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[[Image:braque.woman.400pix.jpg|thumb|250px|[[Georges Braque]], ''Woman with a Guitar,'' 1913. [[Musée National d'Art Moderne]], [[Centre Georges Pompidou]], [[Paris, France]]. An early example of ''Synthetic Cubism.'']] |
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'''Cubism''' was a 20th century [[avant-garde]] [[art movement]], pioneered by [[Pablo Picasso]] and [[Georges Braque]], that revolutionized European [[painting]] and [[sculpture]], and inspired related movements in [[music]] and [[literature]]. The first branch of cubism, known as ''Analytic Cubism'', was both radical and influential as a short but highly significant art movement between 1907 and 1911 in France. In its second phase, ''Synthetic Cubism,'' the movement spread and remained vital until around 1919, when the [[Surrealism|Surrealist]] movement gained popularity. |
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English [[art historian]] Douglas Cooper describes three phases of Cubism in his seminal book, ''The Cubist Epoch''. According to Cooper there was "Early Cubism", (from 1906 to 1908) when the movement was initially developed in the studios of Picasso and Braque; the second phase being called "High Cubism", (from 1909 to 1914) during which time [[Juan Gris]] emerged as an important exponent; and finally Cooper referred to "Late Cubism" (from 1914 to 1921) as the last phase of Cubism as a radical [[avant-garde]] movement.<ref>Douglas Cooper, "The Cubist Epoch", pp. 11–221, Phaidon Press Limited 1970 in association with the [[Los Angeles County Museum of Art]] and the [[Metropolitan Museum of Art]] ISBN 0 87587041 4</ref> |
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In cubist artworks, objects are broken up, analyzed, and re-assembled in an abstracted form—instead of depicting objects from one viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context. Often the surfaces intersect at seemingly random angles, removing a coherent sense of depth. The background and object planes interpenetrate one another to create the shallow ambiguous space, one of cubism's distinct characteristics. |
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==Conception and origins== |
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[[Image:Le guitariste.jpg|thumb|[[Pablo Picasso]], ''Le guitariste'', 1910, oil on canvas, 100 x 73 cm, [[Musée National d'Art Moderne]], [[Centre Georges Pompidou]], [[Paris]]. An example of ''Analytic Cubism''.]] During the late 19th and early 20th centuries, the European cultural elite were discovering [[African]], [[Micronesian]] and [[Indigenous peoples of the Americas|Native American]] art for the first time. Artists such as [[Paul Gauguin]], [[Henri Matisse]], and [[Pablo Picasso]] were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures. Around 1906, Picasso met Matisse through [[Gertrude Stein]], at a time when both artists had recently acquired an interest in primitivism, [[Iberians|Iberian]] sculpture, [[African art]] and [[African tribal masks]]. They became friendly rivals and competed with each other throughout their careers, perhaps leading to Picasso entering a new period in his work by 1907, marked by the influence of Greek, Iberian and African art. Picasso's paintings of 1907 have been characterized as Protocubism, as notably seen in ''[[Les Demoiselles d'Avignon]]'', the [[antecedent]] of Cubism.<ref>Cooper, 24</ref> |
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According to the English art historian, collector and author of ''The Cubist Epoch'', Douglas Cooper, remarking on Paul Gauguin and [[Paul Cézanne]] "both of those artists were particularly influential to the formation of Cubism and especially important to the paintings of Picasso during 1906 and 1907".<ref>Cooper, 20-27</ref> Cooper goes on to say however ''Les Demoiselles'' is often erroneously referred to as the first cubist painting. He explains, |
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[[File:Paul_C%C3%A9zanne_163.jpg|thumb|left|[[Paul Cézanne]], ''Quarry Bibémus'' 1898-1900, [[Museum Folkwang]], [[Essen]], [[Germany]]]] |
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:The ''Demoiselles'' is generally referred to as the first Cubist picture. This is an exaggeration, for although it was a major first step towards Cubism it is not yet Cubist. The disruptive, expressionist element in it is even contrary to the spirit of Cubism, which looked at the world in a detached, realistic spirit. Nevertheless, the ''Demoiselles'' is the logical picture to take as the starting point for Cubism, because it marks the birth of a new pictorial idiom, because in it Picasso violently overturned established conventions and because all that followed grew out of it.<ref>Cooper, 24</ref> |
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Some believe that the roots of cubism are to be found in the two distinct tendencies of Cézanne's later work: firstly to break the painted surface into small multifaceted areas of paint, thereby emphasizing the plural viewpoint given by [[binocular vision]], and secondly his interest in the simplification of natural forms into cylinders, spheres, and cones. |
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However the cubists explored this concept further than Cézanne; they represented all the surfaces of depicted objects in a single picture plane, as if the objects had had all their faces visible at the same time. This new kind of depiction revolutionized the way in which objects could be visualized in painting and art. |
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The invention of Cubism was a joint effort between Picasso and [[Georges Braque|Braque]], then residents of [[Montmartre]], [[Paris]]. These artists were the movement's main innovators. A later active participant was the Spaniard [[Juan Gris]]. After meeting in 1907 Braque and Picasso in particular began working on the development of Cubism. Picasso was initially the force and influence that persuaded Braque by 1908 to move away from [[Fauvism]]. The two artists began working closely together in late 1908–early 1909 until the outbreak of [[World War I]] in 1914. The movement spread quickly throughout Paris and Europe. |
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French art critic [[Louis Vauxcelles]] first used the term "cubism", or "bizarre cubiques", in 1908 after seeing a picture by Braque. He described it as "full of little cubes", after which the term quickly gained wide use although the two creators did not initially adopt it. Art historian [[Ernst Gombrich]] described cubism as "the most radical attempt to stamp out ambiguity and to enforce one reading of the picture—that of a man-made construction, a coloured canvas."<ref>[[Ernst Gombrich]] (1960) ''Art and Illusion'', as quoted in [[Marshall McLuhan]] (1964) ''[[Understanding Media]]'', p.12 [http://www9.georgetown.edu/faculty/irvinem/theory/McLuhan-Understanding_Media-I-1-7.html]</ref> |
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[[Image:JuanGris.Portrait_of_Picasso.jpg|thumb|right|[[Juan Gris]], ''Portrait of Picasso'', 1912, oil on canvas, [[Art Institute of Chicago]]]] |
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Cubism was taken up by many artists in [[Montparnasse]] and promoted by art dealer [[Daniel-Henry Kahnweiler]], becoming popular so quickly that by 1911 critics were referring to a "cubist school" of artists.<ref>[http://www.tate.org.uk/servlet/CollectionDisplays?showid=1081 Cubism and its Legacy, Tate Liverpool, retrieved November 27, 2008]</ref> However, many of the artists who thought of themselves as cubists went in directions quite different from Braque and Picasso. The [[Puteaux Group]] or [[Section d'Or]] was a significant offshoot of the Cubist movement; it included [[Guillaume Apollinaire]], [[Robert Delaunay]], [[Marcel Duchamp]], his brothers [[Raymond Duchamp-Villon]] and [[Jacques Villon]], and [[Fernand Léger]], and [[Francis Picabia]]. Other important artists associated with cubism include: [[Albert Gleizes]], [[Jean Metzinger]],<ref>[http://74.125.93.104/search?q=cache:884Fso8pXnoJ:www.learn.columbia.edu/picmon/pdf/art_hum_reading_46.pdf+Du+Cubisme+by+Metzinger+and+Gleizes&cd=4&hl=en&ct=clnk&gl=us&client=firefox-a] Metzinger and Gleizes excerpt from ''Cubism 1912,'' retrieved April 6, 2009</ref> [[Marie Laurencin]], [[Max Weber (artist)|Max Weber]], [[Diego Rivera]], [[Marie Vorobieff]], [[Louis Marcoussis]], [[Jeanne Rij-Rousseau]], [[Roger de La Fresnaye]], [[Henri Le Fauconnier]], [[Alexander Archipenko]], [[František Kupka]], [[Amédée Ozenfant]], [[Jean Marchand (painter)|Jean Marchand]], [[Léopold Survage]], [[Patrick Henry Bruce]] among others. [[Section d'Or]] is basically just another name for many of the artists associated with cubism and [[Orphism (art)|orphism]]. [[Purism]] was an artistic offshoot of Cubism that developed after [[World War I]]. Leading proponents of Purism include [[Le Corbusier]], [[Amédée Ozenfant]], and [[Fernand Léger]]. |
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In 1913 the United States was exposed to cubism and modern European art when Jacques Villon exhibited seven important and large drypoints at the famous [[Armory Show]] in [[New York City]]. Braque and Picasso themselves went through several distinct phases before 1920, and some of these works had been seen in New York prior to the Armory Show, at [[Alfred Stieglitz]]'s "291" gallery. |
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[[Czechs|Czech]] artists who realized the epochal significance of cubism of Picasso and Braque attempted to extract its components for their own work in all branches of artistic creativity—especially [[painting]] and [[architecture]]. This developed into [[Czech Cubism]] which was an [[avant-garde]] art movement of Czech proponents of cubism active mostly in [[Prague]] from 1910 to 1914. |
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==Analytical Cubism== |
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[[Image:Picasso Portrait of Daniel-Henry Kahnweiler 1910.jpg|thumb|left|''Portrait of [[Daniel-Henry Kahnweiler]]'', 1910, [[The Art Institute of Chicago]]. Picasso's ''Analytical Cubist'' portrait of his longtime art dealer. Picasso wrote of Kahnweiler ''What would have become of us if Kahnweiler hadn't had a business sense?'']] |
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''Analytical Cubism'' is one of the two major branches of the artistic movement of Cubism and was developed between 1908 and 1912. In contrast to Synthetic cubism, Analytic cubists "analyzed" natural forms and reduced the forms into basic geometric parts on the two-dimensional picture plane. [[Colour]] was almost non-existent except for the use of a monochromatic scheme that often included grey, blue and ochre. Instead of an emphasis on colour, Analytic cubists focused on forms like the [[cylinder (geometry)|cylinder]], [[sphere]] and the [[cone (geometry)|cone]] to represent the natural world. During this movement, the works produced by [[Picasso]] and [[Braque]] shared stylistic similarities. |
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[[Image:Juan Gris - Still Life with Fruit Dish and Mandolin.jpg|thumb|right|[[Juan Gris]], ''Still Life with Fruit Dish and Mandolin'', 1919, oil on canvas, Private collection, Paris.]]Both Pablo Picasso and Georges Braque moved toward abstraction, leaving only enough signs of the real world to supply a tension between the reality outside the painting and the complicated meditations on visual language within the frame, exemplified through their paintings ''[[Ma Jolie]]'' (1911), by Picasso <ref>[http://www.moma.org/collection/object.php?object_id=79051 Ma Jolie MoMA]</ref> and ''The Portuguese'' (1911), by Braque. |
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In Paris in 1907 there was a major museum retrospective exhibition of the work of [[Paul Cézanne]] shortly after his death. The exhibition was enormously influential in establishing Cézanne as an important painter whose ideas were particularly resonant especially to young artists in [[Paris]]. Both Picasso and Braque found the inspiration for Cubism from Paul Cézanne, who said to observe and learn to see and treat nature as if it were composed of basic shapes like ''cubes, spheres, cylinders, and cones''. Picasso was the main analytic cubist, but Braque was also prominent, having abandoned [[Fauvism]] to work with Picasso in developing the Cubist lexicon. |
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==Synthetic Cubism== |
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[[Image:Picasso three musicians moma 2006.jpg|thumb|[[Pablo Picasso]], ''[[Three Musicians]]'' (1921), [[Museum of Modern Art]]. ''Three Musicians'' is a classic example of Synthetic cubism.<ref>[http://moma.org/collection/browse_results.php?object_id=78630 The Museum of Modern Art]</ref>]] |
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Synthetic Cubism was the second main movement within Cubism that was developed by [[Picasso]], [[Braque]], [[Juan Gris]] and others between 1912 and 1919. Synthetic cubism is characterized by the introduction of different textures, surfaces, [[collage]] elements, [[papier collé]] and a large variety of merged subject matter. It was the beginning of collage materials being introduced as an important ingredient of fine art work. |
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Considered the first work of this new style was Pablo Picasso's ''"Still Life with Chair-caning"'' (1911–1912),<ref>[http://serdar-hizli-art.com/picasso/picasso_braque_1912_1924.htm] retrieved November 26, 2009</ref> which includes oil cloth that was printed to look like chair-caning pasted onto an oval canvas, with text; and rope framing the whole picture. At the upper left are the letters "JOU", which appear in many cubist paintings and refers to the newspaper titled ''"Le Journal"''.<ref> [[John Richardson (art historian)|Richardson, John]]. ''A Life Of Picasso, The Cubist Rebel 1907-1916.'' New York: [[Alfred A. Knopf]], 1991, p.225. ISBN 978-0-307-26665-1</ref> Newspaper clippings were a common inclusion, physical pieces of newspaper, sheet music, and like items were also included in the collages. JOU may also at the same time be a pun on the French words jeu (game) or jouer (to play). Picasso and Braque had a friendly competition with each other and including the letters in their works may have been an extension of their game. |
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Whereas Analytic Cubism was an analysis of the subjects (pulling them apart into planes), Synthetic Cubism is more of a pushing of several objects together. Less pure than Analytic Cubism, Synthetic Cubism has fewer planar shifts (or schematism), and less shading, creating flatter space. |
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==Cubism and its ideologies== |
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Paris before [[World War I]] was a ferment of politics. The new [[anarcho-syndicalist]] trade unions and women's rights movements were especially active and vigorous, but patriotic, nationalist movements were strong as well. Cubism was a particularly varied art movement in its political affiliations, with some sections being broadly leftist or radical, and others strongly aligned with nationalist sentiment. |
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{{Citation needed|date=June 2009}} |
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==Cubism in other fields== |
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[[File:Monument 1300 Shumen 2.JPG|thumb|left|A part of the enormous [[Monument to 1300 Years of Bulgaria|Creators of the Bulgarian State]] monument near [[Shumen]].]] |
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The written works of [[Gertrude Stein]] employ repetition and repetitive phrases as building blocks in both passages and whole chapters. Most of Stein's important works utilize this technique, including the novel ''The Makings of Americans'' (1906–08) Not only were they the first important patrons of Cubism, Gertrude Stein and her brother [[Leo Stein|Leo]] were also important influences on Cubism as well. Picasso in turn was an important influence on Stein's writing. |
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In the field of American fiction, [[William Faulkner]]'s 1930 novel ''[[As I Lay Dying]]'' can be read as an interaction with the cubist mode. The novel features narratives of the diverse experiences of 59 characters which, when taken together, produce a single cohesive body. |
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The poets generally associated with Cubism are [[Guillaume Apollinaire]], [[Blaise Cendrars]], [[Jean Cocteau]], [[Max Jacob]], [[André Salmon]] and [[Pierre Reverdy]]. As American poet [[Kenneth Rexroth]] explains, Cubism in poetry "is the conscious, deliberate dissociation and recombination of elements into a new artistic entity made self-sufficient by its rigorous architecture. This is quite different from the free association of the Surrealists and the combination of unconscious utterance and political nihilism of Dada."<ref>[http://www.bopsecrets.org/rexroth/essays/reverdy.htm The Cubist Poetry of Pierre Reverdy (Rexroth)<!-- Bot generated title -->]</ref> Nonetheless, the Cubist poets' influence on both Cubism and the later movements of [[Dada]] and [[Surrealism]] was profound; [[Louis Aragon]], founding member of Surrealism, said that for Breton, Soupault, Éluard and himself, Reverdy was "our immediate elder, the exemplary poet."<ref>[http://www.bloodaxebooks.com/titlepage.asp?isbn=1852241543 Bloodaxe Books: Title Page > Pierre Reverdy: Selected Poems<!-- Bot generated title -->]</ref> Though not as well remembered as the Cubist painters, these poets continue to influence and inspire; American poets [[John Ashbery]] and [[Ron Padgett]] have recently produced new translations of [[Pierre Reverdy|Reverdy's]] work. |
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[[Image:U cerne matky bozi1.jpg|thumb|right|Cubist [[House of the Black Madonna]], Prague, Czech Republic, 1912]] |
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[[Wallace Stevens]]' "Thirteen Ways of Looking at a Blackbird" is also said to demonstrate how cubism's multiple perspectives can be translated into poetry.<ref>[http://titan.iwu.edu/~wchapman/americanpoetryweb/stevthir.html Illinois Wesleyan University - The American Poetry Web<!-- Bot generated title -->]</ref> |
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The composer [[Edgard Varèse]] was heavily influenced by Cubist writing and art. {{Citation needed|date=January 2008}} |
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==Cubism today== |
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[[Image:Calpoly pomona university library.jpg|thumb|left|200px|[[California State Polytechnic University, Pomona|Cal Poly Pomona]] university library in [[Pomona, California|Pomona]], [[California]].<ref>{{cite web | title=Welcome to the Library! | url=http://www.csupomona.edu/~library/index.html| work= University Library at [[California State Polytechnic University, Pomona|Cal Poly Pomona]] | accessdate=2008-09-19}}</ref>]] |
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Far from being an art movement confined to the annals of art history, Cubism and its legacy continue to inform the work of many contemporary artists. Not only is cubist imagery regularly used commercially but significant numbers of contemporary artists continue to draw upon it both stylistically and perhaps more importantly, theoretically. The latter contains the clue as to the reason for cubism's enduring fascination for artists. As an essentially representational school of painting, having to come to grips with the rising importance of photography as an increasingly viable method of image making, cubism attempts to take representational imagery beyond the mechanically photographic, and to move beyond the bounds of traditional single point perspective perceived as though by a totally immobile viewer. The questions and theories which arose during the initial appearance of cubism in the early 20th century are, for many representational artists, as current today as when first proposed. |
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== See also == |
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*[[Czech Cubism]] |
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*[[Purism]] |
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==References== |
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{{Reflist}} |
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== Further reading == |
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* Alfred H. Barr, Jr., ''Cubism and Abstract Art,'' New York: Museum of Modern Art, 1936. |
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* {{cite book | author=John Cauman | title=Inheriting Cubism: The Impact of Cubism on American Art, 1909-1936 | location=New York | publisher=Hollis Taggart Galleries | year=2001 | isbn=0-9705723-4-4}} |
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* {{cite book | last = Cooper | first = Douglas | title = The Cubist Epoch | publisher = Phaidon in association with the Los Angeles County Museum of Art & the Metropolitan Museum of Art | location = London | year = 1970 | isbn = 0875870414 }} |
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* John Golding, ''Cubism: A History and an Analysis, 1907-1914,'' New York: Wittenborn, 1959. |
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*[[John Richardson (art historian)|Richardson, John]]. ''A Life Of Picasso, The Cubist Rebel 1907-1916.'' New York: [[Alfred A. Knopf]], 1991. ISBN 978-0-307-26665-1 |
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== External links== |
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{{Commons category}} |
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{{Wiktionary|cubism}} |
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*[http://picasso.tamu.edu On-Line Picasso Project] |
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*[http://uk.portalmundos.com/mundoarte/comments/cubist.htm The Cubist Rupture Artistic comments in MundoArta] |
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*[http://www.youtube.com/watch?v=J0su_tnBI28 Video decoding a Picasso Cubist still-life] |
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*[http://www.nck.cz/cesky_kubismus.php?lg=eng The Czech Cubism Foundation] {{en icon}} |
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{{Post-Impressionism}} |
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{{Avant-garde}} |
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{{Westernart}} |
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{{Modernism}} |
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[[Category:Art movements]] |
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[[Category:Cubism|*]] |
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Revision as of 09:40, 14 June 2010
cubeism