Difference between revisions of "L'Élan"
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| − | The journal '''L'Élan''' was founded as a way for some members of the Parisian avant-garde to voice their support for the French war effort. Its publisher, the painter [[Amédée Ozenfant]], had worked in the publications department of the propaganda service in Paris, and this background is reflected in the journal’s allegorical covers. Ozenfant also sponsored monthly meetings attended by Picasso, Matisse, and Apollinaire, and in 1918 he collaborated with the architect Le Corbusier to establish Purism, an aesthetic movement they considered to be a refinement of Cubism. [http://artmuseum.princeton.edu/art/exhibitions/1913-modernism/objects/85851] | + | The journal '''L'Élan''' was founded as a way for some members of the Parisian avant-garde to voice their support for the French war effort. Its publisher, the painter [[Amédée Ozenfant]], had worked in the publications department of the propaganda service in Paris, and this background is reflected in the journal’s allegorical covers. Ozenfant also sponsored monthly meetings attended by Picasso, Matisse, and Apollinaire, and in 1918 he collaborated with the architect Le Corbusier to establish Purism, an aesthetic movement they considered to be a refinement of Cubism. [http://artmuseum.princeton.edu/art/exhibitions/1913-modernism/objects/85851 (Source)] |
10 issues appeared between 15 April 1915 and 1 December 1916. Contributors included Amédée Ozenfant, Guillaume Apollinaire, Max Jacob, Pierre Reverdy, P. Fort, R. Allard, and others. | 10 issues appeared between 15 April 1915 and 1 December 1916. Contributors included Amédée Ozenfant, Guillaume Apollinaire, Max Jacob, Pierre Reverdy, P. Fort, R. Allard, and others. | ||
==Issues== | ==Issues== | ||
| − | * [http://bluemountain.princeton.edu/bluemtn/cgi-bin/bluemtn?a=cl&cl=CL1&sp=bmtnaaf&ai=1 Scans | + | * [http://bluemountain.princeton.edu/bluemtn/cgi-bin/bluemtn?a=cl&cl=CL1&sp=bmtnaaf&ai=1 Scans in Blue Mountain Project] |
| − | * [http://digital.lib.uiowa.edu/cdm/compoundobject/collection/dada/id/25311/rec/20 Scans | + | * [http://digital.lib.uiowa.edu/cdm/compoundobject/collection/dada/id/25311/rec/20 Scans in Iowa Digital Library] |
| − | * [http://sdrc.lib.uiowa.edu/dada/Elan/ Scans | + | * [http://sdrc.lib.uiowa.edu/dada/Elan/ Scans in The International Dada Archive] |
| − | == | + | ==Links== |
| − | * [http://www.dada-companion.com/journals/per_elan.php L'Élan | + | * [http://www.dada-companion.com/journals/per_elan.php L'Élan in Dada Companion] |
{{Avant-garde and modernist magazines}} | {{Avant-garde and modernist magazines}} | ||
Revision as of 21:14, 9 August 2014
The journal L'Élan was founded as a way for some members of the Parisian avant-garde to voice their support for the French war effort. Its publisher, the painter Amédée Ozenfant, had worked in the publications department of the propaganda service in Paris, and this background is reflected in the journal’s allegorical covers. Ozenfant also sponsored monthly meetings attended by Picasso, Matisse, and Apollinaire, and in 1918 he collaborated with the architect Le Corbusier to establish Purism, an aesthetic movement they considered to be a refinement of Cubism. (Source)
10 issues appeared between 15 April 1915 and 1 December 1916. Contributors included Amédée Ozenfant, Guillaume Apollinaire, Max Jacob, Pierre Reverdy, P. Fort, R. Allard, and others.
Issues
- Scans in Blue Mountain Project
- Scans in Iowa Digital Library
- Scans in The International Dada Archive
Links
| Avant-garde and modernist magazines | ||
|---|---|---|
|
Poesia (1905-09, 1920), Der Sturm (1910-32), Blast (1914-15), The Egoist (1914-19), The Little Review (1914-29), 291 (1915-16), MA (1916-25), De Stijl (1917-20, 1921-32), Dada (1917-21), Noi (1917-25), 391 (1917-24), Zenit (1921-26), Broom (1921-24), Veshch/Gegenstand/Objet (1922), Die Form (1922, 1925-35), Contimporanul (1922-32), Secession (1922-24), Klaxon (1922-23), Merz (1923-32), LEF (1923-25), G (1923-26), Irradiador (1923), Sovremennaya architektura (1926-30), Novyi LEF (1927-29), ReD (1927-31), Close Up (1927-33), transition (1927-38). | ||
| Full list | ||
|---|---|---|
|
Entretiens politiques et littéraires (1890-93), Moderní revue (1894-1925), Volné směry (1897-1948), Mir iskusstva (1898-1904), Vesy (1904-09), Poesia (1905-09, 1920), Zolotoe runo (1906-10), The Mask (1908-29), Apollon (1909-17), Ukraïnska khata (1909-14), Der Sturm (1910-32), Thalia (1910-13), Rhythm (1911-13), Trudy i dni (1912), Simbolul (1912), The Glebe (1913-14), Ocharovannyi strannik (1913-16), Revolution (1913), Blast (1914-15), The Little Review (1914-29), Futuristy (1914), Zeit-Echo (1914-17), The Egoist (1914-19), L'Élan (1915-16), 291 (1915-16), Orpheu (1915), La Balza futurista (1915), MA (1916-25), SIC (1916-19), flamman (1916-21), The Blindman (1917), Nord-Sud (1917-18), De Stijl (1917-20, 1921-32), Dada (1917-21), Klingen (1917-20, 1942), Noi (1917-25), 391 (1917-24), Modernisme et compréhension (1917), Anarkhiia (1917-18), Iskusstvo kommuny (1918-19), Formiści (1919-21), S4N (1919-25), La Cité (1919-35), Aujourd'hui (1919), Exlex (1919-20), L'Esprit nouveau (1920-25), Orfeus (1920-21), Action (1920-22), Proverbe (1920-22), Ça ira (1920-23), Zenit (1921-26), Kinofon (1921-22), Het Overzicht (1921-25), Jednodńuwka futurystuw (1921), Nowa sztuka (1921-22), Broom (1921-24), Život (1921-48), Creación (1921-24), Jar-Ptitza (1921-26), New York Dada (1921), Aventure (1921-22), Spolokhi (1921-23), Gargoyle (1921-22), Veshch/Gegenstand/Objet (1922), Kino-fot (1922-23), Le Coeur à barbe (1922), Die Form (1922, 1925-35), 7 Arts (1922-28), Manomètre (1922-28), Ultra (1922), Út (1922-25), Dada-Jok (1922), Dada Tank (1922), Dada Jazz (1922), Mécano (1922-23), Contimporanul (1922-32), Zwrotnica (1922-23, 1926-27), Secession (1922-24), Stavba (1922-38), Gostinitsa dlya puteshestvuyuschih v prekrasnom (1922-24), Putevi (1922-24), Klaxon (1922-23), Akasztott Ember (1922-23), MSS (1922-23), Perevoz Dada (1922-49), Egység (1922-24), L'Architecture vivante (1923-33), Merz (1923-32), LEF (1923-25), G (1923-26), The Next Call (1923-26), Russkoye iskusstvo (1923), Disk (1923-25), Irradiador (1923), Surréalisme (1924), Almanach Nowej Sztuki (1924-25), La Révolution surréaliste (1924-29), Blok (1924-26), Pásmo (1924-26), DAV (1924-37), Bulletin de l'Effort moderne (1924-27), ABC (1924-28), CAP (1924-28), Athena (1924-25), Punct (1924-25), 75HP (1924), Le Tour de Babel (1925), Periszkop (1925-26), Integral (1925-28), Praesens (1926, 1930), Sovremennaya architektura (1926-30), bauhaus (1926-31), Das neue Frankfurt (1926-31), L'Art cinématographique (1926-31), Dokumentum (1926-27), Kritisk Revy (1926-28), Novyi LEF (1927-29), i 10 (1927-29), Nova generatsiia (1927-30), ReD (1927-31), Dźwignia (1927-28), Tank (1927-28), Close Up (1927-33), Horizont (1927-32), transition (1927-38), Discontinuité (1928), Munka (1928-39), Quosego (1928-29), Urmuz (1928), Unu (1928-32), Revista de Antropofagia (1928-29), 50 u Evropi (1928-29), Documents (1929-30), L'Art Contemporain - Sztuka Współczesna (1929-30), Adam (1929-40), Art concret (1930), Zvěrokruh (1930), Alge (1930-31), Le Surréalisme au service de la révolution (1930-33), Levá fronta (1930-33), Kvart (1930-37, 1945-49), Nová Bratislava (1931-32), Linja (1931-33), Spektrum (1931-33), Nadrealizam danas i ovde (1931-32), Ulise (1932-33), Die neue Stadt (1932-33), Mouvement (1933), PLAN (1933-36), Karavan (1934-35), Ekran (1934), Axis (1935-37), Acéphale (1936-39), Telehor (1936), aka (1937-38), Plastique (1937-39), Plus (1938-39), Les Réverbères (1938-39). | ||
