Art Explorations - Cubism

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Visual Art Virtual Learning Art Explorations - Cubism May 14, 2020 Art Explorations Lesson: May 14, 2020 Objective/Learning Target: You will be learning more about George Braque Cubism Braque A prominent figure in the development of cubism, Georges Braque was a French painter and sculptor. As a young adult, he worked during the day as a house painter and decorator, in the same line of work as his father and grandfather, and he attended evening classes at the School of Fine Arts in Le Havre, France. In 1902, he received his certificate as a decorator, but still attended art school, at the Humbert Academy, where he studied until 1904. 4 Braque The development of cubism came shortly after Braque met and began working with Pablo Picasso, in 1909. Both artists produced representative paintings with a monochromatic color scheme and interlocking blocks and complex forms. 5 Braque The two artists worked closely together until the outbreak of World War I, upon which Braque joined the French Amy and left Picasso’s side. After his return from the war, in which he was seriously wounded in the battlefield, Braque moved away from the harsh lines and sharp pointed complexity of the cubist style, and instead began to paint pieces with bright colors and eventually return to the human figure. 6 Braque Although he departed from his harsh lines and forms, Braque never abandoned his cubist style. Whereas Picasso freely painted in many styles, from representational to cubist, surreal, and abstract, Braque held true to his fragmented forms and simultaneous perspective. 7 Picasso Braque’s interest in collecting musical instruments is reflected in this painting of a small lute called a mandora. Its fragmented style suggests a sense of rhythm and acoustic reverberation that matches the musical subject. Braque explained that he liked to include instruments in his cubist works, ‘in the first place because I was surrounded by them, and secondly because their plasticity, their volumes, related to my particular concept of still life’. 8 Watch this video about Braque that also mentions Picasso. 9 “ Do you see similarities between Picasso and Braque? What are some differences? 10 Tomorrow“ we look at another artist from Cubism. Please email me if you have any questions. [email protected] 11.

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Parcours Pédagogique Collège Le Cubisme
PARCOURS PÉDAGOGIQUE COLLÈGE 2018LE CUBISME, REPENSER LE MONDE LE CUBISME, REPENSER LE MONDE COLLÈGE Vous trouverez dans ce dossier une suggestion de parcours au sein de l’exposition « Cubisme, repenser le monde » adapté aux collégiens, en Un autre rapport au préparation ou à la suite d’une visite, ou encore pour une utilisation à distance. réel : Ce parcours est à adapter à vos élèves et ne présente pas une liste d’œuvres le traitement des exhaustive. volumes dans l’espace Ce dossier vous propose une partie documentaire présentant l’exposition, suivie d’une sélection d’œuvres associée à des questionnements et à des compléments d’informations. L’objectif est d’engager une réflexion et des échanges avec les élèves devant les œuvres, autour de l’axe suivant « Un autre rapport au réel : le traitement des volumes dans l’espace ». Ce parcours est enrichi de pistes pédadogiques, à exploiter en classe pour poursuivre votre visite. Enfin, les podcasts conçus pour cette exposition vous permettent de préparer et d’approfondir in situ ou en classe. Suivez la révolution cubiste de 1907 à 1917 en écoutant les chroniques et poèmes de Guillaume Apollinaire. Son engagement auprès des artistes cubistes n’a jamais faibli jusqu’à sa mort en 1918 et a nourri sa propre poésie. Podcasts disponibles sur l’application gratuite du Centre Pompidou. Pour la télécharger cliquez ici, ou flashez le QR code situé à gauche. 1. PRÉSENTATION DE L’EXPOSITION L’exposition offre un panorama du cubisme à Paris, sa ville de naissance, entre 1907 et 1917. Au commencement deux jeunes artistes, Georges Braque et Pablo Picasso, nourris d’influences diverses – Gauguin, Cézanne, les arts primitifs… –, font table rase des canons de la représentation traditionnelle.
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Complex Networks Reveal Emergent Interdisciplinary Knowledge in Wikipedia ✉ Gustavo A
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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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Primitivism in Russian Futurist Book Design 1910–14
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< Paul Cézanne >
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CSISS Classics
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Fernand Léger's Long Career Spanned Over Fifty Years
QUICK VIEW: Synopsis Fernand Léger's long career spanned over fifty years. Though he built his reputation on being a Cubist, his styles varied considerably decade to decade, ranging from figuration to complete abstraction. Léger worked in a wide range of mediums including paint, ceramic, large-scale murals, film, theater and dance sets, glass, print, and in book arts. While his styles varied, overall, he was consistently graphic, favoring primary colors, depicting humans or abstract shapes in action to convey the movement of daily life. Key Ideas • Léger understood the Cubist notion of freeing the painter from a responsibility to realism, yet he was more interested in materialism than other Cubists, such as Braque and Picasso. • As a Cubist, Léger was concerned with replacing his subject matter with colors and shapes rather than converging or diverging planes and forms. His paintings were closer to pure abstraction than many of his Cubist contemporaries. • Léger sought to express the noise, dynamism and speed of new technology and machinery, working through several themes, or cycles, of imagery depicting humans in motion. DETAILED VIEW: Childhood Fernand Léger was born in rural France and raised by his family to take up a valuable trade, like his father who was a cattle dealer. While Léger was not encouraged to become an artist, when he showed talent for drawing, he was encouraged. Léger was sent to architecture school and later to the Ecole des Arts Decoratifs, Academie Julian and the © The Art Story Foundation – All rights Reserved For more movements, artists and ideas on Modern Art visit www.TheArtStory.org Ecole des Beaux-Arts.
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Georges Braque and the Cubist Still Life, 1928–1945 January 25–April 21, 2013
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Guillaume Apollinaire on Pablo Picasso
Studies in 20th Century Literature Volume 27 Issue 1 Article 3 1-1-2003 The Poetics of Visual Cubism: Guillaume Apollinaire on Pablo Picasso Pamela A. Genova University of Oklahoma Follow this and additional works at: https://newprairiepress.org/sttcl Part of the Film and Media Studies Commons, and the French and Francophone Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Genova, Pamela A. (2003) "The Poetics of Visual Cubism: Guillaume Apollinaire on Pablo Picasso," Studies in 20th Century Literature: Vol. 27: Iss. 1, Article 3. https://doi.org/10.4148/2334-4415.1545 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. The Poetics of Visual Cubism: Guillaume Apollinaire on Pablo Picasso Abstract Guillaume Apollinaire, one of the most original poets of the early twentieth-century French avant garde, played a crucial role in the enunciation of modernist aesthetics. Through innovative poetic forms, Apollinaire set forth a new aesthetics which underscored the inherent ambiguity of an increasingly turbulent modern context. Apollinaire's interest in the pure dynamism of the contemporary material landscape, and his attraction to the image that explodes with immediate presence, also led him to a natural curiosity in the visual arts. Identifying with the Cubist mosaic style of inclusion, the juxtaposition of reality and imagination, and the simultaneity of spatial and temporal movement, Apollinaire saw modern artists as "singers of a constantly new truth," inventors of a uniquely authentic modern experience.
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Research Into the Development of Collage Through Certain Works of Georges Braque, Pablo Picasso, and Kurt Schwitters Noel P
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