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 and reality. In this sense Cubism was also extremely important for the development of art in that sense it started a process in art that led to other forms of experimentation. For example, the Dada and Surrealist movement were largely a result of the Cubist experimentation in painting and sculpture. (Art Periods: CUBISM). Cubist art was to develop from its early stages of experimentation in the first decade of the 1900s to "...the more complex and systematic style of 1910-12,…...
" (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'…...
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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
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 street in Barcelona, Spain, that is noted for its brothels. What distinguishes this painting (painted by Picasso in Paris, France) as cubism is that in the painting the women's bodies are flat and two dimensional. While the nudity is evident, the curves of the hips and breasts have been flattened and appear jagged. In creating this masterpiece, Picasso was inspired by Iberian sculptures (the central two ladies), paintings by Paul Cezanne and El Greco, in addition to African culture. This…...
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References
Stokstad, marilyn. 2005. Art History. New York: Harry N. Abrams, Inc.
Barr, a.H., Sandler, I and Newman, a. 1986 Defining Modern Art: Selected Writings of Alfred H. Barr, Jr. New York: Harry N. Abrams, Inc.
Florman, Lisa. 2003. "The Difference Experience Makes in 'The Philosophical Brothel'." Art Bulletin 85(4): 769-83;
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 abstraction and the movement may be credited with initiating an era of increased abstractionism and non-representational art. One of the most significant examples of Cubism is Picasso's 1907 painting Les Desmoiselles d'Avignon.
Les Desmoiselles d'Avignon
Pablo Picasso
1907
Cubism
Oil on Canvas
This is a seminal piece because it was one of the first examples of Cubism. Picasso depicts women in an unconventional manner by removing their stereotypical curvaceousness and instead using sharp lines and intense angularity. The women appear as if they are shifting through…...
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Works Cited
Boccioni, Umberto. Unique Forms of Continuity in Space. Sculpture, 1913.
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 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 orld ar. 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…...
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Works Cited
Cocteau, Jean. Professional Secrets. New York: Farrar, Straus & Giroux, 1970.
Cox, Neil. Cubism. London: Phaidon Press, 2000.
Shattuck, Roger. The Banquet Years. New York: Harcourt, Brace & Co., 1958.
Igor Stravinsky and Robert Craft. Dialogue and a Diary. London: Faber & Faber, 1969.
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 reason for the development of Cubism as a style and theory in painting and sculpture.
Cubism is characterized by the fragmentation of the image plane and form. In place of conventional perspective and depth, Cubism tends towards depictions of shallow planes that overlap and which are even transparent. One of the essential characteristics of Cubism was its attempt to interpret visual reality form multiple points-of-view. This predilection for multiple and non-consecutive points-of-view was not only a rebellion against formal artistic rules…...
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 in the development toward cubism and modern abstraction" (Picasso pp). It is obvious that Picasso was greatly influence by Cezanne and by African sculpture as noted in "its fragmented forms and unprecedented distortions" (Picasso pp). This painting is considered to be the first phase of cubism, analytic cubism, 1909-1912, which is a "severe, intellectual style was conceived and developed by Picasso, Braque, and Gris" (Picasso pp). His "Female Nude," 1910-1911, is a representative painting of this style, and his "oman's…...
The author sees these unseen texts as significant and a possible indication of the artist's private views and influences.
What is clear is that this book differs in approach to cubism from the work by Karmel. Staller has amassed a wide range of information and contextual data, which includes many aspects of culture that could be seen as an inspiration and an impetus towards cubism. Karmel on the other hand has a very different perspective on the origins of cubism. In this work we encounter the artist not as impulsive and absorbed in social and cultural influences but rather as someone who is separate and objective and who searches consciously for balance and integration in the formation and creation of his work. Essentially, what Staller suggests is the Picasso was more immersed in his social and cultural context and that cubism emerges as a result of subconscious and innate motivations…...
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Bibliography
Karmel, Pepe. Picasso and the Invention of Cubism. China: Yale University
Futurism was an Italian movement originated in early 20th century. It was artistic and social movement targeted to mass urban population. Futuristic was focused on transforming the mindset of society from political thinking to more rational, conscious and close to humanity mental perspective. Futurism movement has traces of modern life and comprehensive renewal of human sensibility brought by modern science. Futurist's art work is presented in every medium including painting, sculpture, ceramics, graphic design, industrial design, interior design, theatre, film, fashion, textiles, literature, music, architecture and gastronomy. The eminent figures of this movement were Filippo Tommaso Marinetti, Umberto Boccioni, Carlocarra, Gino Severini, Giacomo Balla, Antonio Sant' Elia, Tullio Crali and Luigi ussolo. Important work of this movement include Marinetti's Manifesto of Futurism, Boccioni's Sculpture, Unique form of continuity in space and Balla's painting. Futurism has also influenced other art movements like Art Deco, Constructivism, Surrealism and…...
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References
Cooper, Douglas (1970) "The Cubist Epoch," Phaidon Press Limited 1970 pp. 11 -- 221, in association with the Los Angeles County Museum of Art and the Metropolitan Museum
His clearest example of cubist-focused style is the Sea (1912), still in a Dutch style but increasing with the use of geometric shapes and interlocking planes.
When Mondrian looked at other cubist works, for instance, Picasso's famous Portrait of Daniel-Henry Kahnweiler, he would note that while it works as an abstraction, it is a bit "busy" and jumbled, something he would try to correct in the art world through his strict use of lines, spaces, and above all, austerity. He appreciated Picasso's use of coloration and timbre, and of his ability to juxtapose a number of scenes, emotions, and angled points-of-view within this work, but also found it to be a tad jumbled. Joking, he said, "I'm not sure how it makes me feel; there are numerous emotions rolling around in my head then I view this work, but I wonder if Pablo knew what he wanted to communicate, or…...
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REFERENCES
"Biography and Works of Pablo Picasso." (2006). Cited in:
Figures are created mostly by the contrast of colors. The use of drawing line is almost nonexistent, however the contours being very clearly defined. The colors contradict each other alternating bright cold shades of blue with warm ochre and pink. The vibration created by blue and white together brings cold atmosphere to the entire palette.
The structure breaks the laws of perspective. On the left side the composition brings a succession of straight figures, with tense rhythm. On the right the arrangement spreads, with characters in open position that draw attention to their caricature masks.
The figures are set in the world of unrealistic: there are no lights or shadows to display their volume. The bodies and background are flat and seem to melt with each other. There is no diversity of levels or third dimension suggested. The blue tones, contoured by white, accentuate the flatness of the piece.
The use of…...
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References
Penrose, Roland. Picasso, his life and work. Los Angeles: University of California Press, 1981.
Tarsila Do Amaral
One of the most important razilian artists of the 20th century, Tarsila do Amaral, was born in Sao Paulo in 1886. She had a privileged childhood as the grandchild of a rich farmer. This brought with it various advantages, including an education that taught her to read, write, embroider and speak French (Damian, 1999). Finishing her studies in France and returning to razil, this artist left an impression on the Modernist movement in the country that remains to this day. With her husband Oswald de Andrade, Tarsila worked towards creating a unique artistic perspective for the razilian people. This perspective would not reject the European forms and images that had ruled the country's art world until the 1920s. Instead, these would be used and incorporated into traditional forms to create an entirely new and more inclusive perspective.
The Modernist movement came in the midst of a razil that was…...
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Bibliography
1. Amaral, Aracy. "Stages in the Formation of Brazil's Cultural Profile." The journal of Decorative and Propaganda Arts 21 (1995): 8-25.
2. Amaral, Tarsila do. Brazil, Sao Paulo drawing [Semana de Arte exhibition, 1922] c.1913.
3. Amaral, Tarsila do. Drawing Study of Black Woman. 1923.
c. If we look at modern culture and modern technology, the first connection that can be made with Cubist culture characteristics is its populist nature. We are free to state that the modern culture has gained a populist reverberation and that it is created for the masses. It has lost its elitism and its way of addressing a specific, well-determined and well-defined segment of consumers.
If we look at art history from arzun's perspective, after the Renaissance, art and culture has gradually lost its elitism, its normality and sensibility. In the Renaissance, portraits were usually painted only on request from important persons who could afford one. Plays and performances had a limited auditorium. It was Shakespeare who started to produce the first mass shows and the process has gradually assimilated all other forms of manifestation.
As such, in the beginning of the 21st century, art and culture in general are more populist…...
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Bibliography
1. Barzum, Jacques. From Dawn to Decadence: 500 Years of Western Cultural Life, 1500 to the Present.
2. Barzun, Jacques. A Jacques Barzun Reader: Selections from His Works (Perennial Classics). Harper Collins Publishers. 2002
Barzun, Jacques. From Dawn to Decadence: 500 Years of Western Cultural Life, 1500 to the Present.
Globalization is generally associated as a modern phenomenon, however, it is a global movement that began with the Greeks and did not accelerate until the renaissance era. The est, going back to Alexander the Great, has a long history of interactions with Asia and Africa. Ideas and goods were consistently traded. This trend of globalization accelerated with the age of exploration in the 16th century when Europeans came into further contact with Africa, Asia, and the Americas. Driven by the quest for gold and natural resources estern European traders navigated the world. This had a profound effect back home, as Europeans developed an interest in the exotic. The interest blossomed during the 18th and 19th century, during the height of estern power and colonialism. Curiosity into the foreign permeated all levels of society. Artists incorporated Asian and African artistic styles into their own. This…...
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Works Cited
Soltes, Ori. "They All Came to Paris." YouTube. YouTube, 11 Oct. 2011. Web. 2 Apr. 2014. .
Soltes, Ori. "Asia and Africa in the Western Mind." YouTube. YouTube, 11 Oct. 2011. Web. 2 Apr. 2014. .
In the tracks, one sees the plants and rocks that help make the tracks part of the environment, rather than having it stand out from the environment. Miro even makes the blades of grass stand out in the painting, helping demonstrate that they are equally important with the other features. One of the elements of the painting that is most interesting is that it displays the sun without depicting the sun. The entire painting is highly illuminated, which clearly references the sun, but there is no image of the sun in the painting. This detail highlights how detailism is romantic realism; in the mid-day, no sun is actually visible, so that artist depictions of the sun at that point during the day are necessarily a departure from reality.
Miro, the aggon Tracks. 1918.
The next painting examined is Mont-roig, Village and Church, which was painted in 1919. One of the noteworthy…...
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Works Cited
Art and Coin TV. "Joan Miro's Work Examined in Landmark Exhibition at the National Gallery
of Art." Art and Coin TV. N.p. 6 May 2012. Web. 13 Dec. 2012.
Gutierrez, Tuesday. "Starving Myself with Joan Miro's Retrospective at the Tate Modern."
Momardi. N.p. 2011. Web. 13 Dec. 2012.
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