An art manifesto is a public declaration of the inttions, motives, or views of an artist or artistic movemt. Manifestos are a standard feature of the various movemts in the modernist avant-garde and are still writt today. Art manifestos are sometimes in their rhetoric intded for shock value, to achieve a revolutionary effect. They oft address wider issues, such as the political system. Typical themes are the need for revolution, freedom (of expression) and the implied or overtly stated superiority of the writers over the status quo.
The manifesto gives a means of expressing, publicising and recording ideas for the artist or art group—ev if only one or two people write the words, it is mostly still attributed to the group name.
In 1855 Gustave Courbet wrote a Realist manifesto for the introduction to the catalogue of his indepdt, personal exhibition. And in 1886 the Symbolist Manifesto was published in the Frch newspaper Le Figaro by the poet and essayist Jean Moréas.
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Followed by the Cubists, Vorticists, Dadaists and the Surrealists: the period up to World War II created what are still the best known manifestos. Although they never stopped being issued, other media such as the growth of broadcasting tded to sideline such declarations. Due to the internet there has be a resurgce of the form, and many new manifestos are now appearing to a pottial worldwide audice. The Stuckists have made particular use of this to start a worldwide movemt of affiliated groups.
Manifestos typically consist of a number of statemts, which are numbered or in bullet points and which do not necessarily follow logically from one to the next. Tristan Tzara's explanation of the manifesto (Feeble Love & Bitter Love, II) captures the spirit of many:
A manifesto is a communication made to the whole world, whose only pretsion is to the discovery of an instant cure for political, astronomical, artistic, parliamtary, agronomical and literary syphilis. It may be pleasant, and good-natured, it's always right, it's strong, vigorous and logical. Apropos of logic, I consider myself very likeable.
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Before the early 20th ctury, the manifesto was almost exclusively a declaration with political aims. The inttion of artists adopting the form, therefore, is to indicate that they are employing art as a political tool.
The art manifesto has two main goals. The first is to define and criticize a paradigm in contemporary art or culture; the second is to define a set of aesthetic values to counter this paradigm. Oft, manifestos aspire to be works of art in their own right; for instance, many manifesto writers intd for their texts to be performed. Other manifestos cannot be fully appreciated simply as writt statemts because they rely heavily on graphic design for communication, a common feature in Dada manifestos. Several artists have writt manifestos about artistic mediums not their own.
Historically, there has be a strong parallel betwe the art manifesto and the political manifesto. It was not uncommon for manifesto writers of the early 20th ctury to also be politically active. In Italy, Futurist founder Filippo Tomasso Marinetti ran for office, and both Russian and Italian Futurists issued political manifestos. In gland, Vorticist Wyndham Lewis supported the Suffragettes, while in France, Surrealist André Breton supported the Communist party. Oft, however, these political organizations rejected the artists’ atttion; in other cases, artists were csored and persecuted by European authoritarian governmts, like Fascist Italy and Communist Russia, which institutionally rejected the avant-garde.
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Gustave Courbet wrote a Realist manifesto for the introduction to the catalogue of his indepdt, personal exhibition, 1855, echoing the tone of the period's political manifestos. In it he asserts his goal as an artist "to translate the customs, the ideas, the appearance of my epoch according to my own estimation."
In 1886 the Symbolist Manifesto was published in the Frch newspaper Le Figaro by the poet and essayist Jean Moréas. It defined and characterized Symbolism as a style whose "goal was not the ideal, but whose sole purpose was to express itself for the sake of being expressed." It names Charles Baudelaire, Stéphane Mallarmé, and Paul Verlaine as the three leading poets of the movemt.
The Futurist Manifesto, writt by the Italian poet Filippo Tommaso Marinetti, was published in the Italian newspaper Gazzetta dell'Emilia in Bologna on February 5, 1909, th in Frch as Manifeste du futurisme in the newspaper Le Figaro on February 20, 1909. It initiated an artistic philosophy, Futurism, that was a rejection of the past, and a celebration of speed, machinery, violce, youth and industry; it was also an advocation of the modernization and cultural rejuvation of Italy.
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Since the founding manifesto did not contain a positive artistic programme, the Futurists attempted to create one in their subsequt Technical Manifesto of Futurist Painting (1914).
This committed them to a "universal dynamism", which was to be directly represted in painting and sculpture. Objects in reality were not separate from one another or from their surroundings: "The sixte people around you in a rolling motor bus are in turn and at the same time one, t four three; they are motionless and they change places... The motor bus rushes into the houses which it passes, and in their turn the houses throw themselves upon the motor bus and are blded with it."
Du "Cubisme", writt in 1912 by Albert Gleizes and Jean Metzinger, was the first major theoretical text on Cubism. The book was illustrated with works by Gleizes, Metzinger, Paul Cézanne, Fernand Léger, Juan Gris, Francis Picabia, Marcel Duchamp, Pablo Picasso, Georges Braque, André Derain and Marie Laurcin. In this highly influtial treatise Gleizes and Metzinger explicitly related the concept of 'multiple perspective' to the Bergsonian sse of time. The faceted treatmt of physical objects and space blurred the distinctions betwe subject and abstraction, betwe represtation and non-objectivity. Effects of non-Euclidean geometry were used to convey a psychophysical sse of fluidity of consciousness.
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Du "Cubisme" introduced the concept of 'simultaneity' into the theoretical framework of Cubism. It was in part a concept born out of a conviction based on the authors understanding of Hri Poincaré and Bergson that the separation or distinction betwe space and time should be comprehsively challged. It was based both on philosophical and scitific ideas, on Riemannian geometry and the relativity of knowledge, contradicting notions of absolute truth. These ideas were disseminated and debated in the widely available publication, and read by writers and artists associated with the advt of modernism.
Published in Les Homme du jour in 1913, it has never be clear whether this was a sincere manifesto of the new school of amorphism, or a parody.
Extracts from the Vorticists' BLAST manifesto were published in their magazine Blast, number 1, on June 20, 1914, and th in Blast, number 2, in July 1915.
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The second Dada manifesto was recited by Tristan Tzara at the Salle Meise on March 23, 1918, and published in Dada, No. 3 (Zurich, December 1918).
The Realistic Manifesto (published August 5, 1920) was writt by Russian sculptor Naum Gabo and cosigned by his brother Antoine Pevsner, and the key text of Constructivism.
The founders of Purism, Amédée Ozfant and Charles-Edouard Jeanneret (better known as Le Corbusier), titled their manifesto Après le Cubisme (After Cubism).
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The first Surrealist manifesto was writt by the Frch writer André Breton in 1924 and released to the public 1925. The documt defines Surrealism as:
Psychic automatism in its pure state, by which one proposes to express -- verbally, by means of the writt word, or in any other manner -- the actual functioning of thought. Dictated by the thought, in the absce of any control exercised by reason, exempt from any aesthetic or moral concern.
Base de la peinture concrète, was writt by Otto G. Carlsund, Theo van Doesburg, Jean Hélion, Marcel Wantz and Léon Arthur Tutundjian, published in Revue Art Concret, no. 1 (April 1930).
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Mario Sironi was motivated by the political ideals of Italian Fascism more than any specific artistic movemt. Working on art for the regime's newspaper, Il Popolo d'Italia, Sironi evtually contributed by creating murals for the 1932 Exhibition of the Fascist Revolution. Afterwards, Sironi signed the Manifesto of Mural Painting in 1933. Sironi continued to work exlusively on murals until after WWII.
Towards a Free Revolutionary Art was writt by surrealist André Breton and Marxist Leon Trotsky as a reaction against the Soviet Union's mandated art.
CoBrA manifesto, titled La cause était tdue, writt by Christian Dotremont, and signed by Karel Appel, Constant, Corneille, Asger Jorn, and Joseph Noiret in 1948.
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The Refus global (or Total Refusal) was an anti-establishmt and anti-religious manifesto released on August 9, 1948, in Montreal by a group of sixte young Québécois artists and intellectuals known as les Automatistes, led by Paul-Émile Borduas.
"Dalà confirmed that confirmed that he is an ex-surrealist and in favor of religious paintings. Dalà said his role in the art of nuclear mysticism was to 'explain and accelerate the process."
Writt by Gustav Metzger in 1964, this was giv as a lecture to the Architectural Association, and tak over by studts as an artistic "Happing". One of Metzger's Ealing College studts was Pete Townshd, who later cited Metzger's concepts as an influce
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