Emotion and Intellect giacometti vs rodcheckow
There is a great difference in art between emotion and intellect. They are two completely separate elements. Art that is emotional tends to be stirring and raw- it provokes an immediate reaction in the viewer. Art that is intellectual is deeper, it requires thought and time to chew on- to comprehend. To be successful a piece of art must contain both elements. Both Alberto Giacometti’s Woman with Her Throat Cut and Alexadr Rodchenko’s Oval Hanging Construction No. 12 are successful pieces of art- but they contain the elements of emotion and intellect in vastly different proportions. Giacometti’s work is instantly stirring. It is abstract, yet the implications of the forms, especially when combined with the knowledge of the title are immediate. Its emotion speaks loudly and clearly. Rodchenko’s work is intellect all the way. The work is cleverly constructed- it is geometric analytical and very calculated. It explores and provokes the viewer in a very different way from that of Giacometti’s work.
The constructivists as a group were vastly different than the surrealists. The Constructivists analyzed, prodded, tested and assessed- while the surrealists seemed play and mess around- making art into a random act trying to hash out the unconscious. Rodchenko’s section in the constructivist “organization” was called the objective analysis group. The bases of the analysis were the structural elements and laws of composition used in the creation of a work. The effects of this return to the roots are clearly evident in Rodchenko’s spatial constructions.
The surrealists were doing their own investigation into the creative process. At surrealist meetings led chiefly by Breton, pseudo psychoanalytical questions were asked of the members- seemingly to help them to emphasize the role of the unconscious in their creative methods.
Giacometti’s work is not utilitarian- nor does it attempt to be attainable by the common people as Rodchenko’s work does. Woman With Her Throat Cut is a study in conflicting emotions. Giacometti himself states that the piece was based upon a need to “find a solution between things that were full and calm, and clear and violent” Giacometti goes on to state that part of the solution was to depict objects moving in opposite directions.
It lies on the floor, darkly disturbing in its implications. The woman lies bare- triangular forms suggesting a spine are open to the air.