Last modified on Thu 10 Jun 2021 14.56 EDT
An environmental piece over 3km long, titled Axe Majeur (1980-ongoing), in the French town of Cergy-Pontoise, north-west of Paris; Passages (1990-94), a memorial to the philosopher Walter Benjamin in Portbou, Spain; Murou Art Forest (1998-2006) in Japan; and Way of Human Rights in Nuremberg, Germany (1989-93), are among the most celebrated works designed by the artist Dani Karavan, who has died aged 90.
Karavan practised various art forms, including painting and drawing, stage-set design and wall reliefs, but it was environmental sculpture, a new medium that emerged in the 1960s and to which he contributed significantly, that brought him fame. He created more than 70 environmental pieces in Israel, Europe and east Asia, some of which became tourist attractions and pilgrimage sites.
מונומנטים אדירים, קווים עדינים: יצירותיו הבולטות של דני קרוון בעולם
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Edgar Degas, the famous French Impressionist artist, once said: Art is not what you see, but what you make others see. While some find in art comfort and inspiration, or simply admire its aesthetic value, others might see works of art as an investment. Historically, art has been bought and sold at least since the Middle Ages.
Eternel Printemps, premier état, taille originale-variante type C, 1884-94. Bronze with dark brown patina. Sold for $2,770,500 on 4 May 2011 at Christie’s in New York
Claudel, however, met a tragic fate. They parted ways because of Rodin’s refusal to leave his long-time partner, Rose Beuret, and Claudel descended into madness. In 1913 she was committed to an asylum, where she remained until her death in 1943.
‘It is terrible to be so abandoned,’ she wrote in 1915. ‘I can’t help but succumb to the grief that overwhelms me.’ After her death, Claudel and her work slipped into relative obscurity, only emerging from her lover’s shadow in the late 20th century.
Several explanations have been given by various members of the movement as to how it received its name. According to the most widely accepted account, the name was adopted at Hugo Ball’s Cabaret Voltaire in Zürich, during one of the meetings held in 1916 by a group of young artists and war resisters that included Jean Arp, Richard Hülsenbeck, Tristan Tzara, Marcel Janco, and Emmy Hennings. When a paper knife inserted into a French-German dictionary pointed to the French word
dada (“hobby-horse”), it was seized upon by the group as appropriate for their anti-aesthetic creations and protest activities, which were engendered by disgust for bourgeois values and despair over World War I. Dada did not constitute an actual artistic style, but its proponents favoured group collaboration, spontaneity, and chance. In the desire to reject traditional modes of artistic creation, many Dadaists worked in collage, photomontage, and found-object construction, rather than in painting and sc
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