Dada and the Primitive Approach
Marcel Janco, Invitation to a Dada Evening, 1916, charcoal on paper, 73 x 55 cm
The exploration of primitivism originated from the need to step away from the bourgeois way of thinking and move into a more primal, instinctual mode of creating. Dadaist and Surrealist alike found African, Oceania, native, folk, and children’s art as inspiration for expressing human divinity unchained from societal structures-imposed way of thinking. Primitivism, originated as a cultural breath of fresh air when looking for conceptual inventiveness for early European artists. (Chakrabarty, Primitivism)
The Dadaist movement had a strong need to separate themselves from the masses which led artists to inevitably source inspiration from those cultures viewed as primitive, integrating it into their own style. Marcel Janco’s black and white illustration, Invitation to a Dada Evening, 1916, though lacking colour – speaks volume in form and shadow. In this piece there are two figures that have distinct abstracted planes depicting the human anatomy. There is one figure that is personifying distinguished primitive tribal facial features. The portrayal of man is clear in his figurative style using charcoal in an abstract application. Janco may not have been completely aware of his intuitive influences, as his primitive influences can be drawn from that of Cameroon/Bangwa natives. (Maurer, Dada and Surrealism) Invitation to a Dada Evening, is a representation of a night within the Dadaist community and what it typically entailed. Janco was known within the movement for the creation of his unique primitive inspired masks made up of mostly upcycled items and scraps. (Marcel, Dada and Surrealism) In this drawing, we get a glimpse at Janco’s influence of those becoming one with the masks. There is dancing figure in the background that brings a sense of movement within the piece, as the figure in the foreground sits dramatically highlighting the extravagant primitive facial features. The approach in drawing upon those cultures is seen clearly through the expressive facial features and abstracted illustration. The black and white, charcoal thick planes illustrate a primitive element although being very simplistic in approach. The masklike head being the main focal point, brings his hidden primitive influence front and center.
Wilfredo Lam, a Cuban – European trained Surrealist artist, focuses more intimately on the figures in a primitive, prominent manner that brings a more surrealist whimsical approach. Using colour and distinct shapes, Lam exhibits his connection and relationship with Surrealist primitive energy through lush jungle vegetation, and abstract figures. (Maurer, Dada and Surrealism) Using a linear methodology in The Jungle, the fragmented figures camouflage in with the background, with the exception of the shadowed outlines of the characters and what appear to be sugarcanes. (Maurer, Dada and Surrealism) This aids in building depth and distinction of foreground, middle ground and background highlighting the exaggerated features. The linear approach gives the painting a very elongated, geometric composition. The blue under painting emphasizes the orange, yellow, white and green that are used to illuminate the jungle, totemlike female figures (Maurer, Dada and Surrealism) and what looks like one distinct male in the middle of the painting. The physiques in this gouache painting all have long accentuated legs and emphasized buttocks, giving a very African aesthetic. There are many hidden elements within the painting that keep the eye looking for more information. The correlation between, The Jungle, Lam’s ancestral Caribbean roots, and his affinity with Africa (Maurer, Dada and Surrealism) brings an element of symbolism and surrealism in a primitive manner, specifically within the distinct facial features and application of the figures. Combining his European teachings with his surroundings, Lam portrays a surrealist expressive representation of his version of what primitive feels and looks like to him. The Jungle also comes as a tribute to his relationship with Picasso, as it mimics a similar energy to Picasso’s, Les Demoiselles d’Avignon, 1907. (Maurer) This is seen directly in the facial structures of the represented women. Embracing the Afro-Cuban style and his affinity with African culture, Lam created The Jungle, as a way of remaining deeply connected to his heritage while honouring the true primitive intuitiveness of the beauty of nature.
Wifredo Lam, The Jungle, 1943, gouache on paper mounter on canvas 94 ¼ x 90 ½ in.
Chakrabarty, Ananda. “Dada and Surrealism” (Primitivism Lecture, OCAD University. September 29, 2021).
Chakrabarty, Ananda. “Dada and Surrealism” (Primitivism Continued Lecture, OCAD University. October 20, 2021).
Maurer, Evan. “Dada and Surrealism.” Primitivism in 20th Century Art, Edited by William Rubin, The Museum of Modern Art, 1984, pp. 534-593.
