George Grie Modern art surrealism Canada: contemporary neosurrealist 3d digital artist. The official website of popular surrealist artist.

· Gallery

· QuickView

· Paintings

· PrintShop

· BookStore

· Licensing

· Contact

Romantic Neosurrealism Art Gallery - official website of the computer graphic artist George Grie. The gallery presents modern surrealist gothic, inspirational romanticism, digital surrealism artworks, and fine-art paintings. Giclee prints and posters, limited editions, desktop wallpapers, and framed art pictures for sale.
  Latest Artworks
  Most Popular Images  
  Most Commented Images
  Top Rated Images
  Music CD Cover Art
  Chronological Index

divider page    1 · 2 · 3 · 4 · 5 · 6 · 7 · 8 · 9 · 10 · ... 
Noah's Ark or delusion of grandeur - modern surrealism prints 3d digital art poster
Shiva the Destroyer - modern neosurrealism prints 3d art picture
Infinite Improbability Drive - modern 3d surrealism poster digital art Prints
Confluence - modern surrealism posters 3d art picture
The Sand Castle - 3d modern surrealism prints digital art picture wallpaper
Sanctuary Stargate - modern neosurrealism prints 3d art picture
Ascension (Jesus Christ resurrection)- modern surrealism digital 3d art Prints
Last Harbour or In Search of Castaway Nautilus - modern surrealism prints 3d digital art poster
Morning Fog - modern 3d surrealism digital art wallpapers
Dehydration - 3d art wallpapers modern surrealism art prints
Unicorn Land or the Forbidden Forest Gate - modern surrealism prints, poster digital 3d art wallpaper
Air Mail Pioneers - 3d surrealism modern fantasy art image

Escape Before Dawn - 3d fantasy art pictures
Alternative Sky-rover - 3d modern surrealism digital art picture
Sweet Hideout of Denial - 3d surrealism modern fantasy art image
The island of lost hopes
Midnight Inland Sanctuary - neo-surrealism art poster print and wallpaper
Twilight Zone Infiltration - 3d modern surrealism digital art picture
Threshold Progression - neo-surrealism art poster print & wallpaper
Morning Fog - modern 3d surrealism digital art wallpapers

Terra Exorcism Surveillance - 3d studio max fantasy art pictures
Charm of Occupational Hazards - Contemporary 3d surrealism digital art picture
Tranquility of Deceptive Journeys - 3d graphic design artwork free fantasy art gallery
Guardian of Time - neo-surrealism art poster print and wallpaper
divider page     1 · 2 · 3 · 4 · 5 · 6 · 7 · 8 · 9 · 10 ...
copyright icon © Copyright George Grie | Копирование разрешено только с указанием активной ссылки на neosurrealismart.com

Pulp Surrealism: Insolent Popular Culture in Early Twentieth-Century Paris
Book by; University of California Press, 2000

In the following chapters, popular culture is kept in the foreground and the opinions of the surrealists to the back. In this regard, my approach differs from other recent works that have sought to establish a common modernist aesthetic running between mass culture and early twentiethcentury avant-garde movements. 23 The products of art museum exhibitions and academic art history, these works employ an influence and diffusion model in which mass culture provokes artistic inspiration, is transformed into art, and then is accepted or rejected by a wider audience. Sidra Stich's Anxious Visions: Surrealist Art exhibition, for example, underscored the destructive and traumatic effect of the Great War in establishing the historical context within which psychological anxiety and fragmentation of the human body become key formal elements in surrealist art. In High & Low: Modern Art and Popular Culture, an exhibition organized by Kirk Varnedoe and Adam Gopnik, newspapers, graffiti, cari- cature, comic books, and advertising images become the raw materials that inspire twentieth-century artists. In Jeffrey Weiss's The Popular Culture of Modern Art, an aesthetic of incomprehension and uncertainty is seen as characteristic of modern culture generally and is expressed most dynamically in Picasso's cubist art and Duchamp's ready-mades. In each of these cases, mass culture is interpreted from a high artistic perspective: History assumes the status of context, mass culture becomes fodder for avant-garde artistic inspiration, and the artists retain their position as cultural innovators.

The interpretive approach used in this book, by contrast, seeks an innovative dynamism at the level of mass culture itself. The surrealists become less important as an experimental avant-garde than as guides to culturally dynamic sources of mass culture. No doubt the rapidly modernizing urban landscape of turn-of-the-century Paris provided the city's inhabitants and visitors with an abundance of new and unusual juxtapositions. But within the routine of daily life, it is less than certain that those novel vistas automatically produced a modernist or surreal consciousness. It is equally, and perhaps more, likely that the incoherences of daily life were subsumed under what André Breton called “the paucity of reality” (le peu de réalité), classified and circumscribed by received patterns of thought. The surrealists were well aware that on an everyday basis commercial mass culture was not experienced as incomprehensible but as ordinary and banal.

Yet at the beginning of their movement, the surrealists saw a revolutionary potential in mass culture to produce a new consciousness. In many works of surrealism, there are multiple references to the artifacts of everyday life. The cultural terrain of Breton's Nadja, for example, includes flea markets, newspaper clippings, faits divers, bookstores, theater melodramas, movie houses, the Opera Passageway, the Hôtel Henri IV, the Nouvelle France bar, signs for bois-charbons and for Mazda lightbulbs. While these and other novel juxtapositions afforded by modernizing Paris and its signs of mass culture may not have automatically invoked surreal visions, the terrain of everyday life fed surreal perceptions. Whatever the place of these objects and signs at the level of common reality, they became talismans of surreality as well. As literary and artistic provocateurs, part of the surrealist project was to illuminate the extraordinary in a mass culture that might otherwise pass as quotidian.

In some instances, though, there was a close proximity between mass culture and surrealism. Francis Lacassin, a leading French critic of popular novels and other forms of paralittérature, has commented upon the intersections between the enormously popular turn-of-the-century Fantômas crime novels and surrealism: “In Fantômas, there was an overflowing of the fantastic into daily life that appeared to have an affinity with surrealist preoccupations—an insolent challenge of aesthetic and social taboos, a relentless demystification, an historical continuity with what André Breton called dark humor. And above all, objective chance. ” 24 Two attributes from Lacassin's comment resonate in the present study. The first, concerning the fantastic in daily life, recalls the observation of J. H. Matthews, in his groundbreaking study Surrealism and Film, that an ordinary commercial film which “overspills the mold in which it has been cast” lends itself to surrealist appropriation. 25 Amid the commercial excesses of production and consumption in highly developed consumer societies, social convention and genre formulas do not completely bind the diversity of messages circulated in mass culture.

Bookmark and Share NeoSurrealismArt.com
Link Exchange  ·  Privacy Policy  ·  Admin  ·  Contact Artist  ·  Image Archive
George Grie © NeoSurrealismArt.com , USA, UK, Canada, EU, Australia

Modern Romantic Surrealist Artist· Gothic Surrealism Art Poster Prints · Surreal Limited Editon Pictures & Books