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Home , Blaise Cendrars, Head (Csaky), Henri Laurens, Jean Metzinger, Marius de Zayas, Orphism (art)

Cubism’s Break with Space

While on the one hand looked to the past for models that were untainted by western culture, it also be- came, on the other, an artistic movement that broke with the pictorial tradition inherited from the . The materialisation of its commitment to the new spirit of was the way it was attracted by the image in movement, best expressed in silent film.

The relationship between Cubism and ci- nema is that which is established with a new way of seeing; one and the other re- conceptualized the Western visual arts, inventing a new aesthetic relationship with the world. Both (1881- 1973) as well as (1882- 1963) used the cinema as a catalyst to demolish conventions of representation and later to reconstruct them. Fernand Léger (1881-1955) took on cinema as a new artistic language to experiment with his fascination with the machine and dy- namism. Ballet mécanique, 1924, consi- dered the only strictly-Cubist film, takes Cubism challenged the fundaments of Western representation which, since the Re- the fragmentation of the every-day object, naissance, was thought of as a window through which to have access to the visible to which it gives a very precise movement world from a singular point of view. The Cubist rupture put an end to the traditional con- and rhythm, to the extreme in order to pre- ception of as a reflection of a fixed and inherent form of understanding reality. sent it as the protagonist actor, in whom In this sense, the Cubist artists drew on sources distant from Western parameters, such the true beauty of modern life will reside. as African , knowledge of which (a vestige of colonial occupation) begins to be of interest in the Europe of the turn of the century. This art, which was called primitive or Nonetheless, the borrowing was not one- art nègre for its artistic stylization and simplification, served to catalyze the rejection of way, for even though the artists knew the the dominant pictorial conventions. silent screen, as Léger’s subtle homage to Charlot in this film (the cinema furthest The simultaneity and multiplicity of Cubist painting connects with the new mobile and from the Parisian artistic Bohemian set) dynamic experience of modernity. This dynamism links Cubism with the cinema, which demonstrates, neither can it be unders- in those years seemed to embody the spirit of the new century and was offered as a metaphor for modernity in its totality. The philosopher Henri Bergson, in his work Sur Bibliography l’evolution créatrice, published in 1907 (of unquestionable importance for Cubism), highlights its capacity of construction of an absolute and continuous totality from sta- Foster, Hal [ed.]. Arte desde 1900. tic fragments. Meetings before the cinematographer formed part of the customs of the Modernidad, antimodernidad, Parisian bohemian set, which frequently attended projections in cafés and boulevards. posmodernidad. Those artists, who had renounced an academic and bourgeois art, embraced popular Madrid: Akal, 2007 [2004]. forms as a stimulus to subvert the conventions of the elevated , and at the time cinema was, above all, a popular entertainment similar to the circus, magic shows, Rose, Bernice B. [ed.]. or cabaret. It is not the issue of a visual similarity which linked Cubism with the cinema, Picasso, Braque and Early Film in Cu- but rather a structural link fundamentally carried out by two factors: a dialogue between bism. Nueva York: PaceWildenstein reality and unreality; and the fragmentation of the body and of space through the dis- Gallery, 2007. tortion of the shot. tood without the experience of the Cubist fragmentation, as Buster Keaton (1895- 1966) shows when he dismantles that portable bungalow in One Week, 1920, an example which shows a knowledge of Cu- bism on the part of the cineaste. Analysis and the Machine Cubism represents the end of the nineteenth century with regards to visual arts, inaugurating new ways of see- ing and new painterly conceptions. But it also introduced new relationships between the artist, society and the market. In a short amount of time, Cubism would turn into the first avant-garde movement whose experimenta- tion made room for different artistic positions and tendencies, whether actively pursued or produced in reaction to it, in the first avant-garde movements from Abstractionism to .

period is called, is the closest step to abs- traction. The object’s multiplicity gives way to a closed representation that proves difficult to interpret, close to Mallarmé’s thesis, since it presents the aesthetic field as a stage for reinventing one reality from another. This is how (1864-1946) understood it at Gallery 291 in New York, as did the other members of magazine who compared it in their publication to the space of symbols akin to Gordon Craig’s stage designs. Cubism’s pioneers Picasso and Braque abandon this direction in an intense tour de force, returning to representation by way of constructing assemblages that represent Given the movement’s centrality, interpretations of Cubism have focused on different Synthetic Cubism. Its main features bring tendencies in twentieth-century through sociology, semiotics, visual culture together uniform colors and two-dimen- and, above all, its formalist features. Traditionally privileged by museums, the study of sional planes within the space of painting, forms understands Cubism as a sequence of three styles or phases in brief time periods but also within the material world. Syn- until it acquired a kind of representation derived from specific painterly qualities. thetic Cubism incorporates everyday ele- ments into the painting, such as letters or The first phase, called Analytical Cubism, would destroy the traditional notion of pers- numbers cut out of posters or newspapers pective and the painting as a window into another space, to the extent that it threw the from the artist’s surroundings, using them mimetic function of images into crisis. Demonstrated in the painting by Pablo Picasso as pictorial elements that reconnect with (1881-1973) painting Le compotier (Fruit in a Vase), 1910, and his bust titled Tête de the modern world. The invention of femme (Fernande) ( of a Woman, Fernande), 1910, cubist decomposition con- in Synthetic Cubism understands artistic sists of an intellectual process that geometrically schematizes and recombines mul- space as a playful space for reconfigu- tiple planes configuring the internal and external structure of things. But it also applies ring and resignifying the everyday and the the same approach to the observer’s potentially different points of view. Time is intro- painting at the same time. duced into the canvas, as is Cubism’s critique of sight as a flawed, incomplete manner The origins of Cubism are often attribu- of perceiving the world. In general, Analytical Cubism has been interpreted as a joint ted to a conversation between Picasso response of Picasso and Georges Braque (1882-1963) to the painting of Paul Cézan- and Braque, but this assertion ignores ne (1839-1906). Yet, as the film by Louis Lumière (1864-1948) Partie d’écarté (The other voices. One of them being Juan Card Game), 1896, illustrates, there existed iconographic circumstances that demons- Gris (1887-1927), who would develop trated interrelations produced among film, new material culture and popular culture in unparalleled features in Synthetic Cubism the nineteenth century and the development of Cubism and its precedents. through his use of color and composi- Analytical Cubism is developed with such complexity that by 1911, geometric struc- tion. Opposite ’ personal cubist ture itself, thought of as a tool to elucidate other relationships between the world and approach to , French subject, ends up dispensing with figurative representation. Hermetic Cubism, this new artist Fernand Léger (1881-1955) repre- sented a kind of tubular Cubism related flections by Henri Bergson and Edmund to the industrial machine. Together with Husserl, Cubism demonstrated conclusi- Bibliography Picasso, Braque and Gris, there were other vely that the experience of modernity was painters considered cubists, whose work bound to a dynamic and subjective reality, Chevrier, Jean François. L’action res- would be exhibited in public salons, like irreconcilable with the preeminence of a treinte. L’art moderne selon Mallarmé. those by (1881-1953) and visual order invented in the Renaissance. París: Hazan; : Musée des (1883-1956). Three- Beaux Arts, 2005. dimensional space, a fundamental aspect of cubist analysis, was also developed in Clark, T. J. “Cubism and Collectivity”, like those by en: Farewell to an Idea: Episodes from (1891-1973). His contact with Constan- a History of . New Haven y tin Brancusi (1876-1957) introduced him Londres: Yale University Press, 1999. to Cubism to later reclaim a kind of figu- rative representation close to the work of Harrison, Charles; Frascina, Francis; (1885-1954). Perry, Gill. Primitivismo, cubismo y Cubism’s most important exhibition was abstracción. Los primeros años del Section d’Or at the Galerie de la Boétie in siglo XX. Madrid: Akal, 1998 [1993]. 1912. That same year Apollinaire wrote a series of articles on Cubism compiled in Les peintres cubistes, published in 1913. In Spain, Cubism was shown for the first time in 1912 thanks to the Exposició d’art cubista, which Josep Dalmau organized in his gallery. The exhibition included works by (1887-1968), Gleizes, Metzinger, Léger and Juan Gris and had a great influence on Spanish ar- tists. On an international level, Mexican artist Marius de Zayas (1880-1961) pla- yed a fundamental role in introducing Cu- bism and the avant-garde movements to New York. As Stieglitz’s advisor, de Zayas convinced him to print works by artists he had discovered in his trips to —such as Picasso, Braque and (1879-1953)— in Camera Work maga- zine and exhibit them in Gallery 291. Mo- reover, his work as a caricature artist evol- ved significantly after coming into contact with the Parisian avant-garde, combining mechanical elements with cubist princi- ples. Braque ended his relationship with Picas- so in 1914 after being called to serve in World War I. From this moment, Picasso endowed his work with a greater poetic intensity, working within Cubism but with total freedom. The early death of Juan Gris in 1927 and the after the Great War marked an end to one of the most productive periods and artistic lan- guages in twentieth-century art. Similarly to scientific research by and Max Planck, or to philosophical re- Poetry, Sight and

Cubism became a wide-ranging movement, in which interest in scientific advances mixed with the importance of its relationship with poetry, dance, music and theatre in the development of the language of the avant-garde. Various branches grew out from it, including “”, characterised by chromatic juxtaposition and contrast.

intended to forge a link between all of the arts, as Apollinaire had done with poetry. Orphism had a very close connection to literature, since the Delaunays’ paintings inspired Apollinaire to write poetry. Mo- reover, Cendrars published a book on the parameters of simultaneity, titled La prose du transsibérien et de la petite Jehanne de France (Prose of the Transsiberian and of little Jehanne de France), 1913, printed on a colored background designed by , a copy of which is exhibited in this room.

The connection between the arts also At the same time that Cubism was achieving widespread recognition, some pain- came to fruition in work developed by Ame- ters began to break away from this avant-garde movement. The term “Orphism” was rican dancer Loïe Fuller (1862-1928). Her created by Apollinaire to refer to the art of (1885-1941), exhibited in innovative stage sets combined the free- Section d’Or in 1912. At first, only Delaunay and Francis Picabia (1879-1953) accep- dom of bodily movement, emphasized by ted the term, which had also been imposed upon Fernand Léger (1881-1955), Marcel costumes with large quantities of mate- Duchamp (1887-1968) and Frantisek Kupka (1871-1957). Delaunay would later re- rial, with colorful lighting that optimized ject the label, considering it a maneuver to present all avant-garde art as belonging to techniques in chemistry and electricity. the same front. Apollinaire thought of Orphism as a developed branch of Cubism, even Choreography by Loïe Fuller, such as Dan- though it would not be long before he recognized distinguishing characteristics in its se Serpentine II (The Serpentine Dance II), simultaneity and colorful contrasts. Simultaneity did not imply an attempt at describing 1897, was highly imitated at the time, fas- different objects and points of view on canvas, but a desire to represent forms without cinating many artists and writers, among resorting to procedures that divide or fragment the object, known to Cubism and Im- them Stéphane Mallarmé, who found her pressionism. to be an expression of his ideals for crea- ting a new poetry. For the symbolist poet, On this last point, color and light achieved a fundamental importance. Interested in Mi- dance was capable of representing abs- chel Eugène Chevreul’s theory of color, husband and wife Robert and Sonia Delaunay traction as immaterial poetry, and it did so (1885-1979) designated colorful contrasts as the foundation of their pictorial expe- through rhythm and its decomposition of rience. In this manner, chromatic surfaces interacting among each other created forms movement. In this sense, Loïe Fuller’s ex- to construct a painterly space. They crafted their compositions from simultaneous perimentation can be linked to , contrasts in which the painting’s rhythm is measured by the retina’s play among bright similarly to or Cubism, exempli- tones; exemplified in Sonia Delaunay’s Dubonnet (1914), colorful surfaces juxtapose fying the importance that dance, music each other, constituting different chromatic structures. These paintings came close to and theatre had in developing the avant- abstraction through an intense process of experimentation with forms. garde’s artistic language. With close ties to both the world of poetry in their relationship with (1887-1961) and modern physics in its conception of primary colors, the Delaunays In Spain the painter María Blanchard (1881-1932) shared an interest in this Bibliography movement’s use of light and color during crucial years in her artistic production. Her Bière-Chauvel, Delphine. Le réseau paintings approach volumetric analysis of artistique de Robert Delaunay: échan- Cubism’s own space through faceted, co- ges, diffusion et creation au sein des lorful planes and figurative decomposition. avant-gardes entre 1909 et 1939. Aix-en-Provence: Publications de l’Université de Provence, 2005.

Reynolds, Dee. “The Dancer as Woman: Loïe Fuller and Stéphane Mallarmé”, en: Hobbs, Richard [ed.]. Impressions of French Modernity. Art and Literature in France 1850-1900. Manchester: Manchester University Press, 1998.