Pablo Picasso & Cubism

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Pablo Picasso & Cubism Pablo Picasso (1881 – 1973) was one of the greatest artists of the twentieth century. Picasso’s father was an art teacher and he encouraged Picasso to draw and paint at a young age. The style or way Picasso painted changed over his lifetime. When Picasso was in his early twenties his work became different from anyone else’s. His best friend died and Picasso felt alone. None of his paintings were selling and he was almost starving to death. Because of his mood, Picasso began to paint with a lot of blue. Blue can be a very sad color. He made all the people in his paintings look lonely and sad. Picasso’s Blue Period ended when he met and fell in love with a girl named Fernande. He started to paint in happier colors and happier things. This was the beginning of his Rose Period. Picasso painted a lot of circus people during this time. The Rose Period didn’t last very long because he found a new way to paint that was exciting and different. Cubism Cubism was the next and most famous style of painting Picasso developed. Cubism is one of the most important periods in the history of modern art. Picasso painted his subjects like they were broken up into little cubes. That is were the name Cubism came from. Picasso kept working with Cubism and changed it over the years. It became much more colorful and flatter looking. It became easier to see what Picasso was painting. Picasso wanted to show more than one side of his subject. He put facial features in the wrong places, which many people did not like. When painting a Cubist portrait Picasso combined the front and profile view in one face. Can you find both the profile and front view of the face in this Cubist Painting? Can you find both views in this painting? What made Picasso such a great artist was his originality, imagination and the courage to try something new. Because of his art, Picasso was a celebrity while he lived. He was recognized by many when out on the street. People said that Picasso only had to make a quick drawing and sign his name to pay for his dinner. Picasso lived to be ninety-two and did more than just paint. He made sculptures, prints, drawings and beautifully colored bowls and dishes. He even made costumes and scenery for plays. “All children are artists. The problem is how to remain an artist once we grow up.” “Everything you can imagine is real.” “He can who thinks he can, and he can't who thinks he can't. This is an inexorable, indisputable law.” -Pablo Picasso.

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Cubism in America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1985 Cubism in America Donald Bartlett Doe Sheldon Memorial Art Gallery Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Doe, Donald Bartlett, "Cubism in America" (1985). Sheldon Museum of Art Catalogues and Publications. 19. https://digitalcommons.unl.edu/sheldonpubs/19 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. RESOURCE SERIES CUBISM IN SHELDON MEMORIAL ART GALLERY AMERICA Resource/Reservoir is part of Sheldon's on-going Resource Exhibition Series. Resource/Reservoir explores various aspects of the Gallery's permanent collection. The Resource Series is supported in part by grants from the National Endowment for the Arts. A portion of the Gallery's general operating funds for this fiscal year has been provided through a grant from the Institute of Museum Services, a federal agency that offers general operating support to the nation's museums. Henry Fitch Taylor Cubis t Still Life, c. 19 14, oil on canvas Cubism in America .".. As a style, Cubism constitutes the single effort which began in 1907. Their develop most important revolution in the history of ment of what came to be called Cubism art since the second and third decades of by a hostile critic who took the word from a the 15th century and the beginnings of the skeptical Matisse-can, in very reduced Renaissance.
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CUBISM and ABSTRACTION Background
015_Cubism_Abstraction.doc READINGS: CUBISM AND ABSTRACTION Background: Apollinaire, On Painting Apollinaire, Various Poems Background: Magdalena Dabrowski, "Kandinsky: Compositions" Kandinsky, Concerning the Spiritual in Art Background: Serial Music Background: Eugen Weber, CUBISM, Movements, Currents, Trends, p. 254. As part of the great campaign to break through to reality and express essentials, Paul Cezanne had developed a technique of painting in almost geometrical terms and concluded that the painter "must see in nature the cylinder, the sphere, the cone:" At the same time, the influence of African sculpture on a group of young painters and poets living in Montmartre - Picasso, Braque, Max Jacob, Apollinaire, Derain, and Andre Salmon - suggested the possibilities of simplification or schematization as a means of pointing out essential features at the expense of insignificant ones. Both Cezanne and the Africans indicated the possibility of abstracting certain qualities of the subject, using lines and planes for the purpose of emphasis. But if a subject could be analyzed into a series of significant features, it became possible (and this was the great discovery of Cubist painters) to leave the laws of perspective behind and rearrange these features in order to gain a fuller, more thorough, view of the subject. The painter could view the subject from all sides and attempt to present its various aspects all at the same time, just as they existed-simultaneously. We have here an attempt to capture yet another aspect of reality by fusing time and space in their representation as they are fused in life, but since the medium is still flat the Cubists introduced what they called a new dimension-movement.
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Cubism Futurism Art Deco
20TH Century Art Early 20th Century styles based on SHAPE and FORM: Cubism Futurism Art Deco to show the ‘concept’ of an object rather than creating a detail of the real thing to show different views of an object at once, emphasizing time, space & the Machine age to simplify objects to their most basic, primitive terms 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Pablo Picasso 1881-1973 Considered most influential artist of 20th Century Blue Period Rose Period Analytical Cubism Synthetic Cubism 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Early works by a young Picasso Girl Wearing Large Hat, 1901. Lola, the artist’s sister, 1901. 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Blue Period (1901-1904) Moves to Paris in his late teens Coping with suicide of friend Paintings were lonely, depressing Major color was BLUE! 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Blue Nude, 1902. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Self Portrait, 1901. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Tragedy, 1903. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Le Gourmet, 1901. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s work at the National Gallery (DC) 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Rose Period Rose Period (1904-1906) Much happier art than before Circus people as subjects Reds and warmer colors Pablo Picasso, Harlequin Family, 1905. ROSE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Rose Period Pablo Picasso, La Familia de Saltimbanques, 1905.
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Synthetic Cubism at War: New Necessities, New Challenges
RIHA Journal 0250 | 02 September 2020 Synthetic Cubism at War: New Necessities, New Challenges. Concerning the Consequences of the Great War in the Elaboration of a Synthetic-Cubist Syntax Belén Atencia Conde-Pumpido Abstract When we talk about the Synthetic Cubism period, what exactly are we referring to? What aesthetic possibilities and considerations define it insofar as its origin and later evolution are concerned? To what extent did the disorder that the Great War unleashed, with all its political, sociological and moral demands, influence the reformulation of a purely synthetic syntax? This article attempts to answer these and other questions relating to the sociological-aesthetic interferences that would influence the Parisian Cubist style of the war years, and in particular the works of Juan Gris, María Blanchard, Jacques Lipchitz and Jean Metzinger during the spring and summer that they shared with one another in 1918, until it consolidated into what we now know as Crystal Cubism. Contents Cubism and war. The beginning of the end or infinite renewal? At a crossroads: tradition, figuration, synthesis and abstraction The Beaulieu group, the purification of shape and the crystallization of Cubism in 1918 and 1919 Epilogue Cubism and war. The beginning of the end or infinite renewal? [1] The exhibition "Cubism and War: the Crystal in the Flame", held in the Picasso Museum in Barcelona in 2016,1 highlighted the renewed production undertaken in Paris during the war years by a small circle of artists who succeeded in taking Synthetic Cubism to its ultimate consequences. 1 Cubism and War: the Crystal in the Flame, ed.
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Linking Local Resources to World History
Linking Local Resources to World History Made possible by a Georgia Humanities Council grant to the Georgia Regents University Humanities Program in partnership with the Morris Museum of Art Lesson 5: Modern Art: Cubism in Europe & America Images Included_________________________________________________________ 1. Title: Les Demoiselles d’Avignon Artist: Pablo Picasso (1881– 1973) Date: 1907 Medium: Oil on canvas Location: Museum of Modern Art, New York 2. Title: untitled (African mask) Artist: unknown, Woyo peoples, Democratic Republic of the Congo Date: c. early 20th century Medium: Wood and pigment Size: 24.5 X 13.5 X 6 inches Location: Los Angeles County Museum of Art 3. Title: untitled (African mask) Artist: Unknown, Fang Tribe, Gabon Date: c. early 20th century Medium: Wood and pigment Size: 24 inches tall Location: Private collection 4. Title: Abstraction Artist: Paul Ninas (1903–1964 Date: 1885 Medium: Oil on canvas Size: 47.5 x 61 inches Location: Morris Museum of Art 5. Title: Houses at l’Estaque Artist: Georges Braque (1882–1963) Date: 1908 Medium: Oil on Canvas Size: 28.75 x 23.75 inches Location: Museum of Fine Arts Berne Title: Two Characters Artist: Pablo Picasso (1881– 1973) Date: 1934 Medium: Oil on canvas Location: Museum of Modern Art in Rovereto Historical Background____________________________________________________ Experts debate start and end dates for “modern art,” but they all agree modernism deserves attention as a distinct era in which something identifiably new and important was under way. Most art historians peg modernism to Europe in the mid- to late- nineteenth century, with particularly important developments in France, so we’ll look at that time in Paris and then see how modernist influences affect artworks here in the American South.
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1874 – 2019 • Impressionism • Post-Impressionism • Symbolism
1874 – 2019 “Question: Why can’t art be beautiful instead of fascinating? Answer: Because the concept of beautiful is arguably more subjective for each viewer.” https://owlcation.com/humanities/20th-Century-Art-Movements-with-Timeline • Impressionism • Dada • Post-Impressionism • Surrealism • Symbolism • Abstract Expressionism • Fauvism • Pop Art • Expressionism • Superrealism • Cubism • Post-Modernism • Futurism • Impressionism is a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter • Post-Impressionism is an art movement that developed in the 1890s. It is characterized by a subjective approach to painting, as artists opted to evoke emotion rather than realism in their work • Symbolism, a loosely organized literary and artistic movement that originated with a group of French poets in the late 19th century, spread to painting and the theatre, and influenced the European and American literatures of the 20th century to varying degrees. • Fauvism is the style of les Fauves (French for "the wild beasts"), a group of early twentieth- century modern artists whose works emphasized painterly qualities and strong color over the representational or realistic values retained by Impressionism. • Expressionism is a modernist movement, initially in poetry and painting, originating in Germany at the beginning of the 20th century. ... Expressionist artists have sought to express the meaning of emotional experience rather than physical reality. • Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture.
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THE ARTISTIC COLLABORATION of PABLO PICASSO and JULIO GONZÁLEZ a Thesis Presented to the Faculty of the College
IRON DIALOGUE: THE ARTISTIC COLLABORATION OF PABLO PICASSO AND JULIO GONZÁLEZ A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Fine Arts Jason Trimmer June 2005 © 2005 Jason Trimmer All Rights Reserved This thesis entitled IRON DIALOGUE: THE ARTISTIC COLLABORATION OF PABLO PICASSO AND JULIO GONZÁLEZ by Jason Trimmer has been approved for the School of Art and the College of Fine Arts by Joseph Lamb Associate Professor of Art History Raymond Tymas-Jones Dean of the College of Fine Arts TRIMMER, JASON A. M.F.A. June 2005. Art History Iron Dialogue: The Artistic Collaboration of Pablo Picasso and Julio González (69 pp.) Thesis Advisor: Joseph Lamb This paper analyzes the sculptural collaboration between Pablo Picasso and Julio González. It will examine each of the works born of the collaborative project at length, and discuss the major stylistic and thematic precursors to these works, both within each artist’s oeuvre and art history in general. During the collaboration, each artist’s unique sensibilities, skills, and styles merged to create just under a dozen works that have since resonated throughout the fields of art and art history. Also discussed will be the fact that these sculptures were created during the interwar period in Europe, which was a time of industrial, societal, and political upheaval. Each of these broad paradigm shifts is reflected within the works, and these works can, in fact, help to further our understanding of this tumultuous time period. While a good amount of important scholarship on the Picasso-González collaboration exists, much of it is spread across a number of years and a number of sources.
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Art Front Gerald M. Monroe Archives of American
Art Front Gerald M. Monroe Archives of American Art Journal, Vol. 13, No. 3. (1973), pp. 13-19. Stable URL: http://links.jstor.org/sici?sici=0003-9853%281973%2913%3A3%3C13%3AAF%3E2.0.CO%3B2-9 Archives of American Art Journal is currently published by The Smithsonian Institution. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/si.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers, and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take advantage of advances in technology. For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Sun Jan 13 12:08:42 2008 writer and &tor of trade magazines, a Communist functionary with respon- published an art bulletin under the aegis sibility in cultural matters, placed the of his gallery.
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On Cubism and Démoiselles D' Avignon
On Cubism and Démoiselles d’ Avignon First question: What is cubism and who were the cubists? Is it acceptable to call Picasso and Braque the “true” cubists and everyone else a “derivative” cubist? Is the distinction between “salon” cubism and “gallery” cubism more useful? For the French public in the early 20th century, the “salon” cubists were the real (and probably the only) cubists. Picasso and Braque did not participate in the salon system, so most people did not see their work. Second question: If cubism changed the nature of art, what precisely was so revolutionary about it and why can’t social critics and historians agree as to what this revolutionary achievement consisted of? There are two dominant answers to the question about what makes cubism revolutionary and they are quite different. The first, and at least until now, more widely known answer, makes the claim that cubism broke with the Renaissance approach to art, an art of vision, or an art of the camera obscura, in which the artist tries to reproduce the external appearance of objects as seen by the human eye. The cubist, in contrast, recognized that we do not perceive objects in their entirety at one glance, and that, as a result, our visual knowledge comprises a more conceptual and experiential understanding of things. For some adherents of this position, this conceptual vision can be a bridge to a higher reality, the fourth dimension, and it is also a step toward complete abstraction. Although Picasso and Braque did not go there, this theory essentially sees them as paving the way.
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Minimalism and Cubism Introduction
MINIMALISM AND CUBISM INTRODUCTION Minimalism and Cubism are two genres of art that can be said to have grown from the seeds of abstract art. The works produced in both are far from imitation of reality, although deriving ideas from it. Both cubism and minimalism were a change from the traditional views of art in the time they were founded. Cubism brought a new interpretation of 2D imitationalism paintings by emphasising more on the skeleton of real-world forms rather than focusing on the subject from one viewpoint, whereas minimalism took a step further by making an entire change to the use of conventional materials testing the boundaries of what can be considered as art. Realism The change from Realism to Cubism is evident in the way the subjects are painted. In the Realism artwork we see a more realistic version of the Cubism human subjects, whereas the cubism artwork portrays a more shattered mirror version of the subject. Le Repas des Pauvres Alphonse Legros 1877 Minimalism From cubism we see the use of straight edges developed into the minimalistic artwork. Violin and Palette Georges Braque The use of colour too developed 1909 from monochromatic to colourful. There is also tends to be a lack of real world subjects in this genre. Hyena Stomp Frank Stella 1962 CUBISM It began in the early 1900s after Picasso’s creation of “Les Demoiselles d’Avignon” in 1907. The genre mainly consisted of paintings that followed a monochromatic palette to keep the viewer’s focus on the structure of the subject in the work In contrast to the growing movements at the time such as fauvism, expressionism, etc.
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Picasso: Girl Before a Mirror
PICASSO GIRL BEFORE A MIRROR ANNE UMLAND THE MUSEUM OF MODERN ART, NEW YORK At some point on Wednesday, March 14, 1932, Pablo Picasso stepped back from his easel and took a long, hard look at the painting we know as Girl before a Mirror. Deciding there was nothing more he wanted to change or to add, he recorded the day, month, and year of completion on the back of the canvas and signed it on the front, in white paint, up in the picture’s top-left corner.1 Riotous in color and chockablock with pattern, this image of a young woman and her mirror reflection was finished toward the end of a grand series of can- vases the artist had begun in December 1931, three months before.2 Its jewel tones and compartmentalized composition, with discrete areas of luminous color bounded by lines, have prompted many viewers to compare its visual effect to that of stained glass or cloisonné enamel. To draw close to the painting and scrutinize its surface, however, is to discover that, unlike colored glass, Girl before a Mirror is densely opaque, rife with clotted passages and made up of multiple complex layers, evidence of its having been worked and reworked. The subject of this painting, too, is complex and filled with contradictory symbols. The art historian Robert Rosenblum memorably described the girl’s face, at left, a smoothly painted, delicately blushing pink-lavender profile com- bined with a heavily built-up, garishly colored yellow-and-red frontal view, as “a marvel of compression” containing within itself allusions to youth and old age, sun and moon, light and shadow, and “merging .
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Timeline Fauvism Henri Matisse Matisse and Picasso
Henri Matisse a biography Timeline Henri-Emile-Benoît Matisse was born in a small town in northern North Africa to explore ornamental arabesques and flat patterns of color. From roughly 1913 to 1917 he France on December 31, 1869. His mother introduced him to experimented with and reacted against Cubism, the leading avant-garde movement in France at the time. painting at age 21 by bringing art supplies to his bedside while he During his early stay in Nice, France, from about 1917 to 1930, his subjects largely focused on the female 1869 Henri Matisse is born on recovered from appendicitis. He promptly gave up pursuing a law figure and his works were infused with bright colors, southern light, and decorative patterns. 1870 December 31 in Le Cateau, France career and moved to Paris to study traditional nineteenth-century In 1930, Matisse traveled to the United States and received a mural commission from Dr. Albert academic painting. He enrolled at the Académie Julian as a student Barnes, the art-collector who established the Barnes Foundation in Pennsylvania. Destined for the main hall of artist William-Adolphe Bouguereau (1825–1905), but struggled of the Foundation and installed in 1933, Matisse’s masterpiece The Dance II is renowned for its simplicity, under the conservative teacher. Matisse continued his studies with flatness, and use of color. In preparation for the mural, he began using the technique of composing with cut- Gustave Moreau (1826–1898) in 1892, a Symbolist painter at the out pieces of colored paper, which soon became his preferred exploratory method.
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