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Description
In this programme, Professor Norbert Lynton of the University of Sussex talks about changes in Art at the beginning of this century and especially about 'primitivism' in art. It poses two questions...: can we, by studying poetry gain illumination from considering other, contemporary, art forms? And can poetry, or any other kind of verbal communication, change as radically as the non-verbal arts? Can language be 'primitivist'? Professor Norbert Lynton discusses, among other things, in the studio: Picasso's 'Demoiselles d'Avignon', Cezanne's 'Baigneses', African Masks. Pound's table made up by the BBC from Pound's sketch, Brancusi's head, Prometheus and Marcel Duchamp's bicycle wheel sculpture.
In this programme, Professor Norbert Lynton of the University of Sussex talks about changes in Art at the beginning of this century and especially about 'primitivism' in art. It poses two questions...: can we, by studying poetry gain illumination from considering other, contemporary, art forms? And can poetry, or any other kind of verbal communication, change as radically as the non-verbal arts? Can language be 'primitivist'? Professor Norbert Lynton discusses, among other things, in the studio: Picasso's 'Demoiselles d'Avignon', Cezanne's 'Baigneses', African Masks. Pound's table made up by the BBC from Pound's sketch, Brancusi's head, Prometheus and Marcel Duchamp's bicycle wheel sculpture.
| Module code and title: | A306, Twentieth century poetry |
|---|---|
| Item code: | A306; 03 |
| First transmission date: | 06-03-1976 |
| Published: | 1976 |
| Rights Statement: | |
| Restrictions on use: | |
| Duration: | 00:22:50 |
| + Show more... | |
| Producer: | Nuala O'Faolain |
| Contributor: | Norbert Lynton |
| Publisher: | BBC Open University |
| Keyword(s): | Les Baigneuses; Les Demoiselles D'Avignon; Prometheus |
| Subject terms: | Poetry; Primitivism; Sculpture; Braque, Georges 1882-1963; Eliot, T. S. (Thomas Stearns), 1888-1965; Pound, Ezra, 1885-1972 |
| Footage description: | The programme opens with animated photographs of a scene from the ballet Parade. Norbert Lynton uses this as an example of the growth of primitivist art early this century. He argues for the inclusion of this programme on all aspects of art in a poetry course on the grounds of a close relationship between different art forms. Lynton stresses the importance of the representation of the human figure in visual art. In particular, he examines in detail Picasso: Les Demoiselles d'Avignon and Cezanne's Les Baigneuses. He argues for the influence of African tribal art in these works, which are notable for their novel portrayal of human figures. Lynton examines Rietveld's chair of 1918. He concludes that primitivism is based on a return to fundamental simplicity of design as well as tribal art. Shots of African tribal mask. Comparing a table designed by Ezra Pound with Rietveld's chair, he argues that they represent innovations in the basic approach to design. He develops the idea that the new art was constructed rather than wrought, with analyses of a Braque Collage and an extract from T.S. Eliot's poem The Fire Sermon. Lynton next examines examples of primitivist art that represent a complete break with artistic tradition: Brancusi's sculpture Prometheus; Pound's poem On a Station on the Metro; a toy ornament by Gaudier-Brzeska; Marcel Duchamp's bicycle wheel sculpture. Lynton argues that the primitivism of the early 20th century forms a break with artistic tradition greater than that of the Renaissance. He also claims that this primitivism applies to literature as well as to other art forms. The programme concludes with animated photograph from Parade. |
| Master spool number: | 6HT/71578 |
| Production number: | 00525_3158 |
| Videofinder number: | 714 |
| Available to public: | no |
