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" (Cottington, p. 4) Braque was to follow with an equally disjointed yet less controversial -- in subject -- breaking down of the elements of a "Violin and Candlestick" in 1910, and Picasso was subject to the same breaking-down as a subject of another Cubist's painting, Gris, in "Portrait of Picasso." 1912.
Douglas Cooper notes in his book, The Cubist Epoch, that the one common aspect of the many different artists whose work came to characterize the movement as that almost all of these artists were controversial in their day, given the harsh quality of Cubist art, particularly when rendering the human form. Yet these artists were not above reproach, even by other, liberal artists. David Cottington has noted that many criticized the 'Cubist salons' for shutting women out of the movement, except as pictorial subjects. (Cottington, p.17) Yet many have stressed the value to women and outsiders of the Cubists' responses to anti-Enlightenment philosophies, the relation of Cubist art to the "classical" art of previous eras.
This anti-classical stance is where I see my own illustrative art moving today. Today, many critics still do not see illustration or graphic novels as true art, just as African masks and stylized figures were not seen as art during Picasso's day. But what is considered great art, and an artistic medium is always changing. Just as Picasso used sand in his early works to create material art, I am also striving to find what style of illustration I will be focusing on over the course of my career and what drawing is the most appropriate way of...
Since I have learned about Cubism in school, I have tried to create using this particular geometric style of drawing and to be inspired by this drawing. Picasso could create realistic figures, but he could also see these figures most basic essences, as I have learned by studying the philosophy behind Picasso's Cubist style. As the Cubists began in blacks and white, before 'adding on' colors I have begun to try to express my artwork through stark black charcoal pencils on a white, stark surface, only gradually adding basic colors as needed. Through collages of lines, then colors, then textures, I have used cut out images, physical objects and basic shapes, and through this basic language, hopefully created a more complex way of seeing the world and telling a story through illustration.
Works Cited
Antliff, Mark & Patricia Leighton. Cubism and Culture. World of Art Series. New York: Thames & Hudson, 2001.
Artists by Movement: Cubism -- Europe, 1908-1920." Artcyclopedia
http://www.artcyclopedia.com/history/cubism.html
Cooper, Douglas. The Cubist Epoch. London: Phaidon Press, 1995.
Cottington, David. Cubism: Movements in Modern Art. Cambridge: Cambridge University Press, 1998.
Cubism." ArtLex. 2005. http://www.artlex.com/ArtLex/c/cubism.html
Works Cited
Antliff, Mark & Patricia Leighton. Cubism and Culture. World of Art Series. New York: Thames & Hudson, 2001.
Artists by Movement: Cubism -- Europe, 1908-1920." Artcyclopedia
http://www.artcyclopedia.com/history/cubism.html
Cooper, Douglas. The Cubist Epoch. London: Phaidon Press, 1995.
Cubism." ArtLex. 2005. http://www.artlex.com/ArtLex/c/cubism.html
In essence the Cubists were not only concerned with the development of new artistic techniques, but their experimentation was also concerned with the search for a new and more dynamic perception of reality. As one commentator notes; "The Cubists sought to create spatial abstractions" (the AESTHETIC). As has been stated, Cubism depicts a new reality which was also in essence a form of protest against conventional ideas of both art
One of the most fascinating and well-known paintings that represents cubism is Picasso's "Les Demoiselles d'Avignon." Standing at more than eight feet tall, this painting represents five prostitutes waiting at the doors of a brothel (as evidenced by drawn curtains on either side). One of the prostitutes wears an African mask which some believe represents the scourge of venereal disease -- the masks would protect against them. Avignon is a
Cubism emerged in the early twentieth century, and generally represented a deconstruction of visual forms. Other defining elements of cubism include the abandonment of perspective and the simultaneous denial of the importance of realistic depictions of the subject ("Cubism"). One of the hallmarks of Cubism was the artists' interest in rendering "the changing experience of space, movement, and time," ("Cubism"). Although much Cubist art is representational, many pieces veered toward
Cubist Ideas and the Modernist Arts 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 examination will explore how these new and original ideas about cubism manifested themselves in the productions of art in other genres. The Cubist style must be viewed as an extension of the anti-Romanic, anti-Impressionistic mood
Cubism and Sculpture Cubism as an artistic style and movement began as a revolt against the traditions and the artistic norms of previous centuries. Cubist painters and sculptors like Picasso rejected many of the formally accepted elements of art. These elements included texture, color, subject matter, light as a means of determining form as well as movement and atmosphere. The rejection of representation was also a major aspect of the
His "rose period,' 1905-1906, is characterized by the use of a lighter palette and "greater lyricism, with the subject matter often drawn from circus life" (Picasso pp). Moreover, his studio in Paris drew the major figures of this avant-garde era, such as Matisse, Braque, Apollinaire, and Gertrude Stein (Picasso pp). Picasso's 1907 "Les Demoiselles d'Avignon," was a radical departure from traditional art and is now considered the "most significant work