World Library  
Flag as Inappropriate
Email this Article

Incoherents

Article Id: WHEBN0004029769
Reproduction Date:

Title: Incoherents  
Author: World Heritage Encyclopedia
Language: English
Subject: Avant-garde, Minimalism (visual arts), Art movement, Dada, Fantasmagorie (1908 film)
Collection:
Publisher: World Heritage Encyclopedia
Publication
Date:
 

Incoherents

The Incoherents (Les Arts Incohérents) was a short-lived French art movement founded by Parisian writer and publisher Jules Lévy in 1882, which in its satirical irreverence anticipated many of the art techniques and attitudes later associated with avant-garde and anti-art.

Lévy coined the phrase "les arts incohérents" as a play on the common expression "les arts décoratifs". The Incoherents presented work which was deliberately irrational and iconoclastic, "found" art objects, the drawings of children, and drawings "made by people who don't know how to draw." Lévy exhibited an all-black painting by poet Paul Bilhaud called Combat de Nègres dans un Tunnel (Negroes Fight in a Tunnel). The early film animator Émile Cohl contributed photographs which would later be called surreal.

Le rire (The laugh)

Although small and short-lived, the Incoherents were certainly well-known. The movement sprang from the same Montmartre cabaret culture that spawned the Hydropathes and Alfred Jarry's Ubu Roi. The October 1882 show was attended by two thousand people, including Manet, Renoir, Camille Pissarro, and Richard Wagner. Beginning in 1883 there were annual shows, or masked balls, or both. In an 1883 show, the artist Sapeck (Eugène Bataille)(French) contributed Le rire, an 'augmented' Mona Lisa smoking a pipe, that directly prefigures the famous Marcel Duchamp 1919 'appropriation' of the Mona Lisa, L.H.O.O.Q..

The movement wound down in the mid-1890s.

History

The Incoherent arts were born in the late nineteenth century, a period that was rich in scientific discoveries and social innovations. Cheeky and inventive, this time also marks a turning point in the field of art. The official art traditions were even being questioned in the newspapers through satirical images which implied it was a dying craft. It was in this creative lull that Jules Levy - former member of the literary club

On October 2, 1882, Jules Levy decided to repeat the experience at home. He gathered his friends under the pretense of having an "unusual evening". In his tiny apartment they worked under the phrase "Death to clichés, to us young people!" They received unexpected success and lots of newspaper coverage. As a result, the Incohérents arts movement became engrained into the Parisian cultural landscape. In October 1883 the Paris had its first official exhibition of Incoherent art, ran by local Galerie Vivienne. The purpose was charitable as with all Incoherent exhibits thereafter. A regulation 13-point proclamation was that "All the works are allowed, the serious works and obscene excepted". The exhibition adopts a true catalog, including a piece by Levy Orville in which he reverses an inkwell for the sake of aesthetics. The tone of the exhibition was set by an abundance of parodies and pictorial puns. More than 20,000 visitors took part over a month.

A year later, the Incoherents returned to haunt the Galerie Vivienne with their cheeky pranks. They hoped this occasion would see the image of the "Chief pipes Poyle sand without number, on a silver field," an ancient statue carving chisel of an academician who does not lead wide. A catalog accompanied the exhibition with luxury engraved reproductions of most of the significant works. On its cover, a dancer brandishes a broom and scares away the gloom of black birds. The journalists accompanied the event with enthusiasm. The artists were increasingly familiarizing themselves with the pictorial map and the pun, both of which helped to establish this kind of "Incoherent" art. In 1886 the Incoherents at the Eden Theatre unveiled their new exhibit. Jules Chéret's poster included Levy going through the moon like a paper hoop. At the entrance, the rules regarding the event were framed prominently: "One goal you propose, laugh and cheer you frankly." The room was also full of visitors that worked in high, medium or low relief. Everything was recorded in catalog records which are decorated with "striking" portraits of exhibitors and zany references.

In 1886 Jules Levy began to be the target of criticism. He was accused of using the Incoherent Arts for its own interests. He had in fact opened a publishing house in 1886 and published the works of his friends (Goudeau, Leroy, Monselet, etc..), illustrated by artists such as Boutet, Somm or Gray. He gradually lost the support of the French Courrier who had declared him as "the official unofficial Incoherent" in 1884. Meanwhile, some seeking to take advantage of the Incoherent movement by opening Incoherent cafes or established magazine operations, that the founders of the movement had nothing to do with. In 1887 Jules Levy promised the end of Inconsistency would be on April 16 of that year. A costume party was organized for the occasion with a Folies Bergere funeral procession.However, Incoherence has a brief renaissance on March 27, 1889 at a new dance held at the Eden Theatre. Levy wanted this event to remind the good memories of the Incoherent arts and to announce the return of his exhibitions. But in the spring of the 1889 exhibition he organized, while the Expo was in full swing in Paris, it was a fiasco. The press hardly covered the event, and even the [1]

See also

References

  1. ^ "History of the Incoherent arts". Les Arts incohérents. Retrieved July 3, 2012. 

External links

  • Arts Incoherents (in French)
  • Parisian cabarets and the avant-garde, 1875-1905
This article was sourced from Creative Commons Attribution-ShareAlike License; additional terms may apply. World Heritage Encyclopedia content is assembled from numerous content providers, Open Access Publishing, and in compliance with The Fair Access to Science and Technology Research Act (FASTR), Wikimedia Foundation, Inc., Public Library of Science, The Encyclopedia of Life, Open Book Publishers (OBP), PubMed, U.S. National Library of Medicine, National Center for Biotechnology Information, U.S. National Library of Medicine, National Institutes of Health (NIH), U.S. Department of Health & Human Services, and USA.gov, which sources content from all federal, state, local, tribal, and territorial government publication portals (.gov, .mil, .edu). Funding for USA.gov and content contributors is made possible from the U.S. Congress, E-Government Act of 2002.
 
Crowd sourced content that is contributed to World Heritage Encyclopedia is peer reviewed and edited by our editorial staff to ensure quality scholarly research articles.
 
By using this site, you agree to the Terms of Use and Privacy Policy. World Heritage Encyclopedia™ is a registered trademark of the World Public Library Association, a non-profit organization.
 



Copyright © World Library Foundation. All rights reserved. eBooks from World Library are sponsored by the World Library Foundation,
a 501c(4) Member's Support Non-Profit Organization, and is NOT affiliated with any governmental agency or department.