Paul Klee and Max Ernst. Its receptionsaesthetic Reserch of surrealistic Formation.
| Project/Area Number |
14510081
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| Research Category |
Grant-in-Aid for Scientific Research (C)
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| Allocation Type | Single-year Grants |
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| Section | 一般 |
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| Research Field |
Fine art history
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| Research Institution | Kokugakuin University |
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Principal Investigator |
MIYASHITA Makoto Kokugakuin University, Faculty of Literature, Professor, 文学部, 教授 (40299681)
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| Project Period (FY) |
2002 – 2005
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| Project Status |
Completed (Fiscal Year 2005)
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| Budget Amount *help |
¥2,700,000 (Direct Cost: ¥2,700,000)
Fiscal Year 2005: ¥500,000 (Direct Cost: ¥500,000)
Fiscal Year 2004: ¥500,000 (Direct Cost: ¥500,000)
Fiscal Year 2003: ¥800,000 (Direct Cost: ¥800,000)
Fiscal Year 2002: ¥900,000 (Direct Cost: ¥900,000)
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| Keywords | Paul Klee / Max Ernst / Surrealisme / Andre Breton / Objektion / Realm / O1d Paper / Receptionaesthetic / 批評史 |
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| Research Abstract |
At first, the conditions of the surrealism exhibition in Paris 1925, where Paul Klee and Max Ernst had the first full contact, was studied as the premise of the comparison between Klee's and Ernst's figurative arts. In doing so, the research leader visited to places such as Bern, Zurich, and the Guggenheim Museums in Venice in order to collect and analyze the private materials under the cooperation of the appropriate agencies; furthermore, to refer the hard-to-find collections of magazines in domestic universities such as Beppu University in Oita prefecture and Hiroshima University. As the result, the relationship between Klee and Ernst was more condensed than what documents and works ever showed till now. Especially, the involvement from Ernst to Klee was confirmed as an extremely important "affair" in the history of surrealism or of the European paintings in the 20th century, as the matter of understanding Klee for surrealism progressively. Moreover, the verifications from various points of view led to the conclusions that their relationship was not only the historical truth, but also influenced the commonality of their figures; moreover, that their art works exceeded the figurative commonality to very significant challenge for innovation of painting arts form 1920s to 30s.
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Report
(5 results)
Research Products
(13 results)
