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 that, in 1907, Georges Braque, who initially was greatly influenced by Henri Matisse, with his friend Pablo Picasso, rediscovered Paul Cezanne, the originator of the Cubist movement. Braque's style went through a radical transformation. The author points out that, within a three year period, Picasso and Braque invented Analytic Cubism, a new, completely non-illusionistic and non-imitative method of depicting the visual world; the collaboration between Braque and Picasso was so close and intense that often only experts can distinguish Braque's painting of 1910 -1912 from those of Picasso. The paper relates that Cubism, which survived in its purest form until the mid-1920s, had an impact on the art world that extended far beyond the existence of the painting style itself and paved the way for several other art revolutions, including Dada and surrealism.
From the Paper "From 1917 to 1920, Georges Braque's works are derived compositionally from Synthetic Cubism, which is the second phase of Cubism and began around 1914. These paintings were much flatter and more "variegated in color," and included "brightly dotted decorative passages." Sometime around 1930, Braque moved to the coast of Normandy in France, and as a result, the subject of this paintings changed, and now included bathers, beach scenes, and seascapes as his favorite themes, while stylistically, he "became increasingly interested in ornamentation and patterned surfaces." By the early 1940's, Braque was concerned with melancholy themes, and from 1945, birds became a dominant subject. And then by the 1950's, Braque had returned to the brilliant colors of the Fauve period, "as in the Louvre ceiling, 1952-53, and the decoration for the villa at Saint Paul-de-Vence, 1954." Georges Braque remained active until the end of his life, and his work includes sculpture, graphics, book illustration and decorative art."
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."
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."
Abstract This paper explains that Cubism is the process of passage from a bar-baric dis-symmetry to an advanced abstract geometry. The paper then looks at how the the term analytical Cubism refers to Picasso and Braque's work of 1910 through early 1912 and how the term synthetic Cubism refers to their work of later 1912 through 1914. It also examines the objective contributions of Picasso and Braque to the development of modern art, particularly towards abstraction.
From the Paper "By 1909, Picasso, working in close collaboration with Georges Braque, had invented Cubism, a kind of painting more sculptural than any before, since it presented simultaneously more than one view of the subject. Indeed, Picasso had definitely renounced the traditional chia roscuro - the technique of evoking three-dimensional form by reproducing the way that incident light plays across it, producing a sequence of highlights and shadows. Picasso apparently considered chiaroscuro a "dishonest" way of representing three-dimensional form; he therefore turned to faceting as a means of describing three-dimensional form without using conventional shading. After the dematerialization of form in Impressionism, and the flattening of form in Post-Impres sionism, this restoration of a sense of sculptural solidity (without a return to conventional real ism) was a major achievement. "
Abstract This paper examines the style, artists and impact of cubism, the most prominent art movement of the early 20th century. The paper discusses early influences on the development of cubism, including Paul Cezanne, Georges Braque and Pablo Picasso. Next, the paper studies analytic cubism and critiques some of the style's most well-known paintings and sculptures. The paper concludes with an investigation of the passing of cubism and its legacy on the art world.
From the Paper "Cubism is the most influential art movement to emerge in the first quarter of the Twentieth Century. "It may have said to have begun in 197 with Pablo Picasso's Les Demoiselles d'Avignon. The movement was influenced by archaic and primitive sculpture. Particularly of West Africa." (Alexander, p. 288) Another influence was Paul Cezanne, whose works were exhibited in Paris in 1905 and 1907. It was something he said that started some of the other Parisian artists moving toward Cubism. "You must see in nature the cylinder, the sphere, and the cone." He published this in 1907, but the actual term "cubism" may have come from Henri Matisse's phrase: "avec les petits cubes" (with little cubes). He said that in a disparaging way upon seeing some of the works of Georges Braque."
Abstract The paper reveals that Pablo Picasso is recognized as the greatest artist of the twentieth century. The paper describes several of his works in the context of different periods of his painting style: the Blue Period, the Rose Period and the Analytical and Synthetic Cubism period.
Outline:
Picasso's "Girl Reading at a Table,1934"
Picasso's Blue World
Picasso In Love
Picasso's and Braque's Cubism
From the Paper "Pablo Picasso is recognized as the greatest artist of the twentieth century. Formally known as Pablo Ruiz Picasso, who was born in Malaga, Spain on October 25, 1881. Pablo Picasso lived a long life (92 years) in which he produced a wide and varies body of works, including the Blue Period, the Rose Period, and the Analytical and Synthetic Cubism period. While Picasso was mainly a painter, he also worked with undersized ceramic and bronze sculptures, and even developed some poetry. His paintings rank the most expensive through out the world. Picasso's "Garcon a la Pipe" painting was sold for approximately $104 million dollars, setting the new price record on paintings. Picasso was an incredibility talented artist who was able to work with oils, watercolors, pastels, charcoal, pencil, and ink."
Tags: painting, Blue, Rose, Analytical, Synthetic, Cubism, Braque, period
Abstract Pablo Picasso has been, without question, the single most influential artist of the early 20th century, both as a public figure and an artist. He has been credited, along with Braque, for the creation of Cubism, and his work in every other genre set the bar for his contemporaries. This paper shows that Picasso's styles, over the course of his eighty-year-long career, ranged from Neo-classicism to Cubism to Neo-expressionism. His work even influenced the great abstract painters. His work was always genius and usually controversial. The paper shows that, while his work has been accepted by the mainstream, his life remains controversial to this day.
From the Paper "External strife was also a muse for many of his greatest political works. During his Blue era, he painted the outcasts of society. When his beloved France was plunged into war, he painted one of his greatest masterpieces, the Guernica. This giant mural commemorated the slaughter of his people and condemned the rising fascist movement. He remained artistically active when Paris was over-run by the Nazis as well. While he was regularly questioned by them, and his art decried by the Nazi Party as degenerate, he was strangely never arrested or detained."
Abstract This paper discusses the life and works of the most famous Spanish painter and sculptor, Pablo Picasso. The paper examines the development of his artistic style and claims that almost all aspects of his creative work are based on sensation and desire. The paper explores how Picasso transformed one of the currents of modern art.
From the Paper "Pablo Picasso a Spanish painter and sculptor, is being considered as one of the greatest artists of the twentieth century. (Pablo Picasso: Estate of Pablo Picasso / Artists Rights Society) Picasso had been famous as no artist had been ever, being a pioneer in every discipline he chose, a master and a protean monster, having his influence on every art movement during his time. Not even Michelangelo could be considered as famous as Picasso during his own lifetime. And no one will ever be again as famous as Picasso was. (Artists and Entertainers: Pablo Picasso) He was born in Malaga on October 25, in the year 1881 as the son of Jose Ruiz Blasco, who was an art teacher, and Maria Picasso Lopez. Picasso created more than 20,000 works during his lifetime. Picasso was a genius who could be understood from his early years itself, that by the age of 10 he had made his first paintings. (Pablo Picasso: Estate of Pablo Picasso / Artists Rights Society)"
Abstract Pablo Picasso is noted by the majority of critics as the most important influence on twentieth century art. By the time of his death in 1973, he had created some 22,000 works of art in mediums that included sculpture, ceramics, mosaics, state design and graphic arts. This paper traces the life of Picasso, from his birth in Spain in 1881 through his brilliant art career and his numerous art 'periods'. The paper examines Picasso's influence on art, including cubism and abstract art and looks at several of his important pieces, including "Les Demoiselles d'Avignon" and "Guernica."
From the Paper "Most critics agree that Picasso's greatest work came from the thirty years between his 1907 "Les Demoiselles d'Avignon" and his 1937 "Guemica," however, he worked consistently through the war years and through the 1950's and frequently produced work during the 1960's and 1970's, producing powerful paintings and prints (Hughes pp). Often his work "would be folded into series of variations on the old masters and nineteenth century painters he needed to measure himself against, such as Velazquez and Goya, or Poussin, Delacroix, Manet and Courbet" (Hughes pp). Especially during his last years, his work possessed a manic and obsessive quality, as if he believed that this might delay his own mortality (Hughes pp)."
Abstract Pablo Picasso, one of the most famous artists in the history of art, was greatly concerned with social justice and the condition of man, becoming a self-avowed communist early on. This paper shows that Picasso continued to produce works of art throughout his lifetime, frequently returning to basic themes to which he continually brought new insights and methods of conveyance. The paper shows that by the time of his death at age 92, Picasso had left an indelible mark on the world of art, ensuring his place in history.
From the Paper "During his lifetime, Picasso went through a number of developmental stages including his aptly named blue, rose and Negro periods. Picasso borrowed artistic elements and gained artistic influence from varying persons and cultures, bringing them all together to create something that was uniquely his own. With Georges Braque, Picasso is credited with founding the cubist movement, in addition to being the originator of collage artwork. Picasso worked in a wide array of artistic mediums, with a seemingly boundless range and reach. While many of the themes Picasso addressed in his artwork were similar to those seen in classical painting (portraits, still lifes, landscapes, literary themes, old masters, love and death, joy and suffering, etc.) he is credited with having paved the way for art to move toward the more abstract, subliminal and subconscious. Picasso broke down convention, creating something new and revolutionary to take its place."
