Wolfgang paalen wikipedia

  • Wolfgang paalen fumage
  • Wolfgang paalen umbrella
  • Austrian artist ().

    • •

    Category:Wolfgang Paalen

  • 5, × 8,; MB

  • André Breton and Wolfgang Paalen, St. Cirq la Popie, jpg × ; 37 KB

  • Köstlergasse 2, × 2,; MB

  • Sankt Rochusburg, 2, × 1,; MB

  • Victor Serge in Wolfgang Paalen´s Studio in Mexico ca. jpg 1, × 2,; KB

  • , Nuage articulé II 3, × 5,; KB

  • Wolfgang Paalen in Paris jpg 3, × 2,; MB

  • Wolfgang Paalen, Les étrangers jpg 1, × 1,; MB

  • Wolfgang Paalen, Nuage × ; 67 KB

  • Wolfgang Paalen, Pays förbud , 1, × 1,; MB

  • Wolfgang Paalen´s Studio in San Angel, Mexico, ca. jpg × ; KB

  • WP um × ; KB

  • wolfgang paalen wikipedia

    • •

    Wolfgang Paalen

    Austrian-Mexican artist (–)

    Wolfgang Paalen

    Paalen, c.

    Born()July 22,

    Vienna, Austria

    DiedSeptember 24, () (aged&#;54)

    Taxco, Mexico

    NationalityAustrian–Mexican
    EducationPhilosophy, art
    Known&#;forPainting, sculpture, art theory
    MovementSurrealism, Modernism
    Spouse(s)1. Alice Phillipot, later Rahon
    2. Luchita Hurtado
    3. Isabel Marín

    Wolfgang Robert Paalen (July 22, in Vienna, Austria – September 24, in Taxco, Mexico) was an Austrian-Mexican painter, sculptor, and art philosopher. A member of the Abstraction-Création group from to , he joined the influential Surrealist movement in and was one of its prominent exponents until Whilst in exile in Mexico, he founded his own counter-surrealist art-magazine DYN, in which he summarized his critical attitude towards radical subjectivism and Freudo-Marxism in Surrealism with his philosophy of contingency. He rejoined the group between and , during his sojourn

    •

    DYN (magazine)

    DYN (derived from the Greek word κατὰ τὸ δυνατόν, that which is possible) was an art magazine founded by the Austrian-Mexican SurrealistWolfgang Paalen, published in Mexico City, and distributed in New York City, and London between and Only six issues were produced.

    Background

    [edit]

    With his journal Paalen in his work as editeur gave himself the opportunity to fully develop his intellectual abilities with the evident but nevertheless for himself surprising result that he temporarily advanced to one of the most influential art theorists during the war. In seven large essays and countless smaller articles and reviews he discussed in detail all current hot topics that also concerned the young artists in New York, and in response received their full attention: the new image as potential picture-being; morality, deliberated of Marxist means-end thinking; plastic automatism—deliberated of the bondage of preconceived literary contents; dialectical mater