance in Contemporary Ceramic Art
"Chien-yao" and its Rediscovery in Modern Ceramic Art
The Lavender-Coloured Glazes of the Sung Dynasty
The Monochrome Glazes of the Ch'ing Dynasty (1644-1912) and Their Influence on Ceramic Art of the Nineteenth and Twentieth Centuries
The Monochrome Glazes of the Ch'ing Dynasty (1644-1912) and Their Influence on Ceramic Art of the Nineteenth and Twentieth Centuries
The Blue Glazes
Japanese Forms - European Commodities
by Siegfried Wichmann, Joop M. Joosten, Angela Schneider, Clay Lancaster, Elizabeth Aslin, Hugh Wakefield, Florence and Jean-Pierre Camard, Heinz Spielmann, Mariela D. Siepmann, Hans Wichmann, and al
outlines are currently in-work
[]
Articles:
Primitivism in Modern Art
The Magic Element in Modern Art
The Negative Reception of the Art of the Traditional Societies of Africa
by Robert Goldwater, Werner Hofmann, Jean Louis Paudrat, Werner Schmalenbach and al
outlines are currently in-work
[]
Article:
African Proportion
by Manfred Schneckenburger and al
OUTLINES:
African and Oceanian Contribution to the Presentation of Man
Manfred Schneckenburger
Keywords: Polyclitus, Durer's, Leonardo's, "balance" of a composition, tectonic equilibrium, aesthetic principles, sterile Academicism, Werner Schmalenbach, Archaic period of early Greek sculpture, African figures, Luba-Hemba kings, Baule figures, fertility, breasts and belly, James Fernandez, Jacob Epstein "Second Venus", African proportion-shortened legs, symbol of and signal for fertility,
Henri Laurens
Lespugue's Venus
Ibo Woman
Henry Moore and Coutourier
Ernst Ludwig Kirchner
Schmidt-Rottluff
[artgraphic-db: african proportion: Head and trunk, the seat of the body's power and vitality, are larger than life; the legs are mere mechanically operated tools which have been given the new function of a pedestal, have been abbreviated to mere supports which are, in the literal sense of the term, powerless in the shape or curve they assume.]
[artgraphic-db:
(Cat. no. 1869) mature classicism of the Luba-Hemba kings;
(Cat. no 1875) overrefined, almost decadent mannerism of some Baule figures;
(Cat. no. 1866) fertility, the breasts and belly;
(Cat, no. 2025) pillar-style is the point of departure, as in the Sudan;
(Cat. no. 1865) Nigeria (e. g. among the Mumuye), the head is kept narrow within the diameter of the pillar.
Fang figures=large heads
Bieri figures=ancestors and children]
renunciation either of beauty or of ideality ?
faint aura of manneristic elegance and elongation ?
head is not oversized (or oversized) ?
over-lengthy arms?
(arms and) the massive neck extend the trunk longitudinally?
Head, arms and parallel-held (better, parallel-bent) legs?
contrapositioning legs or exact parallelism?
breadth legs rendered into a pedestal?
Rhythm? (organic foundation?)
legs treated from the viewpoint of parallelism and of the block?
arms rigidly connected with the body?
concave arms counterpoint to the convex curve of the legs?
echoed in the slight bend of the neck?
rounded belly and depression of the ribs?
expressive rhythmic composition (instead of the careful balance of members -Greek sculpture-)?
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References (scans):
scan- art as a universal phenomenon.pdf
scan- portraits of extra-europeans.pdf
Scan- primitivism in modern art AAA part0.pdf
FOLDER ON DRIVE :: WorldCulturesAndModernArt