About The Era
As demonstrated by the first generation of modernists in the circle of Alfred Stieglitz, American artists rarely abandoned referential ties to the physical world completely. The simplification of form, multiple perspectives, and ideas about the fourth dimension that radical proponents of cubism espoused would find their most compelling American expressions in the fishermen of Marsden Hartley, and the animal bones and skulls of Georgia O’Keeffe. To these artists, abstraction meant the synthesis of personal experience.
The introduction of psychological ideas, first in the form of Sigmund Freud’s discussion of the unconscious and later in the writings and art of the surrealists, found an enthusiastic audience in America. Such new concepts not only expanded ideas about the human mind but also encouraged the liberation of social conduct, in particular, sexual mores. Women increasingly became involved in creative aspects of the new modern age. In 1934 the Los Angeles artists Helen Lundeberg and Lorser Feitelson issued the only surrealist manifesto to appear in the United States, thereby demonstrating that in a relatively short time California had seriously challenged New York as the leader of the brave new world.
- About the Era.
- Ehrlich, Susan, ed. Pacific Dreams: Currents of Surrealism and Fantasy in California Art, 1934-1957. Los Angeles: Armand Hammer Museum of Art and Cultural Center, 1995.
Lorser Feitelson: a Retrospective Exhibition. Los Angeles: Municipal Art Gallery, 1972.
- Duncan, Michael. Post Surrealism. Logan, UT: Utah State University, 2002.
- Los Angeles County Museum of Art. New York: Thames and Hudson, 2003.
- Moran, Diane. "Post-surrealism: the Art of Lorser Feitelson and Helen Lundeberg." Arts Magazine 57, no.4 (1982): 124-128.