Presentation on theme: "CUBISM & PICASSO CUBISM. CUBISM & PICASSO I paint forms as I think them not as I see them Pablo Picasso, Les Demoiselles D’Avignon, 1907."— Presentation transcript:
CUBISM & PICASSO CUBISM
CUBISM & PICASSO I paint forms as I think them not as I see them Pablo Picasso, Les Demoiselles D’Avignon, 1907.
20 th CENTURY ART show the ‘concept’ of an object rather than details of the real thing Picasso, Enamel Saucepan, 1945 (Synthetic Cubism) Cubism
20 th CENTURY ART different views of an object SIMUTANEOUSLY, emphasizing: time, space & the Machine Age Picasso, A Portrait of David-Henry Kahnweiler, 1910
CUBISM & PICASSO Picasso & Braque used techniques as faceting, ‘passage’ and multiple perspective Pablo Picasso, Ma Jolie, , Oil on Canvas
CUBISM & PICASSO During the early process they did not realize they were creating MOVEMENT CUBISM 'Factory, Horta de Ebbo', 1909 (oil on canvas)
CUBISM & PICASSO influenced and guided by their own understanding of Cézanne PAUL CÉZANNE ( ) 'Bibemus Quarry', 1895 (oil on canvas
CUBISM & PICASSO "Every thing in nature takes it's form from the sphere, cone or cylindar." - Paul Cezanne
CUBISM & PICASSO Cezanne’s quote basis of painting for seven years. Paul Cezanne's influence most noted in Georges Braque's work Road near L'Estaque. GEORGES BRAQUE 'Viaduct at L'Estaque', 1908 (oil on canvas)
CUBISM & PICASSO Primitive Cubism 1907 to 1908 or Proto Cubism Analytical Cubism1909 to 1912 High Analytical1910 to 1912 or Hermetic Cubism Synthetic Cubism 1912 to 1920
CUBISM & PICASSO Primitive Cubism began in 1907 until 1908 The Vase, Bowl, Lemon Picasso 1907
20 th CENTURY ART simplify objects to their most basic, primitive terms Picasso, Les Demoiselles d'Avignon (The Young Ladies of Avignon, 1907
CUBISM & PICASSO the subject usually discernible
CUBISM & PICASSO figures & objects were dissected or "analyzed“ into many small facets Picasso Girl with a Mandolin (Fanny Tellier)
CUBISM & PICASSO figures & objects reassembled, to evoke those same figures or objects. Juan Gris, Portrait of Picasso 1912
CUBISM & PICASSO Analytical Cubism Began 1908 to 1912 Exploration of a subject’s pure form Mentally broke the subject into flat planes and arranged them in complex, overlapping relationships Georges Braque (French, ). Violin and Palette (Violon et palette), September 1, Oil on canvas.
CUBISM & PICASSO Limited Monochormatic Palette grays, browns, dark greens, ochre, dark yellows maintains an emotionless scene Picasso's Ma Jolie from 1912 is a classic example of this technique.
CUBISM & PICASSO "high" Analytic Cubism (1910–12), also called hermetic Candlestick and Playing Cards on a Table, Autumn 1910 Georges Braque (French, 1882–1963)Oil on canvas
CUBISM & PICASSO The composition of this small oval painting consists of clearly defined Cubist planes in hues of brown and ocher highlighted by black and white.
CUBISM & PICASSO At the center can be identified the corner of a table upon which rests the round base of a brass candlestick
CUBISM & PICASSO and, at the right, two playing cards —the ace of hearts and the six of diamonds.
CUBISM & PICASSO This still life presents one of the earliest instances of Braque's choice of an oval format.
CUBISM & PICASSO Soon, both Braque and Picasso would make frequent use of this shape. Woman with a Mandolin (Georges Braque,1910)
CUBISM & PICASSO In rectangular Analytic Cubism, planes and facets of forms concentrate in the center of a composition, Still Life with a Bottle of Rum, 1911Pablo Picasso (Spanish, 1881–1973)Oil on canvas
CUBISM & PICASSO and the corners remain relatively empty. Still Life with a Pair of Banderillas, Summer 1911Georges Braque (French, 1882–1963)Oil on canvas
CUBISM & PICASSO An oval format avoids such corners, and therefore Braque and Picasso sometimes favored this shape. The Clarinet (La clarinette), summer-fall Oil with sand on fine linen canva
CUBISM & PICASSO Picasso and Braque so abstracted their works that they were reduced to just a series of overlapping planes and facets mostly in monochromatic browns, grays, or blacks. In their work from this period, Picasso and Braque frequently combined representational motifs with letters
CUBISM & PICASSO Their favorite motifs were still lifes with musical instruments, bottles, pitchers, glasses, newspapers, playing cards and the human face. Landscapes were rare.
CUBISM & PICASSO These quasi-scientific and mathematical interests were linked with the ‘hermetic sciences’, the occult and alchemy………….
CUBISM & PICASSO CUBISM name by: French art critic Louis Vauxcelles after seeing Braque’s landscapes at L'Estaque in emulation of Cezanne BRAQUE, Houses at L'Estaque L'Estaque,1908 Paul Cezanne La Montagne Saint Victoire Barnes, 1885
CUBISM & PICASSO Major Influences… Paul Cezanne (Post-Impressionist) Femme de Vert 1909
CUBISM & PICASSO REVOLUTIONARY STYLE response to a world that was changing with unprecedented speed aim was to develop a new way of seeing reflecting the modern age Analytical Cubism Invented by Picasso and George Braque
CUBISM & PICASSO western society witnessed more technological progress than in the previous four centuries during this period inventions such as photography, cinematography, sound recording, the telephone, the motor car and the airplane heralded the dawn of a new age.
CUBISM & PICASSO The problem for artists at this time was how to reflect the modernity of the era using traditions from the last four centuries. Pablo Picasso Carafe, Jug and Fruit Bowl, 1909
CUBISM & PICASSO new Space Concept first since Masaccio The Holy Trinity
CUBISM & PICASSO Retains some sort of depth Picasso, Girl with a Mandolin (Fanny Teller), 1910
CUBISM & PICASSO Little contrast in color Analytical Cubism Georges Braque. The Portuguese, 1911
CUBISM & PICASSO Pablo Picasso, Portrait of Vollard, ANALYTICAL CUBISM Analytical Cubism Faceted shapes and translucent divisions of space
CUBISM & PICASSO Analytical Cubism Complex and systematic design Georges Braque, Violin and Jug, 1910) ANALYTICAL CUBISM
CUBISM & PICASSO. Differing views of the same subject in the same work Georges Braque, Fruitdish,
CUBISM & PICASSO Georges Braque, Musical Instruments, 1908.
CUBISM & PICASSO SYNTHETIC CUBISM more colourful Pablo Picasso, Composition with Skull, 1908.
CUBISM & PICASSO Pablo Picasso, Three Musicians, Puts forms back together after breaking them apart
CUBISM & PICASSO George Braque, Gillet, “Collage” French word “glue” Foreign materials pasted makes the collage look like a real surface Scraps are changed and painted on, giving them a double meaning Synthetic Cubism
CUBISM & PICASSO collage and papier colles, bridged the gap between life and art inserting pieces of the real world onto the canvas. Picasso, Bottle of Pernod and Glass, 1912
CUBISM & PICASSO Pablo Picasso, Glass and Bottle of Suze, SYNTHETIC CUBISM Synthetic Cubism
CUBISM & PICASSO Picasso, Man with a Hat and a Violin, 1912 from a a group of seventeen papiers collés created from newspaper articles arranged cuttings from Le Journal December 3 and 9, 1912, straight and slightly curved charcoal lines scaffolded text refers to: Balkan Wars, unrest of miners in the Nord Pas-de-Calais départements, issues debated in Parliament and to local announcements and advertisements.
CUBISM & PICASSO On one hand, the Cubist artists shared the unease about the increasing industrialization of their way of life as evidenced by their pre-Cubist fascination with all that was “primitive,” from tribal art, to children’s art, to folk art, to low art in an attempt to relocate a kind of artistic expression that was natural and simple and unsophisticated. On the other hand, these same Cubists were equally fascinated with the brave new world of machine driven objects, cars, airplanes and the modern ocean liner. The Cubists were the generation that will absorb and adjust to the Machine Age and the end of the old ways, accepting the new ways of living. The Eiffel Tower, once hated by Parisians who were used to and preferred Charles Garnier’s Opéra, was greatly admired by a new generation that saw the towering structure as the symbol of everything new and modern. Striding over the city of Paris, the Eiffel Tower nakedly revealed the nature and the “truth” of its materials and its method of construction—a deliberately modern statement of all that was new.
CUBISM & PICASSO Related Maps World, 1900 A.D. – Present Europe, 1900 A.D. – Preesnt Timelines France 1900 A.D. to PResent
CUBISM & PICASSO TermsART MOVEMENT/STYLECubism in Modern and Contemporary ArtCubism in Twentieth–Century European ArtSchool of Paris in Twentieth–Century European ArtARTISTBraque, Georges (French, 1882–1963
CUBISM & PICASSO presentThematic EssaysCubismWorks of Art by CollectionModern and Contemporary ArtIndex)MATERIAL AND TECHNIQUEPainting in Oil on Canvas from FranceSUBJECT MATTER/THEMEStill LifeARTIST BIOGRAPHYBraque, Georges (French, 1882– 1963)TECHNICAL GLOSSARYCanvasOil Paint