The interactive installation was displayed in the participatory space of the museum where visitors could walk through the strings, and touch and smell the expanding field of black dyed wools ( video impression Expanding Field by Artechne/Boulboullé). Due to COVID-19 restrictions in 2020-2021 visitor participation was constrained for several months, dye workshops were postponed, and visitors were not allowed to touch the exhibits during some lockdown periods the museum was temporarily closed. Throughout the two-year period that the exhibition was on view, the work changed and grew with the participation of the public that had the opportunity to attend historically-inspired black dyeing workshops and to add self-dyed woolen strings from the artists’ studio to the installation. Jongstra’s installation ‘Expanding Field’, produced for ‘Back to Black’ was a co-creation with members of the public who were learning about black dyeing. Film by Joshua Pinheiro Ferreira, PADRE FILMS () for the Back to Black exhibition at Museum Hof van Busleyden. The Burgundian Black Collaboratory, an expert workshop at Claudy Jongstra’s farm in Friesland from 16 – 18 January 2019. Olshin, Lost Knowledge: The Concept of Vanished Technologies and Other Human Histories, Leiden and Boston, Brill, 2019. On Jongstra’s collaboration with Viktor & Rolf see and for Re-invention, see David Edgerton, The Shock of the Old: Technology and Global History since 1900, Oxford, Oxford University Press, 2007 Benjamin B. From the point of view of the contemporary artist, Burgundian black can best be thought of as a ‘Re-invention’, a kind of ‘Re’practice which is quite common throughout the history of technology. Jongstra reinvested the revived black dyes in her art work and haute couture fashion, and Burgundian black fashion design, incorporated by Viktor & Rolf, has made it recently to the catwalks of Paris, New York and Milan. As discussed elsewhere in this book, the historical background to this exhibition was the Burgundian court and its role in making black clothes fashionable, and Flemish master dyers perfecting the art of dyeing deeply dark and intense tones of black in the Burgundian-Habsburg Netherlands. The crutched figure in the present work is a reference to Dalí's similar trope, a reference to the latter artist's sometimes equivocal attitude to the attractions of totalitarianism.In collaboration with the renowned textile artist Claudy Jongstra, we explored and revived Burgundian black colour technologies for the exhibition ‘Back to Black’ (Summer 2019 – Summer 2021) at the Museum Hof van Busleyden, a museum for Burgundian culture, in Mechelen. The present drawing is related to illustrations the artist created for Christian Zervos' Cahiers d'Art, part of a series of satirical works he created as a response to the rise of fascism in Spain in particular and in Europe more generally, all the while maintaining a greater conversation with fellow members of the Surrealist movement about ideology, nationalism and the human psyche.

Carlists maintained a very well trained militia throughout the nineteenth and early twentieth centuries and contributed considerably to the Nationalist troops during the war. Strongly aligned with the Catholic Church, they largely opposed secularism and social reform movements in the first half of the twentieth century and aligned with the Nationalist forces under General Franco in the Spanish Civil War. The Carlists are a conservative faction in Spanish politics that grew out of a challenge to the succession to the Spanish throne in the early nineteenth century. The civil war which ensued became a proxy conflict between the rising Fascist states of Germany and Italy and the Communist and democratic forces in Europe.

Like most of his fellow artists and intellectuals, he grew increasingly concerned as the Nationalist Party led by Franco gained wider support and eventually staged a coup in 1936, with the assistance of Carlist forces. Masson moved to Spain with his family in 1934 and involved himself deeply in Spanish culture and politics. Madame Guite Masson kindly has confirmed the authenticity of this work.

Hargesheimer Kunstauktionen Düsseldorf 11ĪNDRÉ MASSON (1896-1987) Un Carliste 18 x 14 3/8 in (45.7 x 36.5 cm), Drawn in 1936 Provenance Private collection, New York State.

Rossini Maison de Ventes aux Enchères 21.

Remrant touts les couleurs pastel