Western Painting - CoBrA Painting - The Boundless Riot on Canvas
CoBrA Painting - The History CoBrA was a niche art movement of Europe that was existent for a very brief period of approximately three years from 1949 through 1952.
Artists Karel Appel, Joseph Noiret, Constant, Asger Oluf Jorn, Corneille, Christian Dotremont, and Christian, started this movement in Paris, through a manifesto titled, 'The Case was Heard.
' These artists hailed from Copenhagen, Brussels, and Amsterdam.
This inspired Dotremont to name this movement CoBrA, using the initial letters of their hometowns.
To quite an extent, this movement was Anti-Surrealist in philosophy.
It rejected the concept of Automatic Drawing, which emphasized the 'voice' of the subconscious.
The Intricacies CoBrA kept its technique free from any accepted conventions of color, form, and themes.
It was a style of openness, unencumbered thoughts, spontaneity, and experimentation.
The painters of this genre turned back the clock in time, in the terms of their reference to the art style of the earliest human civilization.
Children drawings and fusion painters like Paul Klee and Joan Miro, a Surrealist highly influenced them.
Despite their disregard for artistic diction, the CoBrA paintings were identified by their primitive look, fast colors, thick & visible brushstrokes, and unsymmetrical figures.
Often a parallel is drawn between CoBrA and Action Painting of America, which employs painting through a natural or a forced movement of color on the canvas, as against a careful application by brush.
CoBrA Painters After being founded in the confines of Café Notre-Dame in Paris, the movement gained momentum, with many artists joining in.
Some of the leading names associated with the CoBrA Painting were Pieter Ouborg, Pierre Alechinsky, Aart Kemink, Svavar Guðnason, Jean-Michel Atlan, Hugo Claus, Carl-Henning Pedersen, and Pierre Alechinsky.
CoBrA Masterpieces In its brief spell, CoBrA provided fertile field for some of the most cherished pieces of Modern Art scene.
Asger Jorn's 'Untitled 96' is one such work of oil on cardboard.
It is remarkable for its bright color streaks that attach a sense of mystic complexity to the thought process of the artist.
In contrast, his 'Untitled,' dated 1956-57 is a work of blended tinges and hues, rather than the random brushstrokes of thick color.
The apparent contrast of the two works is exemplary of the free 'style' that CoBrA painters adopted.
Similarly, 'Hip Hip Hoorah' and 'Little Moon Men' by Karel Appel underline varying styles.
The first painting lives up to its title, owing to its extremely bright color scheme, against a jet black background.
On the other hand, 'Little Moon Men' is a monochromatic work set in little shading and sketching to indicate nighttime.
CoBrA movement developed such a strong collection of revolutionary pieces in its three-year tenure that it became a turning point in the history of Western Art.
It became the predecessor and lead motivator for the potent European Abstract Expressionism and French Tachisme genre of paintings.
Artists Karel Appel, Joseph Noiret, Constant, Asger Oluf Jorn, Corneille, Christian Dotremont, and Christian, started this movement in Paris, through a manifesto titled, 'The Case was Heard.
' These artists hailed from Copenhagen, Brussels, and Amsterdam.
This inspired Dotremont to name this movement CoBrA, using the initial letters of their hometowns.
To quite an extent, this movement was Anti-Surrealist in philosophy.
It rejected the concept of Automatic Drawing, which emphasized the 'voice' of the subconscious.
The Intricacies CoBrA kept its technique free from any accepted conventions of color, form, and themes.
It was a style of openness, unencumbered thoughts, spontaneity, and experimentation.
The painters of this genre turned back the clock in time, in the terms of their reference to the art style of the earliest human civilization.
Children drawings and fusion painters like Paul Klee and Joan Miro, a Surrealist highly influenced them.
Despite their disregard for artistic diction, the CoBrA paintings were identified by their primitive look, fast colors, thick & visible brushstrokes, and unsymmetrical figures.
Often a parallel is drawn between CoBrA and Action Painting of America, which employs painting through a natural or a forced movement of color on the canvas, as against a careful application by brush.
CoBrA Painters After being founded in the confines of Café Notre-Dame in Paris, the movement gained momentum, with many artists joining in.
Some of the leading names associated with the CoBrA Painting were Pieter Ouborg, Pierre Alechinsky, Aart Kemink, Svavar Guðnason, Jean-Michel Atlan, Hugo Claus, Carl-Henning Pedersen, and Pierre Alechinsky.
CoBrA Masterpieces In its brief spell, CoBrA provided fertile field for some of the most cherished pieces of Modern Art scene.
Asger Jorn's 'Untitled 96' is one such work of oil on cardboard.
It is remarkable for its bright color streaks that attach a sense of mystic complexity to the thought process of the artist.
In contrast, his 'Untitled,' dated 1956-57 is a work of blended tinges and hues, rather than the random brushstrokes of thick color.
The apparent contrast of the two works is exemplary of the free 'style' that CoBrA painters adopted.
Similarly, 'Hip Hip Hoorah' and 'Little Moon Men' by Karel Appel underline varying styles.
The first painting lives up to its title, owing to its extremely bright color scheme, against a jet black background.
On the other hand, 'Little Moon Men' is a monochromatic work set in little shading and sketching to indicate nighttime.
CoBrA movement developed such a strong collection of revolutionary pieces in its three-year tenure that it became a turning point in the history of Western Art.
It became the predecessor and lead motivator for the potent European Abstract Expressionism and French Tachisme genre of paintings.
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