August 24th, 2024

Happy Saturday! It’s been a short week for me after my mini-vacation up North in Minneapolis. We had a very memorable time in the Land of Ten Thousand Lakes and of course enjoyed two incredible shows by the legendary Metallica. Those guys might be getting into their 60’s but it feels like they still have the energy from their stadium tours from the late 80’s. If you’re a fan and have the opportunity to grab a ticket to a show in the future, I can’t recommend it enough. Time is slipping away from them and I don’t know how many world tours they have left. I just hope I’m kicking as much ass as they do when I’m their age 😄 

Let’s move on to the art. If I don’t have an artist in mind for an issue, I’ll start browsing and see if anything catches my eye. This artist jumped out at me and being a fan of surrealism I had to do a deep dive.

Artist Spotlight - Andre Masson (1896-1987)

Career

André Masson was born on January 4, 1896, in Balagny-sur-Thérain, a small town in northern France. His early life was marked by a deep appreciation for nature, fostered by his upbringing in the rural environment. From a young age, Masson exhibited a keen interest in drawing, which led him to pursue formal training. In 1912, he enrolled in the Académie Royale des Beaux-Arts in Brussels, where he studied under Constant Montald, a Symbolist painter who instilled in him a love for the mystical and the enigmatic.

His early work reflected the influences of classical training, yet he was also deeply affected by the horrors of World War I. Enlisting in the French army in 1914, he was severely wounded at the Battle of the Marne. The trauma of war left an indelible mark on his psyche, which would later emerge in the violent and chaotic imagery of his paintings. After the war, Masson moved to Paris, where he became part of the burgeoning artistic community in Montparnasse. Here, he was introduced to Cubism and began experimenting with fragmented forms and a more abstract approach to composition.

The 1920s marked a turning point in Masson's career as he became deeply involved with the Surrealist movement. Introduced to André Breton, the founder of Surrealism, Masson quickly became a central figure within the group. His work began to reflect the principles of Surrealism, particularly the use of automatism, a technique that involved allowing the hand to move freely across the canvas without conscious control. This method was meant to tap into the subconscious mind, revealing the hidden thoughts and desires that lay beneath the surface.

His automatist drawings and paintings from this period are characterized by swirling lines, organic forms, and a sense of spontaneous creation. Works like Battle of Fishes (1926) exemplify his ability to merge the chaotic energy of nature with the psychological depth of Surrealism. This piece, with its violent imagery and frenetic energy, also hints at Masson's ongoing struggle to reconcile his experiences of war with his artistic vision.

During this time, Masson also explored the concept of "transparency" in his paintings, layering images to create a sense of depth and complexity. This technique can be seen in works like Gradiva (1939), where overlapping forms suggest multiple layers of meaning and interpretation. His interest in mythology and the unconscious led him to incorporate elements of Greek and Roman myths, as well as themes of metamorphosis and transformation, into his work.

As the 1930s progressed, his relationship with the Surrealist movement became increasingly strained. He began to distance himself from Breton and the more dogmatic aspects of Surrealism, seeking instead a more personal and individual approach to art. This period saw him experimenting with a broader range of styles, including a return to more classical and figurative elements.

In 1934, Masson moved to Spain, where he was profoundly influenced by the Spanish Civil War. The violence and suffering he witnessed there echoed the traumas of World War I and once again found expression in his art. His work from this period is marked by a heightened sense of drama and intensity, as seen in his Massacre series, where the brutality of war is depicted with a raw and unflinching honesty.

During World War II, Masson fled to the United States, where he became associated with the Abstract Expressionist movement. His work during his American years was marked by a continued exploration of automatism, but with a greater emphasis on color and abstraction. He was particularly influential on younger American artists, such as Jackson Pollock, who admired his commitment to spontaneity and the unconscious.

After the war, he returned to France and continued to evolve as an artist. He moved away from Surrealism entirely, embracing a more lyrical and meditative style. His later works, such as The Metamorphosis of the Lovers (1947), reflect a deep sense of introspection and a return to themes of love, nature, and mythology. These paintings are marked by a delicate balance between abstraction and figuration, as well as a rich, vibrant use of color.

In his final years, Masson continued to paint, although his output had slowed down considerably. His later works reflected a more serene and introspective approach, far removed from the chaotic and often violent imagery of his earlier periods. He had settled into a quieter life, away from the intense artistic circles he had once been part of, but he remained engaged with the intellectual and cultural debates of his time.

André Masson’s life came to an end on October 28, 1987, in Paris, France leaving behind a vast and varied body of work that continues to be celebrated for its innovation and emotional depth.

Contributions to the Art World

Masson was one of the earliest and most influential practitioners of automatism in art. This technique became a cornerstone of Surrealism, a movement that sought to explore the unconscious and the irrational. Masson’s automatic drawings and paintings, with their spontaneous lines and forms, were among the first to demonstrate how automatism could be used to tap into deeper psychological states and produce innovative, abstract compositions.

As a key member of the Surrealist movement, he played a crucial role in shaping its direction and aesthetics. His work, particularly in the 1920s and 1930s, exemplified the Surrealist ideals of exploring dreams, the unconscious, and the irrational. Masson’s ability to combine organic forms with abstract, chaotic energy helped to define the visual language of Surrealism. His influence extended to other Surrealists, including artists like Salvador Dalí, who were inspired by his explorations of the subconscious mind.

Throughout his career, Masson was a champion of artistic freedom, rejecting rigid styles and dogmatic approaches to art. He continually reinvented his style, moving from Surrealism to more abstract and lyrical works, always driven by a desire to explore new ideas and techniques. This commitment to artistic freedom and experimentation was a significant influence on the artists who came after him, encouraging them to break away from traditional forms and explore the boundaries of their creativity.

Style

In his automatic drawings and paintings, Masson would start by making quick, spontaneous marks, often without any preconceived idea of the final image. The resulting works were characterized by swirling lines, organic forms, and an overall sense of movement and fluidity. These automatic creations often evoked a dreamlike or hallucinatory quality, filled with abstract shapes that seemed to emerge from the depths of the mind.

One of his most famous techniques involved applying glue to the canvas and then sprinkling sand over it. Once the glue dried, he would brush off the excess sand and work with the resulting texture, sometimes adding color or further drawing on the surface. This technique created an unpredictable, rugged texture that enhanced the sense of spontaneity and organic growth in his work.

Masson frequently employed techniques of transparency and layering in his paintings. By overlapping forms and using transparent washes of color, he created compositions that suggested multiple layers of reality or consciousness. This approach allowed him to explore the idea of multiple meanings and interpretations within a single work, encouraging viewers to look beyond the surface and delve into the deeper, more hidden aspects of the image.

His art often expressed the darker aspects of human experience, exploring themes of destruction, suffering, and the fragility of life. Yet, through his use of abstract forms and automatism, these themes were given a universal and timeless quality, making them resonate beyond the specific historical contexts in which they were created.

Influences and Lessons

In the early stages of his career, Masson was influenced by Cubism, particularly the work of Pablo Picasso. Cubism’s emphasis on fragmented forms and multiple perspectives resonated with Masson and can be seen in his early explorations of abstraction. While he eventually moved away from Cubism, the movement’s deconstruction of form and space left a lasting impact on his approach to composition.

Masson’s early training under Constant Montald at the Académie Royale des Beaux-Arts in Brussels introduced him to Symbolism, an artistic movement that emphasized mysticism, mythology, and the exploration of the human soul. Montald himself was influenced by Gustave Moreau, a Symbolist painter known for his fantastical and mythological imagery. This exposure to Symbolism fostered Masson’s lifelong interest in mythology, spirituality, and the metaphysical.

Later in his career, Masson became interested in Eastern philosophy, particularly Zen Buddhism. This influence is evident in his pursuit of spontaneity, balance, and a sense of harmony in his work. Zen’s emphasis on the present moment and the idea of achieving a state of "no-mind" likely influenced his approach to automatism and his desire to create art that transcends rational thought.

Masson’s career was marked by his commitment to his own artistic vision, even when it led him away from established movements like Surrealism. His journey teaches us the importance of staying true to our creative instincts and not being afraid to forge our own path, even if it means breaking away from the mainstream.

Style Representation

Collectors Corner - datavelvet, koi, p1x3lboy

Final Thoughts

This year I’ve been obsessed with boots. Yeah I know, that’s weird 😆 It’s just another tangent on an interest in Americana workwear that started almost 20 years ago in college. Over the last few years the artisan boot making world has exploded with amazing craftsmen and craftswomen making long lasting footwear that will last decades beyond any of the fast fashion brands available today. I’ve been listening to boot podcasts (yes, they exist) where they interview these makers and small brands, and it’s stoking the fire of my own creativity.

My point is find something inspiring and go deep into it. One can find infinite inspiration in those who dedicate their life to their craft, whether that’s art or cooking or making hand welted boots. It’s an incredible time in world history to be able to find those people and learn from them.

As always, if you enjoyed this edition I would really appreciate if you shared it. Just hit the share button below. And if you’re not following me on X yet, I’d love to follow you back. I’m also on Warpcast!

On that note, I’ll leave you with a quote that reminds me to make the most of the damn life:

Enjoy your weekend, friend!

P.S. If you have feedback I’d love to hear it! A reply to this email goes directly to me.

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