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Pp Ch33 Freud
- 4. Three-part mind ID = unconscious human instincts that seek instant gratification (pleasure principle) EGO = mediator between needs of id and real world Superego = conscience repression sublimation
- 6. Three-part mind Individual confronts shadow (good and evil) and animus (male/female archetype), carries collective unconscious ( archetypes ) Self grows to individuation Persona = social roles Unconscious Consciousness
- 25. Visionary surrealism Abstract surrealism Dreams Subconscious
- 31. Visionary surrealism Abstract surrealism Dreams Subconscious
- 34. Rene Magritte
- 38. Frida Kahlo: The Little Deer, 1946
- 43. What’s Next: War Years
Hinweis der Redaktion
- Drawings are mine but inspired by the work of Charles Hampden-Turner, Maps of the Mind. New York: Mitchell Beazley Publishers, 1986.
- Drawings are mine but inspired by the work of Charles Hampden-Turner, Maps of the Mind. New York: Mitchell Beazley Publishers, 1986.
- Image source: http://www.ship.edu/~cgboeree/jung.html
- Image from Mark Hardin Artchive
- Source: http://faculty.pittstate.edu/~knichols/dramabm4.html Expressionism in drama and art was a movement that rejected traditional methods of representing objective reality. Instead, expressionists exaggerated and distorted aspects of the outside world in order to "express" subjective moods and feelings. In other words, their landscapes and portraits were actually "mindscapes." In American drama, Eugene O'Neill and Elmer Rice are noted for their expressionist plays. Thriving from about 1910 to 1925, expressionism continues to be an important influence on experimental theatre and art.
- Image from Mark Hardin Artchive
- Source: Expressionist Art Gallery at http://faculty.pittstate.edu/~knichols/dramabm4.html
- Image from Mark Hardin Artchive
- Image from Mark Hardin Artchive
- Image from http://www.beatmuseum.org/duchamp/images/bride Notes: http://www.marcelduchamp.net/bride/bride.htm (The painting consists of two large panels of glass, one above the other, displaying the top and bottom of an intricate mechanical diagram. It is usually called, simply, the Large Glass .) "All along, while painting [the Large Glass ], I wrote a number of notes which were to compliment the visual experience like a guide book." (1) These notes were intended "to accompany and explain (as might an ideal exhibition-catalogue) my painting on clear glass." (2)
- Source: http://www.popsubculture.com/pop/bio_project/surrealism.html According to the major spokesman of the movement, the poet and critic André Breton , who published " The Surrealist Manifesto " in 1924, Surrealism was a means of reuniting conscious and unconscious realms of experience so completely, that the world of dream and fantasy would be joined to the everyday rational world in "an absolute reality, a surreality." Drawing heavily on theories adapted from Sigmund Freud , Breton saw the unconscious as the wellspring of the imagination. He defined genius in terms of accessibility to this normally untapped realm, which, he believed, could be attained by poets and painters alike. This movement continues to flourish at all ends of the earth. Continued thought processes and investigations into the mind produce today some of the best art ever seen.
- Image from http://art-quarter.com/beck/joe/aj/1/3/picasso_dream.html
- Image from Mark Hardin Artchive
- Image from Mark Hardin Artchive Text source: http://www.ibiblio.org/wm/paint/auth/klee/ Death and Fire (1940; 46 x 44 cm (18 x 17 1/3 in)) is one of Klee's last paintings. A white, gleaming skull occupies the center, with the German word for death, Tod , forming the features of its face. A minimal man walks towards death, his breast stripped of his heart, his face featureless, his body without substance. Death is his only reality, his facial features waiting there in the grave for him. But there is fire in this picture too: the sun, not yet set, rests on the earth's rim, which is also the hand of death. The upper air is luminous with fire, presenting not an alternative to death, but a deeper understanding of it. The man walks forward bravely, into the radiance, into the light. The cool, grey-green domain of death accepts the fire and offers wry comfort.
- Image from Mark Hardin Artchive Text source: http://www.ibiblio.org/wm/paint/auth/klee/
- Image from CGFA and Mark Hardin Artchive
- Image: Mark Hardin Artchive
- Image from http://www.mcs.csuhayward.edu/~malek/surrealism/dali1.jpg
- Source: http://www.rollins.ed/Foreign_Lang/Russian/kandin.html
- Image from Mark Hardin Artchive
- Image from Mark Hardin Artchive
- Image from Mark Hardin Artchive
- Image from http://www.ellensplace.net/okeeffe5.html
- Text from http://www.ellensplace.net/okeeffe5.html
- Image from http://www.ellensplace.net/okeeffe5.html
- Image from postcard, Portland Art Museum