0182 Homage to Dynamism: A Contribution to the Study of the Iconography of the Machine Cult in Orphism

  • Dragan Tasić (Author)
    Belgrade Faculty of Arts and Design, John Naisbitt University, Belgrade
    Associate Professor of Art History Dragan Tasic is a graduate of the Faculty of Philosophy at the University of Belgrade, Serbia. The title of his doctoral dissertation was “The Artistic Representations of Agones from the Central Balkan Provinces of the Roman Empire”. His research interests cover Greek, Etruscan and Roman topics, the material and visual culture of religion, as well as the broader history of art. He is also a University lecturer in the History of Architecture and Design.

    Fields of Expertise: Antiquity, Early Middle Ages, High Middle Ages, Early Modern

Identifiers (Article)

DOI: https://doi.org/10.11588/riha.2017.0.70272

Identifiers (Files)

URN: http://nbn-resolving.de/urn:nbn:de:101:1-2018091311483200941579 (PDF)

Abstract

One of the trends in the early days of Cubism, Orphism was a style of painting that evolved in Paris during the period between 1911 and 1914. The orphists rejected the rigid principles of a non-abstract art and returned to “pure color” with the purpose of communicating their intense enjoyment. They were imbued with the new spirit and fascinated by the technological progress of the modern world. Robert Delaunay’s Homage to Blériot was painted in a state of extreme spiritual happiness, reflecting the whole atmosphere of the times. It is a testimony to the skills of the airplane constructors – the new heroes of a modern epic fantasy. World War I, however, spelled the end of the enthusiasm and optimism of the machine age.

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Issue
2017: RIHA Journal
Section
Articles
Categories
20th Century; Painting
Language
en
Keywords
Aeroplane, Cubism, Modern Age, Orphism, Simultaneism

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