Cubism (Art of Century)
Format: PDF / Kindle (mobi) / ePub
Les Demoiselles d’Avignon: five young women that changed modern art forever. Faces seen simultaneously from the front and in profile, angular bodies whose once voluptuous feminine forms disappear behind asymmetric lines-with this painting, Picasso revolutionised the entire history of painting. Cubism was thus born in 1907. Transforming natural forms into cylinders and cubes, painters like Juan Gris and Robert Delaunay, driven by Braque and Picasso, imposed a new vision upon the world, in total opposition to the principles of the Impressionists. Largely diffused in Europe, Cubism developed rapidly in successive phases that brought art history to all the richness of the 20th century: from the futurism of Boccioni to the abstraction of Kandinsky, from the suprematism of Malevich to the constructivism of Tatlin.
Linking the core text of Guillaume Apollinaire with the studies of Dr. Dorothea Eimert, this work offers a new interpretation of modernity’s crucial moment, and permits the reader to rediscover, through their biographies, the principal representatives of the movement.
appearance of livelier and more joyful colours. Together with the woman whose very AC Cubism 4C 02Feb2010.qxp 2/3/2010 9:12 AM Page 115 115 AC Cubism 4C 02Feb2010.qxp 116 2/3/2010 9:12 AM Page 116 AC Cubism 4C 02Feb2010.qxp 2/3/2010 9:12 AM Page 117 name, Eva, had symbolic meaning for him, Picasso began a new life that introduces new overtones in his art. In the summer and autumn of 1912, while living with Eva in the town of Sorgues-surl’Ouvèze, Picasso was literally possessed
the self-styled “modernists”, non-conformist artists and writers. His early works, blue-tinted paintings influenced by a trip through Spain and the death of his friend, Casagemas, were grouped into the so-called “Blue Period” (1901-1904). Towards the end of 1901 the desire to express these feelings of sadness more directly pushed Picasso towards the field of sculpture. The predominance of form in his paintings undeniably testifies to this interest. Picasso began to sculpt because it corresponded
to his need to impose strict limits on himself, to achieve the most ascetic means of expression. Between 1905 and 1907 Picasso entered a new phase characterised by a more cheerful style with orange and pink colours, the “Pink Period”. During the autumn of 1907 the artist spent long hours carving strange, fetish-like figurines and primitive dolls and making sketches for future sculptures. By that time Picasso had already discovered African wooden sculpture in the ethnographic museum at the Palais
Gonzales, Julio. “Picasso sculpteur,” Cahiers d’Art (Christian Zervos, ed.). Art in America, No. 66. November 1978, pp. 114-33. Tériade, Efstratios. “En causant avec Picasso,” L’Intransigeant. Paris: June, 1932. Teuber, Marianne L. “Formvorstellung und Kubismus oder Pablo Picasso und William James,” Kubismus. Cologne: Kunsthalle, 1982. Tinterow, Gary. Master Drawings by Picasso. Cambridge: George Braziller, 1981. Tugendhold, Yakov. “La Collection française de S. I. Chtchoukine,” Apollon, No.
Tronchet, Paris; in 1912 the Salon des Indépendants was marked by the advent of Juan Gris. At Barcelona, in the month of May, Spain received the young Frenchman with enthusiasm. Finally in June, at Rouen, at an exhibition organised by the Society of Norman Artists, the advent of Francis Picabia was hailed by the new school. That which differentiates Cubism from the old schools of painting is that it is not an art of painting, but an art of conception which tends to rise to that of creation. In