Abstract In this article, the writer notes that Cubism as an art movement is considered one of the most revolutionary in art history. It was part of the modernist art movement during the Twentieth Century, which altered the principles of art that had been dominant for centuries. A central thesis or theme explored in this paper is that Cubism was much more than just another artistic style and that it heralded a new way of perceiving and understanding reality and the world. The writer maintains that in this sense Cubism was in essence a protest or a refusal to accept the norms and value that were prevalent at the time. The writer concludes that the Cubist movement as a form of artistic protest against the conventions of art also opened the way to other areas of artistic experimentation and creativity. The writer also maintains that in sculpture this led to many innovative works of art that explored the possibilities of alternative perceptions of space and depth and enriched the ways in which sculpture could be created and appreciated.
Outline:
Introduction
Cubism and Reality
Cubism and Modernism
Cubist Art and Sculpture
Conclusion
From the Paper "There was a general feeling among many thinkers and artists in the early years of the Twentieth Century that the views and ideas that were prominent in society were false and needed to be radically questioned. One example of this type of questioning was the opposition to the view that reality was fixed, static and obvious. In terms of art history this view of reality was known as representation. In other words, all that an artist was required to do was to copy or re-present what the eyes saw, which was already there in the outside world.
"This view was questioned by artists like Picasso and other modern artists. They were of the opinion that reality was relative or dependent on context and point of view. Reality therefore was not 'fixed' or static but was continually changing according to one's perspective or point of view. This questioning of the accepted views about reality was to have a great influence on the development of Cubism and other artistic movements in the Twentieth Century, such as Dadaism and Surrealism."
Abstract The cubist art work has certain attributes which define its construction and conception. These ideas, clustering around these works of art, were applied to other art forms with varying results. This paper explores how these new and original ideas about cubism manifested themselves in the productions of art in other genres.
From the Paper "The Cubist style must be viewed as an extension of the anti-Romanic, anti-Impressionistic mood expressed by progressive artists in many creative genres in the fin de siecle period and later. As Cocteau wrote in his "Le Coq et l'Arlequin," the artists were sickened "by the vague, the melting, the superfluous"(82). It had its most intensely creative period between roughly 1908 and beginning of the First World War. The most important center for this "reaction" in all of the arts was Paris. Picasso and Braque are generally seen as the seminal artists in this new form called Cubism. They were interested in getting beyond what they saw as the limiting concept of perspective, which the artistic tradition had inherited from the Renaissance."
Abstract This paper explains the history of the Cubist movement and describes how Cubist paintings reduce images to their most essential elements to create an eye-catching design. The paper explains the two different Cubist styles and describes the first Cubist painting, "Les Demoiselles d'Avignon" by Pablo Picasso. The paper includes the criticism there was of Cubist artists and their defense. Finally, the author concludes with his/her plans to use the Cubist style of art to represent his/her ideas in a clear yet forceful way.
From the Paper "According to the popular Internet art encyclopedia, 'Artcyclopedia,' the Cubist movement in art developed between the years of 1908 and 1912, amongst a small colony of European artists. The early Cubist's main influences were said to have been Tribal Art, as prefigured in the works of the post-impressionist Paul Cezanne. (Artcyclopedia, 2005) Unlike these earlier artist's works, however, which still had recognizable, realistic forms, in Cubist paintings the subject matter was broken up, analyzed by the painter, and then reassembled in an abstracted form of shapes and stark designs."
Abstract This art study analyzes the premise of George Braques' role in the creation of analytic cubism within the Cubist movement of the early twentieth century. It shows how Braques brought forth a popularization of the Cubist movement alongside Pablo Picasso to generate conceptual and simultaneous perspective on cubes, which had made a great impact on the success of the overall movement.
From the Paper "This was the major influence that Braques had in conjunction with Picasso, forming a new style of painting that had become far more conceptual than anything done before. Although certain forms of cubism did use a various geometric patterns in a one-dimensional application, Analytic Cubism was created by Braques in order extend the way that Nature often depicted objects in the human mind, rather than from externally inspired perceptions that may be seen by the eye. Braques played an integral part in learning to see objects within his mind's eye, which would translate into various still life objects found in his works. In this manner, his painting describe the way and manner in which he played a crucial role in how cubes were to be conceptualized in a simultaneous perspective."
This essay looks at how Cubist art in general and "The Portuguese" by George Braque specifically drew from and expanded on the consciousness and experiences of the modern age of technology.
Abstract The writer examines the works of George Braque and shows how he was the lesser known of the two founders of Cubism, always in the shadow of Pablo Picasso. This essay examines the artistic foundations behind one of the earliest Cubist works of Braque, "The Portuguese", and explains the unique importance of this painting in its day and even now.
From the Paper "An examination of Georges Braque's The Portuguese, painted in 1911, and the Cubist movement created by Braque and Picasso, helps show how technology was first widely used both instinctively and deliberately by artists. The Portuguese is an oil on canvas work approximately four feet by three feet in size; the colors are monochromatic in tone, thus emphasizing structure over the gently shaded colors. The subject matter of the painting is not the external world or nature; the painting exists within a reality and world of its own. This alone was revolutionary. Like most Cubist art, it has a restricted setting and manmade objects predominate over natural ones (Hughes 16). In this phase of what was known as analytical cubism objects were taken apart (dissected) and reshaped with the use of flat intersecting planes; perspective is two-dimensional and depth is limited. Four hundred years of Renaissance traditions (form, color, and space) were thrown out by The Portuguese and other Cubist works. Instead of a single vantage point at a single moment in time, the viewer sees the painting from many angles and at many different moments; the fixed point of view is gone. The painting also includes stenciled letters and numbers. Braque wrote, ?...as part of a desire to to come as close as possible to a certain kind of reality, in 1911 I introduced letters into my paintings.? In summary then, the elements above make The Portuguese one of the first examples of a painting as a unique object set in a revolutionary form. The degree of abstraction in Cubist art was also revolutionary. This new perception of the world came at a time of great transformation in society, and this work of Braque, seen within the larger context of Cubism, borrows much from the elements of the new world. "
Abstract This paper explains the explication of Braque's "Violin and Candlestick", with reference to the Cubist movement in art. It explores the painting's schematic structure and color range. The author briefly discusses the style of Cubism.
From the Paper "Pablo Picasso and Georges Braque are said to have begun developing the art form known as cubism. Therefore by the time Braques painted Violin and Candlestick in the movement was well underway. Certainly this developed style ..."
Tags: braque, georges, cubism, violin and candlestick, art, history
Abstract This paper explains how Cubist painters and sculptors rejected many of the formally accepted elements of art in favor of ambiguous and indeterminate representations of art. The paper also describes the unique characteristics of Cubism and takes a look at the importance of the Cubist movement, its influence on modern art, the philosophy behind the movement, and some of the more famous Cubist artists.
From the Paper "Cubism was a philosophy and style of art that also questioned all established values of art. It also "created an artistic language of intentional ambiguity". (ibid) In order to understand Cubist sculpture beyond just its formal and technical innovations, it is important to understand something of the background to the modernist era of artistic re-evaluation."
Abstract A summary of Diego Rivera's work and style, followed by an interview with the artist himself. The painter answers questions regarding his shifts in style, mural art in Mexican history, his atheism and his inspirations. It is apparent how his paintings emphasize the power of art as a medium to bring about social reforms.
From the Paper "Diego Rivera was one of the leading artists of the 20th century. He was born in 1886 in Leon, Guanajuato. He had an inherent talent for painting (arts), which was evident when he started to draw even as he was just 3 years old. He went on to become one of Mexico's leading painters. In the early part of his career he was a traditional artist but later on, he was influenced by Cezanne and the Cubist approach to paintings. This is clearly reflected in his works such Zapatista Landscape, Woman at the well, etc. However it was Picasso who made a great influence upon him and Diego produced many of his works predominantly reflecting Cubical style, which gives more freedom for the artist. His artwork "Sailor at lunch" is typical of Cubism."
Abstract This paper provides a discussion of the careers of Malevich and Popova. The development of Malevich's style, through abstract art and Suprematism, is outlined. Popova's artist development, during which she joined Malevich's Suprematic movement, is reviewed. The Cubist influences on their work, their architectonic painting and figure sketches are examined.
From the Paper "Until the start of the twentieth century, drawings, paintings, monuments and all other forms of artistic creations were based on the subjects and compositions of real world thoughts and dreams. This representation was always pictorial based reflecting clearly the real world ideas. However, with the emergence of science and technology and increasing use of machineries in the life of a common man, artists began to interpret the new emerging world in a different manner. The earlier decades of the twentieth century can be termed as an era of extraordinary development in the artistic world. Several movements lead the modern art to particular new directions. Movements like Fauvism, Cubism and Futurism guided the artists of twenty first century to explore new avenues and to reassess the role of art. Movements like Suprematism and Constructivism stemmed from the materialism of the machine age. Although, these movements were comparatively short lived, they had a deep impact on the development of art in the coming days."
Abstract This paper begins by providing a detailed description of Picasso's childhood. It examines his early education and how his life became directed towards the painting and art scene. The paper discusses various periods in Picasso's life including the "Blue Period" (1900-1904) and his "Rose Period". Various paintings from these, and other periods, are mentioned and analyzed.
From the Paper "Born on October 25, 1881 in Malaga Spain, Pablo Picasso was destined to become one of the world's greatest artists. He was highly skilled in drawing and painting by the time he was in his mid-teens. His artistic career lasted more than 75 years, and he produced thousands of paintings during that time. Specifically, Picasso produced over 20,000 works of art during his long and prolific career."
Abstract This paper examines the work and style of two famous painters, Pablo Picasso, best known for his high abstractions of the Cubist painting style and Salvador Dali, one of the most important leaders of the Surrealist movement. It discusses how they have influenced a wide range of artists and are today considered as the quintessential examples of twentieth century art. It illustrates, through examples of their work, how Picasso as an artist was highly imaginative and original and borrowed heavily from many historical examples which aided him in developing new painting styles. Salvador Dali, like many of his surrealist contemporaries, sought inspiration from a love for fantasy and studied the writings of Sigmund Freud regarding the human subconscious mind which inspired him to "systemize confusion" through his paintings.
From the Paper "The Cubism style of painting as practiced by Pablo Picasso is best represented by his Accordionist (1911, oil on canvas), a construction of large intersecting planes that suggest the forms of a man with his instrument. Host of smaller shapes, each a simplification of some aspects of the original subject, hover in and interpenetrate the larger planes. The total effect is that of a new kind of pictorial reality. The viewer is no longer obligated to contemplate merely a man playing an accordion, but is allowed to explore the canvas and probe its myriad of objects that have been disintegrated and then reintegrated which offers a great variety of views from many different angles and tangents."
Abstract Discusses "LES DEMOISELLES D'AVIGNON." Surveys scholarly notions regarding Picasso's sources and influences for this 1907 painting. Meanings attached to the picture. The developing iconography of the piece. The panting as a turning point in Picasso's art, and as an example of the proto-Cubist painting. Relevance of "Demoiselles" to Picasso's life.
From the Paper "Because Picasso's Les Demoiselles d'Avignon (1907) has come to be regarded by many as perhaps the major turning point in twentieth-century painting there are few modern pictures that have been subjected to such intense scrutiny or produced so many interpretations. The influences and sources, the iconography (both private and public), the relationship between the painter's life and his work, and all other aspects of the painting's meaning have been debated. Some explanations have been directly opposed to each other, but many others are complementary or, at least, not mutually exclusive. The richness of the picture, the number of witness statements, the painter's own conversation, and a perhaps unparalleled wealth of preliminary sketches have provided ample room for so much work. This essay surveys a number of the most important scholarly notions regarding ..."
Abstract Discusses the controversy surrounding Marcel DuChamp's 1912 painting. Reaction to the artistically provocative painting and title at New York's 1913 Armory Show. Origins of DuChamp's painting. His ideas and experiments with abstraction and time-lapse photography. Rejection of "Nude" by the Cubists. His impact on American artists, critics and the public.
From the Paper "Marcel Duchamp's Nude Descending a Staircase (1912) became one of the best known painted images of the twentieth century when it developed into a major focal point for the hilarity and outrage that surrounded the 1913 International Exhibition of Modern Art. On view in New York, in February and March, the exhibition--which is better known as the Armory Show, after its location--was presented by the Association of American Painters and Sculptors (AAPS) and assembled chiefly by two of its members, Arthur B. Davies and Walt Kuhn, who went to Europe to select the works. When the show opened it proved to be one of the wonders of the age, and a defining moment in the history of American art. The American public, and even the members of the AAPS, had never seen anything like these works, which ranged from Van Gogh and Gauguin to Picasso and Brancusi. Duchamp's painting, with its ..."
Abstract The writer asks the question of why George Braque did not enjoy the same renown as Pablo Picasso. The paper looks at the history of the artistic life of Braque and gives an overview of his work, noting the maturation and development of style. The paper concludes with the assertion that Braque is the father of cubism because he created the first analytic work.
From the Paper "During the summer of 1908 in southern France, Braque painted a series of radically innovative canvases, of which the most celebrated is "Houses at L"Estaque?; in this painting we can see the slab volumes, sober coloring, and warped perspective typical of the first part of what has been called the analytical phase of Cubism. This painting was shown in a show at Kahnweiler's gallery. It provoked from the Paris critic Louis Vauxcelles a remark about "cubes" that soon blossomed into a stylistic label. This painting was the painting that gave cubism its name. Vauxcelles's remarked about the canvas being full of small cubes, and this comment was the spark that constituted the name of the movement."
This paper uses the work of Delacroix and Picasso to demonstrate both the vast changes that took place in painting over a time span of only 80 years as well as the similarities that remained.
Abstract This paper compares and contrasts Eugene Delacroix's "Death of Sardanapalus" and Pablo Picasso's "Les Demoiselles d'Avignon" to illustrate the great many changes that took place in painting over a period of 80 years. The paper suggests that both of the paintings are representative of something new in artistic terms. It goes on to suggest that, in spite of the many changes that did take place, there remained an important similarity in the approach both artists took too the subject matter of their paintings; in these cases female nudes.
From the Paper "Eug?ne Delacroix's Death of Sardanapalus (1826) and Pablo Picasso's Les Demoiselles d'Avignon (1907) were painted only eighty years apart and demonstrate the immense changes that had taken place in painting in that span of time. Curiously, however, they display a remarkable similarity in their approach to subject matter which may not be immediately apparent. Both of these paintings represented something new in artistic terms."
Tags: female, nudes, Cubist, ideas, Byron, Assyrian, king
