kupka fugue in two colors

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Frantisek Kupka The Fugue of Two Colors

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Page 1: Kupka Fugue In Two Colors

Frantisek Kupka

The Fugue of Two Colors

Page 2: Kupka Fugue In Two Colors

Combining Movement with Combining Movement with MusicMusic

• Frantisek Kupka (1871-1957) was one of the most influential Modern Czech painters

• Contributed to the development of Abstract Art Movement

• Studied in Prague, Vienna and Paris• Was puzzled with a dilemma of combining

painting, which is a static medium of delivering a message and music, which is a dynamic medium that cannot be pictured as an image.

Page 3: Kupka Fugue In Two Colors

Fugue of Two Colors

• The idea of the Fugue of Two Colors is not completely abstract

• On one side coming from – Movement of a ball of red and blue color

• On the other – Listening to Music of Wagner

• Many sketches have been made until the final masterpiece could be embedded on canvas with oil paint

Page 4: Kupka Fugue In Two Colors

Initial Draft with the Final PieceThe world of movement contrasting the world of

abstract thinking

Amorpha: Fugue in Two Colors. (1912). Gouache and ink on paper

Replica of Fugue in Two Colors: Amorpha, 1912. (1946). Gouache, ink and pencil on paper.

Page 5: Kupka Fugue In Two Colors

Initial Draft with the Final Piece

• What can be noted right away from those drafts?• What is similar to the initial draft?• What is different?• Which one is more appealing?• Do you notice the movement of the ball

transforming into music?

Page 6: Kupka Fugue In Two Colors

Development

Amorpha: Fugue in Two Colors. (1912). Gouache and ink on paper.

Page 7: Kupka Fugue In Two Colors

Second Draft of the Fugue

• What is different about it?• What makes you differentiate the two?• Why the lines are so thin in this draft?

Page 8: Kupka Fugue In Two Colors

The Costume of a Clown

Amorpha: Fugue in Two Colors. (1912). Gouache and ink on paper

Page 9: Kupka Fugue In Two Colors

Third Draft of the Fugue

• Isn’t this draft more playful? More Life-like?• Can you hear the music, when you look at it?• What is the difference between the 2nd and 3rd drafts?

Page 10: Kupka Fugue In Two Colors

UNIVERSE

Amorpha: Fugue in Two Colors. (1912). Gouache on paper

Page 11: Kupka Fugue In Two Colors

Fourth Draft of the Fugue

• Is the 4th draft deeper than the 3rd?• If so, how is it expressed?• Which one is more appealing?

Gives more freedom to the eyes? Gives more freedom to the thought?

Page 12: Kupka Fugue In Two Colors

Imagination

Amorpha: Fugue in Two Colors. (1912). Gouache and ink on paper

Page 13: Kupka Fugue In Two Colors

Returning Back & Polishing

What has changed? Any new techniques added?

Page 14: Kupka Fugue In Two Colors

Geometry of Circles and Ovals

Amorpha: Fugue in Two Colors. (1912). Gouache and ink on paper

Page 15: Kupka Fugue In Two Colors

Reshaping

Do the shapes of circles produce sounds? What are you hearing?

Initial Draft 6th Draft

Page 16: Kupka Fugue In Two Colors

Crater

Amorpha: Fugue in Two Colors. (1912). Gouache and ink on paper

Page 17: Kupka Fugue In Two Colors

Upward Water Flow

Amorpha: Fugue in Two Colors. (1912). Gouache and ink on paper

Page 18: Kupka Fugue In Two Colors

Three Players Chess Game

Amorpha: Fugue in Two Colors. (1912). Gouache and ink on paper

Page 19: Kupka Fugue In Two Colors

immortem

Replica of Fugue in Two Colors: Amorpha, 1912. (1946)

Page 20: Kupka Fugue In Two Colors

Conclusion

• Extraordinary image is hard to forget• Just like music… it is hard to hear it again,

exactly the same way as for the first time• Kupka achieved a balance between the fine arts

and performing arts – colors and movement coming to sound like a melody of his soul, in the Fugue of Two Colors: Shapeless.