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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. outline, be summarized as follows: A number of circumstances augered in 1908-09: A Cezannesque period, in which favor of the emergence of Cubism and , with both artists produced strongly geometric it, the break with the tradition of depicting a landscapes. convincing illusion of real space within the 1910-12: the Analytic phase, in which both picture frame. Among all of the factors, how­ sought to present reality in a manner unique ever, the most important is the art of Paul to painting. They presented various views Cezanne, who struggled with one of the great of an object which would ordinarily be seen challenges intrinsic to art: how to represent in sequence-its front, side, and back-si­ a three dimensional world on a two dimen­ multaneously. sional surface while sacrificing neither so­ 1912-14: Synthetic cubism, so named by lidity nor flatness. Juan Gris, in which both artists exploited the Georges Braque and Pablo Picasso took resources of their recent invention, the col­ Volume 1 up this challenge in a joined and sustained lage. Number 1 Among them are such otherwise dissimilar artists as Morton Schamberg and Thomas Cubism Hart Benton. John Marin zigzagged his often delicate watercolors with "force lines" taken Synthetic Cubism not only synthesized from Futurism, giving his closely observed "real" materials with painted/constructed street scenes and landscapes a com­ reality, but also synthesized earlier discov­ pressed, geometric structure. eries, permitting objects to seem tangible The post-war development of Cubism in while forms and surfaces were shuffled in America does not follow a single course space as thin as gossamer. either. A number of the early modernists, World War I ended the joint investigations working in a conservative artistic milieu and of Picasso and Braque and dispersed the finding little support for an art perceived as international community of artists who had European, responded to the general isola­ gathered in Paris. Excepting Juan Gris and tionist spirit with increasingly conservative Ferdinand Leger, all of these artists, includ­ imagery. Thomas Hart Benton's rather ab­ ing the American artists, were on-lookers. rupt dismissal of modernism for scenes of Few grasped all of the issues and formal Americana is perhaps only the most famous ideas with which Braque and Picasso ex­ reversal. Several artists, most notably perimented. Most seized upon an aspect of Charles Sheeler and Charles Demuth-and the style and wedded it to theories of their Georgia O'Keeffe in a number of paintings own, sometimes political, sometimes purely of Lake George barns and New York sky­ aesthetic. scrapers-produced a uniquely American Those theories produced Futurism in Italy, style which came to be called Precision ism. Vorticism in Britain, Constructivism and Su­ In these paintings, the inherent geometry of prematism in the Soviet Union, De Stijl in colonial architecture or railyards and fac­ Holland. Orphism and Purism were gener­ tories, or steamships and locomotives, were ated by French painters while two Ameri­ pared of detail and awarded a shimmering cans in Paris, Morgan Russell and Stanton kind of clarity in sunlight often given the geo­ MacDonald-Wright developed their concept metric character of Cubist planes. of Synchronism. The work of some of these Finally, there are a small number of Amer­ moved toward pure abstraction, the work of ican painters who produced cubist works others returned to a more traditional, often which are to be found nowhere else. In the figurative art. work of Ralston Crawford, a scene from a Fundamental to nearly all, however, was New Orleans dockside (for instance) is han­ the use of the facets of Analytic Cubism. dled in a manner not found in Futurism or Fractured planes served to generate com­ Precisionism: the shapes of freight con­ plex, geometric images which frequently tainers and equipment are transformed into were held to be a metaphor for the mech­ a static arrangement of geometric shapes anized and shattered quality of modern in­ which hover, like elements of a Braque col­ dustrialized experience. lage, in an airless, compressed space. Stuart To many parts of this complicated avant­ Davis seized frequently upon billboards and garde profusion of styles the American artist commercial packaging to create images in could and did respond. Generally, however, which sometimes overlapping, sometimes progressive American painters did not, col­ discontinuous planes of color and letter lectively, generate a national style as can shapes pulse across the surface of the can­ be discovered in Russia or Holland. Rather, vas in rhythms which suggest the synco­ Cubism in America tends to reflect the di­ pation of American jazz. In space which was versity of styles produced internationally. also airless and flattened to ambiguous but In Joseph Stella's Cubist paintings of narrow confines, Patrick Henry Bruce pre­ Manhattan, Coney Island, and the Brooklyn sented arrangements of inherently geomet­ Bridge, for example, the small planes of ric objects given three-dimensional solidity. shimmering color and the use of line cele­ As with Davis and Crawford, Bruce began brate mechanized and electrified New York with perceived reality, but did not fracture in a manner that clearly reflects the artist's it into juxtaposed facets rendered as geo­ response to the Futurists, who also arranged metric planes. He, like the other two, pre­ the fractured planes of Cubism to produce served a fundamental aspect of the real dynamic images of speeding machinery and things before him-their actual shape-while the rise of modern cities. Max Weber's Cub­ he also transformed those things into an ab­ ism also reflects the influence of Futurism in stracted image that could only exist in the his concentration on the skyscrapers and space of the painted surface. hurry of New York, but his work is often mon­ It is this creation of an actuality that can ochromatic and the space virtually flat, in only exist in a work of art that is the center close accord with Picasso's Analytic Cubist of the Cubist revolution. Cubism in America, canvases of c. 1911. Marsden Hartley, pro­ although originally the source of bafflement foundly influenced by Weber, also produced and the target of derision, proved strong works of analytic cubism, but in his work enough to endure and to provide the foun­ forms are stable and solidly realized in the dation for a continuing tradition of abstract manner of Cezanne's still lifes of c. 1890- art. 1900. Many Americans, in addition to Rus­ Donald Bartlett Doe sell and MacDonald-Wright, fused Neo­ Impressionist color with Cubist geometry. Patrick Henry Bruce Much about the life of Patrick Henry Bruce remains unknown. Family records show that the great-great-great-grandson of Patrick Henry was born on March 21 , 1881 , but the artist's birth certificate bears the date of March 25. Bruce, as a man , proved aloof and i[1creasingly reclusive as he aged. He communicated nothing about his own art and actually destroyed a major part of his own work. What is known, however, suggests an ex­ traordinary if unhappy life. He was born into an aristrocratic Virginia family. Of their vast holdings-the family had once owned an estate of 5,000 acres-little remained but patrician attitudes. In spite of financial ur­ gancy, Bruce evinced no desire to enter business but very considerable interest in art. By 1902, following several years of classes at the Richmond Art Club, he was in New York, studying under the charismatic teachers Robert Henri and William Merritt Chase. Two years later, Bruce was in Paris. Except for a brief return in the summer of 1905, to settle his father's estate and marry another Henri student, Helen Francis Kib­ bery, Bruce was to spend nearly all of the Patrick Henry Bruce Forms, c. 19 18-19, oil on canvas rest of his life in France. He became a Francophile, refusing to Apollinaire's favorable critical attitude to­ leave during the war years, living at the very ward his work.
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