{"id":9193,"date":"2012-11-18T17:33:25","date_gmt":"2012-11-18T15:33:25","guid":{"rendered":"http:\/\/egophobia.ro\/?p=9193"},"modified":"2012-12-23T18:01:52","modified_gmt":"2012-12-23T16:01:52","slug":"andre-masson-capodopere-ale-abstractului","status":"publish","type":"post","link":"https:\/\/egophobia.ro\/?p=9193","title":{"rendered":"Andre Masson: Capodopere ale abstractului"},"content":{"rendered":"

de Adrian Grauenfels<\/p>\n

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\nCa \u015fi Dante, Andre Masson (1896 -1987) coboar\u0103 \u00een Iad \u015fi revine. Grav r\u0103nit \u00een primul r\u0103zboi mondial, apoi internat pentru r\u0103zvr\u0103tire \u015fi crize nervoase, putea povesti nenum\u0103rate scene marcate de fric\u0103, moarte, supravie\u0163uire, toate cu o elocven\u0163\u0103 surprinz\u0103toare. 2 ani \u00eenainte de izbucnirea primului r\u0103zboi mondial t\u00e2n\u0103rul Masson se mut\u0103 de la Bruxelles (unde lucra ca desenator la un atelier de produs broderie) la Paris, acolo studiaz\u0103 pictura la \u015ecoala de Arte Frumoase. Tip pesimist dar extrem de curios, \u00ee\u015fi dedic\u0103 activitatea \u00een cercetarea naturii \u015fi a destinului uman. Ca pictor, Masson trata figurativul cu mari doze de abstractizare, Cubismul s\u0103u se \u00eembin\u0103 armonios cu metafizicul. Are o creativitate realist\u0103 cu care produce entit\u0103\u0163i biomorfice. Masson el \u00eensu\u015fi se declar\u0103 “pictor mediumistic, post-Cubist, pictor \u00een nisip, calligrafist”.<\/p>\n

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\n 
\nDes, el evada \u00een lumi fantastice dorind s\u0103 imortalizeze vise \u015fi dorin\u0163e refulate, dar se sim\u0163ea acas\u0103 \u00een desenul figurativ pe care \u00eel \u00eent\u00e2lnim \u00een “Alegoria Seduc\u0163iei”, datat\u0103 1940. Dup\u0103 \u00eencerc\u0103rile de cubism \u015fi suprarealism (aderase la mi\u015fcarea lui Andre Breton \u00een 1924) se desparte (la fel ca \u015fi Georges Hugnet) de acesta, \u00een semn de protest \u00eempotriva conducerii despotice a mi\u015fc\u0103rii. Experimenteaz\u0103 automatismul, efectele hazardului \u00een art\u0103 dar temele violen\u0163ei, tortura psihic\u0103 \u015fi erotismul r\u0103m\u00e2n dominante. \u00cen 1936 pleac\u0103 \u00een Spania dar se \u00eentoarce rapid \u00een Fran\u0163a gonit de r\u0103zboiul civil spaniol. Se refugiaz\u0103 \u00een USA (1941-1945).<\/p>\n

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\n 
\nAici Masson leag\u0103 surealismul cu expresionismul abstract, pict\u00e2nd p\u00e2nze de mari dimensiuni dedicate carnagiului la care fusese martor timp de un sfert de secol. Este celebr\u0103 pictura sa “Lumea nu moare” (1942) \u00een care mon\u015ftrii hido\u015fi se dezintegreaz\u0103 ca un ecou al sor\u0163ii umane \u00een care orice ac\u0163iune este \u00eent\u00e2i amenin\u0163at\u0103 apoi distrus\u0103 \u015fi ren\u0103scut\u0103. Se \u00eentoarce \u00een Fran\u0163a \u015fi din 1947 \u00eel g\u0103sim la Aix-en-Provence concentrat pe arta peisajului. \u00cen 1956 publica un serios studiu numit “Metamorfozele artistului”. O recent\u0103 expozi\u0163ie, organizat\u0103 la galeria Blain din NY (curator Emmanuel Di Donna), ne prezint\u0103 pe Andre Masson ca fiind unul din cei mai de seam\u0103 suprareali\u015fti ai secolului XX.<\/p>\n

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\n 
\nExpozi\u0163ia prezint\u0103 o cronologic\u0103 evolu\u0163ie a artistului, vom vedea cum primele sale p\u00e2nze ca de exemplu “Ciorile “(1922) sunt influen\u0163ate de \u015federe sa la Bruxelles unde cunoa\u015fte pe Ensor \u015fi Odilon Redon. O alt\u0103 pictur \u0103 “Visul prizonierului” are o alur\u0103 cubist\u0103 cu puternice influen\u0163e de la italianul DeChirico: statui cubiste \u00eenconjurate claustrofobic de obiecte arhitectural geometrice.<\/p>\n

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\n 
\nAlte exponate ne arat\u0103 rezultatele \u015federii artistului \u00een sudul Fran\u0163ei, l\u00e2ng\u0103 mare (1926). Acolo, Masson este atras de ideea de a unifica desenul automat \u00een cerneal\u0103, cu pictura \u00een ulei. Rezultatele sunt colaje ce con\u0163in mixturi de nisip colorat, pene, uleiuri, etc ca de exemplu “Capete de animale” sau “Cal atacat de un pe\u015fte”. Se \u015ftie c\u0103 prin anii 20 studioul lui Masson din Paris, 45 rue Blomet, era frecventat de al\u0163i arti\u015fti marcan\u0163i: Antonine Artaud, Dubuffet, Joan Miro, Georges Bataille, Georges Malkine. \u00cempreun\u0103, grupul experimenta diferite st\u0103ri de incon\u015ftien\u0163\u0103 folosind cocteiluri de opium sau ha\u015fi\u015f amestecat cu vin \u015fi muzic\u0103 . Se discuta aprins despre Nietzsche, Lautreamont, Sade, Rimbaud. Masson caut\u0103 s\u0103 descifreze ira\u0163ionalul \u015fi r\u0103d\u0103cina psihologic\u0103 a artelor. Desenator din n\u0103scare el folose\u015fte linii sinuoase, expresive, cu care producea figuri biomorfice plasate \u00eentr-un peisaj complet abstract.<\/p>\n

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\n 
\nSpre anii 30 \u015fi 40 pictura lui Masson devine obsedat\u0103 de scene violente, de erotism \u015fi metamorfoze psihotice. \u00cen “Semin\u0163ele \u015fi stelele” \u00eent\u00e2lnim ochi misterio\u015fi care ne urm\u0103resc din \u00eentuneric.<\/p>\n

Inspirat de indienii americani \u015fi de cultura lor, Masson produce seria numit\u0103 “Cimitirul Sioux -1942”, \u00een care vom g\u0103si reprezentate diverse stagii ale con\u015ftiin\u0163ei a\u015fa cum este perceput\u0103 prin misticismul nativilor americani. Dorin\u0163a erotic\u0103 este subliniat\u0103 prin picturi \u00een care insecte, mantise, cai, tauri etc c\u0103l\u0103resc sau se bat cu umanii \u00eentr-o indus\u0103 stare de atrac\u0163ie \u015fi seduc\u0163ie reciproc\u0103.<\/p>\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

de Adrian Grauenfels   Ca \u015fi Dante, Andre Masson (1896 -1987) coboar\u0103 \u00een Iad \u015fi revine. Grav r\u0103nit \u00een primul r\u0103zboi mondial, apoi internat pentru r\u0103zvr\u0103tire \u015fi crize nervoase, putea povesti nenum\u0103rate scene marcate de fric\u0103, moarte, supravie\u0163uire, toate cu o elocven\u0163\u0103 surprinz\u0103toare. 2 ani \u00eenainte de izbucnirea primului r\u0103zboi mondial t\u00e2n\u0103rul Masson se mut\u0103 […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[946,118],"tags":[87,950,1161,1127],"class_list":["post-9193","post","type-post","status-publish","format-standard","hentry","category-egophobia-36","category-imagini","tag-adrian-grauenfels","tag-andre-masson","tag-egophobia-36","tag-imagini"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p6DakB-2oh","_links":{"self":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/9193","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=9193"}],"version-history":[{"count":2,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/9193\/revisions"}],"predecessor-version":[{"id":9194,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/9193\/revisions\/9194"}],"wp:attachment":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=9193"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=9193"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=9193"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}