(movement, november 1948-november 1951)
CoBrA .It began in Denmark Cobra was chosen as the name, taken from the names of the 3 cities involved. COpenhagen, BRussels and Amsterdam. Copenhagen is the head, Brussels is the body, and Amsterdam is the tail of the Cobra….
|Klee and CoBra. Paul Klee in particular was greatly influenced by the work and the particular qualities of children’s art, as his finger paintings and puppets, as well as his writings, attest. Following Klee’s lead, and in the wake of the Second World War, the loose collective of artists known as CoBrA (from the initials of the members’ home cities of Copenhagen, Brussels and Amsterdam) embraced childhood creativity as a redemptive freedom against the comparative formal strictures of earlier avant gardes. Buy the book at amazon.com|
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Website dedicated to the Cobra artmovement.
It was in the Paris café Notre Dame that Asger Jorn (from Copenhagen), Joseph Noiret and Christian Dotremont (from Brussels) and Constant, Corneille and Karel Appel (from Amsterdam) signed the manifesto ‘La Cause était entendue (The Case was Heard). This manifesto, drawn up by Dotremont, was a response to a statement by the French Surrealists entitled ‘La Cause est entendue’ (The Case is Heard). In it Dotremont makes it clear they are no longer in agreement with the French artists. The CoBrA painters wanted to break new ground, preferring to work spontaneously and with the emphasis more on fantastic imagery. In 1951 the CoBrA movement was officially disbanded, yet during its short existence CoBrA rejuvenated Dutch modern art…
The movement has its roots in Surrealism and especially German Expressionism, but incorporates many of the attitudes and techniques of American abstract expressionism. The artists were participants in the shifts in prevailing philosophical currents of the time, from existentialism to that aspect of critical theory that took shape in Paris in the 1960s. Coalescing around the Situationiste Internationale and Guy Debord, their manifestoes and publications form the basis upon which much post-modern work of the latter half of the century found its intellectual grounding…
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