FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 187 Woodstock Part B, Featured artist is Henri Gaudier-Brzeska

 

Francis Schaeffer

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WOODSTOCK ’69 FRIDAY Part 1

Published on May 22, 2015

Beschreibung Woodstock ’69 FRIDAY Part 1

With A Little Help Of My Friends Joe Cocker

Woodstock (film)

From Wikipedia, the free encyclopedia
Woodstock
WoodstockFilmPoster.jpg

Directed by Michael Wadleigh
Produced by Bob Maurice
Edited by Michael Wadleigh
Martin Scorsese
Stan Warnow
Yeu-Bun Yee
Jere Huggins
Thelma Schoonmaker
Distributed by Warner Bros.
Release date
  • March 26, 1970
Running time
185 minutes[1]
225 minutes (1994 director’s cut)
Country United States
Language English
Budget $600,000
Box office $50 million[2]

Woodstock is a 1970 documentary film of the watershed counterculture Woodstock Festival which took place in August 1969 near Bethel, New York. Entertainment Weekly called this film the benchmark of concert movies and one of the most entertaining documentaries ever made.[3]

The film was directed by Michael Wadleigh. Seven editors are credited, including Thelma Schoonmaker, Martin Scorsese, and Wadleigh. Woodstock was a great commercial and critical success. It received the Academy Award for Best Documentary Feature. Schoonmaker was nominated for the Academy Award for Film Editing, a rare distinction for a documentary.[4] Dan Wallin and L. A. Johnson were nominated for the Academy Award for Best Sound.[5][6] The film was screened at the 1970 Cannes Film Festival, but wasn’t entered into the main competition.[7]

The 1970 theatrical release of the film ran 185 minutes. A director’s cut spanning 225 minutes was released in 1994. Both cuts take liberties with the timeline of the festival. However, the opening and closing acts are the same in the film as in real life; Richie Havens opens the show and Jimi Hendrix closes it.

Jimi Hendrix at Woodstock was also released separately on DVD and Blu-ray.

In 1996, Woodstock was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant”. An expanded 40th Anniversary Edition of Woodstock, released on June 9, 2009 in Blu-ray and DVD formats, features additional performances not before seen in the film, and also includes lengthened versions of existing performances featuring Creedence Clearwater Revival and others.[8]

Artists[edit]

Artists by appearance[edit]

No. Group / Singers Title
1.* Crosby, Stills & Nash “Long Time Gone”
2.* Canned Heat Going Up the Country
3.* Crosby, Stills & Nash Wooden Ships
4. Richie Havens “Handsome Johnny”
5. Freedom” / “Sometimes I Feel Like a Motherless Child
6. Canned Heat A Change Is Gonna Come” **
7. Joan Baez Joe Hill
8. Swing Low Sweet Chariot
9. The Who We’re Not Gonna Take It” / “See Me, Feel Me
10. Summertime Blues
11. Sha-Na-Na At the Hop
12. Joe Cocker and the Grease Band With a Little Help from My Friends
13. Audience “Crowd Rain Chant”
14. Country Joe and the Fish “Rock and Soul Music”
15. Arlo Guthrie “Coming Into Los Angeles”
16. Crosby, Stills & Nash Suite: Judy Blue Eyes
17. Ten Years After “I’m Going Home”
18. Jefferson Airplane “Saturday Afternoon” / “Won’t You Try” **
19. “Uncle Sam’s Blues” **
20. John Sebastian “Younger Generation”
21. Country Joe McDonald FISH Cheer / Feel-Like-I’m-Fixing-to-Die-Rag
22. Santana Soul Sacrifice
23. Sly and the Family Stone Dance to the Music” / “I Want to Take You Higher
24. Janis Joplin Work Me, Lord” **
25. Jimi Hendrix Voodoo Child (Slight Return)” (credited as “Voodoo Chile” in the film) **
26. The Star-Spangled Banner
27. Purple Haze
28. “Woodstock Improvisation” **
29. “Villanova Junction”
30.* Crosby, Stills, Nash & Young Woodstock” / “Find the Cost of Freedom” **

* studio recording from an album by the artist
** director’s cut only, not in the original theatrical release

Artists omitted[edit]

Reception[edit]

Woodstock received universal acclaim from newspaper and magazine critics in 1970. It was also an enormous box office smash. The May 20, 1970 edition of Variety reported it was doing well in its third week in Chicago and San Francisco.[9] (The trade paper used the insider term “lap” to mean “week” in the headline that cited Woodstock’s $52,000 profit in Chicago.)[9] In each of those metropolitan areas the movie played at only one cinema during that week, but many thousands showed up.[10] Eventually, after it branched out to more cinemas including more than one per metropolitan area, it grossed $50 million in the United States. The budget for its production was just $600,000,[2] making it not only the sixth highest-grossing film of 1970 but one of the most profitable movies of that year as well.

Decades after its initial release, the film earned a 100% “Fresh” rating on the review aggregate website Rotten Tomatoes.[11]

Roger Ebert added Woodstock to his “Great Movies” list in 2005.[12]

Subsequent editions[edit]

25th Anniversary “Director’s Cut” (1994)[edit]

Woodstock Generation
19**–20**
R.I.P.
it up
Tear it up
have a Ball

Woodstock (director’s cut) closing credits

Upon the festival’s 25th anniversary, in 1994, a director’s cut of the film — subtitled 3 Days of Peace & Music — was released. It added over 40 minutes and included additional performances by Canned Heat, Jefferson Airplane and Janis Joplin. Jimi Hendrix‘s set at the end of the film was also extended with two additional numbers. Some of the crowd scenes in the original film were replaced by previously unseen footage.

After the closing credits — featuring Crosby, Stills, Nash & Young‘s “Find the Cost of Freedom”[13] — a list of prominent people from the “Woodstock Generation” who had died is shown, including John F. Kennedy, Malcolm X, Che Guevara, Martin Luther King, Jr., Mama Cass Elliot, Jim Morrison, John Lennon, Max Yasgur, Roy Orbison, Abbie Hoffman, Paul Butterfield, Keith Moon, Bob Hite, Richard Manuel, Janis Joplin and Jimi Hendrix. It ends with the epitaph to the right:

40th Anniversary edition (2009)[edit]

On June 9, 2009 a remastered 40th-anniversary edition was released on both Blu-ray and DVD, available as both a two-disc “Special Edition” and a three-disc “Ultimate Collector’s Edition”. The film was newly remastered and provided a new 5.1 audio mix. Among the special features are two extra hours consisting of 18 never-before-seen performances from artists such as Joan Baez, Country Joe McDonald, Santana, The Who, Jefferson Airplane, Canned Heat and Joe Cocker; five of the artists from this group (Paul Butterfield, Creedence Clearwater Revival, The Grateful Dead, Johnny Winter and Mountain) played at Woodstock but had never appeared in any film version.[14]

Woodstock: 3 Days of Peace & Music – The Director’s Cut, 40th Anniversary Revisited (2014)[edit]

Same version of the main movie, but some of the bonus items now in HD on Blu-ray. Also contains exclusive bonus tracks only available from special retailer versions from the last edition.[15]

Cultural references[edit]

In the science fiction thriller The Omega Man (1971), Colonel Robert Neville (played by Charlton Heston) is seen traveling to a movie theatre in Los Angeles to screen the film for himself alone. Woodstock had been a recent film debuting prior to release of The Omega Man, and had been held over (continuously run) in some theaters for months. Neville darkly remarks the film is so popular it was “held over for the third straight year”. As he repeats some of the dialogue verbatim, it is clear that Neville has repeated the ritual many times during the two years that he has believed himself to be the last man alive on Earth. Referencing the ground breaking, never before made, nature of the film Neville wryly reverses it to “they don’t make films like that any more”, a platitude common because of a new style of films emerging at the time.

 

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The peak of the drug culture of the hippie movement was well symbolized by the movie Woodstock. Woodstock was a rock festival held in northeastern United States in the summer of 1969. The movie about that rock festival was released in the spring of 1970. Many young people thought that Woodstock was the beginning of a new and wonderful age.

Jimi Hendrix (1942–1970himself was soon to become a symbol of the end. Black, extremely talented, inhumanly exploited, he overdosed in September 1970 and drowned in his own vomit, soon after the claim that the culture of which he was a symbol was a new beginning. In the late sixties the ideological hopes based on drug-taking died.

After Woodstock two events “ended the age of innocence,” to use the expression of Rolling Stone magazine. The first occurred at Altamont, California, where the Rolling Stones put on a festival and hired the Hell’s Angels (for several barrels of beer) to police the grounds. Instead, the Hell’s Angels killed people without any cause, and it was a bad scene indeed. But people thought maybe this was a fluke, maybe it was just California! It took a second event to be convincing. On the Isle of Wight, 450,000 people assembled, and it was totally ugly. A number of people from L’Abri were there, and I know a man closely associated with the rock world who knows the organizer of this festival. Everyone agrees that the situation was just plain hideous.

(How Should We Then Live, pp. 209-210)

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Featured artist is Henri Gaudier-Brzeska

Henri Gaudier-Brzeska at London’s Modern and Post-War British Art Sale

 

Henri Gaudier-Brzeska

From Wikipedia, the free encyclopedia
Henri Gaudier-Brzeska
Henri Gaudier-Brzeska self portrait.jpg

Self-portrait, 1913
Born Henri Gaudier
4 October 1891
St Jean de Braye, near Orléans, France
Died 5 June 1915 (aged 23)
Neuville-Saint-Vaast France
Nationality French
Known for
  • Sculpture
  • Painting
  • Drawing
Movement Vorticism

Henri Gaudier-Brzeska (4 October 1891 – 5 June 1915)[1] was a French artist and sculptor who developed a rough-hewn, primitive style of direct carving.

Biography[edit]

Henri Gaudier was born in Saint-Jean-de-Braye near Orléans. In 1910, he moved to London to become an artist, even though he had no formal training. With him came Sophie Brzeska,[2] a Polish writer over twice his age whom he had met at the Bibliothèque Sainte-Geneviève in Paris, and with whom he began an intense relationship, annexing her surname although they never married. (According to Jim Ede the linking of their names was never more than a personal arrangement.) During this time his conflicting attitudes towards art are exemplified in what he wrote to Dr. Uhlmayr, with whom he had lived the previous year:[1]

“When I face the beauty of nature, I am no longer sensitive to art, but in the town I appreciate its myriad benefits—the more I go into the woods and the fields the more distrustful I become of art and wish all civilization to the devil; the more I wander about amidst filth and sweat the better I understand art and love it; the desire for it becomes my crying need.”

Self-portrait, 1909

He resolved these reservations by taking up sculpture, having been inspired by his carpenter father. Once in England Gaudier-Brzeska fell in with the Vorticism movement of Ezra Pound and Wyndham Lewis, becoming a founding member of the London Group. After coming under the influence of Jacob Epstein in 1912, he began to believe that sculpture should leave behind the highly finished, polished style of ancient Greece and embrace a more earthy direct carving, in which the tool marks are left visible on the final work as a fingerprint of the artist. Abandoning his early fascination for Auguste Rodin, he began to study instead extra-European artworks located in the British Museum and the Victoria and Albert Museum. As he was unable to afford the raw materials necessary to attempt projects on the scale of Epstein’s Indian and Assyrian influenced pieces, he concentrated initially on miniaturist sculpture genres such as Japanese netsuke before developing an interest in work from West Africa and the Pacific Islands.[3]

Henri Gaudier-Brzeska, 1914, Boy with a Coney (Boy with a rabbit), marble

Seated Figure, The Singer, Caritas, Head of Ezra Pound

In 1913, he assisted with the illustrations of Haldane Macfall‘s book The Splendid Wayfaring along with Claud Lovat Fraser and Edward Gordon Craig. In 1913 Henri Gaudier-Brzeska met Alfred Wolmark, the Jewish artist and modelled a bronze bust of the young artist, and the two remained close friends.

Gaudier-Brzeska’s drawing style was influenced by the Chinese calligraphy and poetry which he discovered at the “Ezuversity”, Ezra Pound’s unofficial locus of teaching. Pound’s interaction with Ernest Fenollosa‘s work on the Chinese brought the young sculptor to the galleries of Eastern art, where he studied the ideogram and applied it to his art. Gaudier-Brzeska had the ability to imply, with a few deft strokes, the being of a subject. His drawings also show the influence of Cubism.

At the start of the First World War, Gaudier-Brzeska enlisted with the French army. He appears to have fought with little regard for his own safety, receiving a decoration for bravery before being killed in the trenches at Neuville-St.-Vaast. During his time in the army, he sculpted a figure out of the butt of a rifle taken from a German soldier, “to express a gentler order of feeling”[4]

Relationship with Sophie Brzeska[edit]

Gaudier met Sophie Brzeska, a Polish ex-governess twice his age when he was only 18. Gaudier was an artist and Brzeska a novelist. Several books about Gaudier’s work have been produced, but only the book Savage Messiah by H. S. Ede (Jim Ede) focuses on the relationship. Brzeska was more a companion and her relationship with Gaudier resembled a co-dependency, since both suffered from clear mental health issues. Henri was devoted to Sophie, even taking her last name as his, but Sophie was often dismissive and cold towards Henri’s romantic overtures (indeed, according to Ede they either never had sex, only once or twice, or rarely). They were often apart and Sophie would buy Henri prostitutes for his enjoyment instead of having relations with him.

Brzeska is often left out of accounts of Gaudier’s life. Even Savage Messiah itself focuses on the artist and Brzeska is regarded with very little interest. Ken Russell’s 1972 film of the book, however, changes the focus to Sophie and Henri Gaudier’s relationship.

Following his death Sophie Brzeska became distraught, eventually dying in an asylum in 1925.

Legacy[edit]

Jim Ede bought a sizeable portion of Gaudier-Brzeska’s work with Sophie Brzeska’s estate after she died intestate. Her estate included numerous letters sent between Henri and Sophie. Ede used these as the basis for his book Savage Messiah on the life and work of Gaudier-Brzeska, which in turn became the basis of Ken Russell‘s film of the same name. The conclusion of the film peruses many of his sculptures and fully demonstrates what great art he produced in his short lifetime.

Despite the fact that he had only four years to develop his art, Gaudier-Brzeska has had a surprisingly strong influence on 20th-century modernist sculpture in England and France. His work can be seen at the Tate Gallery, Kettle’s Yard, the Musée National d’Art Moderne in Paris and the Musée des Beaux-Arts d’Orléans. The Nasher Museum of Art at Duke University held an exhibition entitled The Vorticists: Rebel Artists in London and New York, 1914–18 from 30 September 2010 through 2 January 2011, which included his work.[5]

References[edit]

  1. ^ Jump up to:a b Ede, H.S. (1931). Savage Messiah. London: Heinemann. OCLC 1655358.
  2. Jump up^ Sophie Retrieved October 20, 2010
  3. Jump up^ Arrowsmith, Rupert Richard (2010). Modernism and the Museum: Asian, African, and Pacific Art and the London Avant-Garde. Oxford University Press. ISBN 978-0-19-959369-9 passim.
  4. Jump up^ Henri Gaudier-Brzeska, “Vortex (Written from the Trenches)”, in BLAST; 2 (1915), p. 34.
  5. Jump up^ Nasher Museum Retrieved 17 September 2010

Sources[edit]

  • Pound, Ezra, Gaudier-Brzeska: A Memoir (London: John Lane, 1916; rpt. New York: New Directions, 1970 ISBN 0-8112-0527-4)—memoir of Pound’s time with Gaudier-Brzeska, including letters and photos of sculpture
  • “We the Moderns”: Gaudier-Brzeska and the Birth of Modern Sculpture (Cambridge: Kettle’s Yard, 2007 ISBN 1-904561-22-5)—catalogue of an exhibition of the same name

External links[edit]

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