The submitted paper investigates how the art of assembling images experimented by the Avant-gardes of the 20th century was absorbed (and can be still useful today) in a seemingly distant field of depiction: architectural drawing. In particular, the reflection focuses on two publishing episodes: the collage books realized by Max Ernst and published in Paris between 1929-34, and the photomontages Sueños, created by Grete Stern from 1948 to 1951 and printed on the psychoanalysis column of the Argentine weekly publication Idilio. In both cases, final pictures were achieved collecting fragments, but differences and dissimilar references can be tracked to suggest a reinvention of the use of illustration and photorealism in architectural design.
Lo spazio erroneo. Collage e rappresentazione dell'architettura, dall'arte all'editoria al progetto.
MAGAGNINI, Marta
2014-01-01
Abstract
The submitted paper investigates how the art of assembling images experimented by the Avant-gardes of the 20th century was absorbed (and can be still useful today) in a seemingly distant field of depiction: architectural drawing. In particular, the reflection focuses on two publishing episodes: the collage books realized by Max Ernst and published in Paris between 1929-34, and the photomontages Sueños, created by Grete Stern from 1948 to 1951 and printed on the psychoanalysis column of the Argentine weekly publication Idilio. In both cases, final pictures were achieved collecting fragments, but differences and dissimilar references can be tracked to suggest a reinvention of the use of illustration and photorealism in architectural design.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
