The two artists, Jeanneret and Ozenfant, strongly objected to developments in Cubist art, particularly the decorative elements. Ozenfant and Le Corbusier wanted a return to more basic forms mainly inspired by modern machinery. To them, the golden ratio was the ideal shape, and that is reflected in their work. The theory of Purism is expounded in the book La peinture moderne, (Paris, 1925), co-written by Ozenfant and Le Corbusier and subsequently published in English as The Foundations of Modern Art.
Purist works are notable in their explicit use of geometric form and large areas of pure colour, and for their cool and detached paint surfaces - both of which prefigure the move towards the 'Hard Edge' style in American painting, with its similar emphasis on absolute definition of form.
Le Corbusier's interest in mechanation and pure proportion persisted into his later architectural endeavours, and the Purist aesthetic as a whole can be seen to have had particular influence on the evolution of modern architecture. The Czech architect and painter Bedřich Feuerstein was also influenced by Purism, as were the Eesti Kunstnike Rühm (Group of Estonian Artists) in Tallinn, whose main members were Arnold Akberg, Mart Laarman, Henrik Olvi, and Juhan Raudsepp. Their journal, "Uue Kunsti Raamat", or "Book of New Art", which appeared in 1928, was strongly influenced by L'Esprit Nouveau and by French Purism's appeal to reason and order.
четверг, 17 сентября 2009 г.
понедельник, 31 августа 2009 г.
Synthetic Cubism
Synthetic Cubism was the third 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.
Considered the first work of this new style was Pablo Picasso's "Still Life with Chair-caning" (1911–1912), 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". 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.
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. Picasso, through this movement, was the first to use text in his artwork (to flatten the space), and the use of mixed media—including more than one type of medium in the same piece. Less pure than analytic cubism, synthetic cubism has fewer planar shifts (or schematism), and less shading, creating flatter space.
Considered the first work of this new style was Pablo Picasso's "Still Life with Chair-caning" (1911–1912), 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". 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.
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. Picasso, through this movement, was the first to use text in his artwork (to flatten the space), and the use of mixed media—including more than one type of medium in the same piece. Less pure than analytic cubism, synthetic cubism has fewer planar shifts (or schematism), and less shading, creating flatter space.
Analytical Cubism
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, sphere and the cone to represent the natural world. During this movement, the works produced by Picasso and Braque shared stylistic similarities.
Juan Gris, Still Life with Fruit Dish and Mandolin, 1919, oil on can.
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 , by Picasso and The Portuguese, by Braque.
In Paris in 1907 there was a major museum retrospective exhibition of the work of Paul Cezanne 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.
Juan Gris, Still Life with Fruit Dish and Mandolin, 1919, oil on can.
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 , by Picasso and The Portuguese, by Braque.
In Paris in 1907 there was a major museum retrospective exhibition of the work of Paul Cezanne 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.
четверг, 9 июля 2009 г.
Conception and origins
During the late 19th and early 20th centuries, the European cultural elite were discovering African, Micronesian and 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, 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.
Some believe that the roots of cubism are to be found in the two distinct tendencies of Paul 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.
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.
The invention of Cubism was a joint effort between Picasso and 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.
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."
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. 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, Marie Laurencin, Max Weber, Diego Rivera, Marie Vorobieff, Louis Marcoussis, Jeanne Rij-Rousseau, Roger de La Fresnaye, Henri Le Fauconnier, Alexander Archipenko, František Kupka, Amédée Ozenfant, 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.
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. 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
Some believe that the roots of cubism are to be found in the two distinct tendencies of Paul 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.
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.
The invention of Cubism was a joint effort between Picasso and 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.
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."
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. 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, Marie Laurencin, Max Weber, Diego Rivera, Marie Vorobieff, Louis Marcoussis, Jeanne Rij-Rousseau, Roger de La Fresnaye, Henri Le Fauconnier, Alexander Archipenko, František Kupka, Amédée Ozenfant, 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.
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. 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
среда, 10 июня 2009 г.
"The art of painting original arrangements composed of elements taken from conceived rather than perceived reality."
-- Guillaume Apollinaire, The Beginnings of Cubism, 1912.
After Cubism, the world never looked the same again: it was one of the most influential and revolutionary movements in art. The Spaniard Pablo Picasso and the Frenchman Georges Braque splintered the visual world not wantonly, but sensuously and beautifully with their new art. They provided what we could almost call a God's-eye view of reality: every aspect of the whole subject, seen simultaneously in a single dimension.
The Cubist movement in painting was developed by Picasso and Braque around 1907 and became a major influence on Western art. The artists chose to break down the subjects they were painting into a number of facets, showing several different aspects of one object simultaneously. The work up to 1912 is known as Analytical Cubism, concentrating on geometrical forms using subdued colors. The second phase, known as Synthetic Cubism, used more decorative shapes, stencilling, collage, and brighter colors. It was then that artists such as Picasso and Braque started to use pieces of cut-up newspaper in their paintings.
J thing Piccaso creat a side step stone to the modern art. Cubism ,in my opineon, is a play of shapes.In our sociaty wher evrything is so right the cubism is breth of new air.And that what we all need.
-- Guillaume Apollinaire, The Beginnings of Cubism, 1912.
After Cubism, the world never looked the same again: it was one of the most influential and revolutionary movements in art. The Spaniard Pablo Picasso and the Frenchman Georges Braque splintered the visual world not wantonly, but sensuously and beautifully with their new art. They provided what we could almost call a God's-eye view of reality: every aspect of the whole subject, seen simultaneously in a single dimension.
The Cubist movement in painting was developed by Picasso and Braque around 1907 and became a major influence on Western art. The artists chose to break down the subjects they were painting into a number of facets, showing several different aspects of one object simultaneously. The work up to 1912 is known as Analytical Cubism, concentrating on geometrical forms using subdued colors. The second phase, known as Synthetic Cubism, used more decorative shapes, stencilling, collage, and brighter colors. It was then that artists such as Picasso and Braque started to use pieces of cut-up newspaper in their paintings.
J thing Piccaso creat a side step stone to the modern art. Cubism ,in my opineon, is a play of shapes.In our sociaty wher evrything is so right the cubism is breth of new air.And that what we all need.
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