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Old Roots, New Shoots Become the Subject of Further Fragmentation by the Austrian Composer Arnold Schoenberg, Then Working in Berlin

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Old Roots, New Shoots Become the Subject of Further Fragmentation by the Austrian Composer Arnold Schoenberg, Then Working in Berlin F. Nightmare in Berlin A set of verse fragments by the Belgian Symbolist Albert Giraud Old Roots, New Shoots become the subject of further fragmentation by the Austrian composer Arnold Schoenberg, then working in Berlin. Schoenberg: Pierrot Lunaire, 15–17 G. American Blackbirds Thirteen Ways of Looking at a Blackbird (1917) by Wallace Stevens brings the multiple viewpoints of Cubism to American poetry. Stevens: 13 Ways of Looking at a Blackbird, author’s reading Glanville-Hicks: 13 Ways of Looking at a Blackbird, 1–3 Foss: 13 Ways of Looking at a Blackbird, 1–3 H. French Diversions We close with a look at Erik Satie, the maverick French composer who nonetheless found a niche in Cubist company. Satie: Sports et Divertissements, excerpts Satie/Cocteau/Picasso/Massine: Parade, excerpts Names & Dates: Guillaume Apollinaire (1880–1918), Umberto Boccioni (1882–1916), Georges Braque (1882–1963), Paul Cézanne (1839–1906), Claude Debussy (1862–1918), Robert Delaunay (1885–1941), Marcel Duchamp (1887–1968), Lukas Foss (1922–2009), Albert Giraud (1860–1929), Peggy Glanville-Hicks (1912–90), Marie Laurencin (1883–1956), Filippo Tommaso Marinetti(1876 –1944), Henri Matisse (1869–1954), Pablo Picasso (1881–1973), Luigi Russolo (1885–1947), Erik Satie (1866–1925), Arnold Schoenberg (1874– 1951), Gertrude Stein (1874–1946), Wallace Stevens (1879–1955) http://www.brunyate.com/roootsshoots/ 5. The Multiple Image [email protected] C. Time for a Drink The Multiple Image A number of works with a boozy theme to illustrate the passage from the first, Analytic, phase of Cubism to the more decorative Synthetic THE DEFINITIVE PERIOD of Analytical Cubism lasted barely two Cubism that held sway after 1912. years, between 1910 and 1912. Nonetheless, the earthquake Picasso: Absinthe Drinker (1901, St, Petersburg) triggered by Georges Braque and Pablo Picasso had aftershocks Picasso: Glass of Absinthe (1914, Oberlin College) that continued until mid-century at least, and gave permission Picasso: Absinthe Glass (1914, NY MoMA) for other artists to use Cubist fragmentation to pursue their Picasso: Glass Bottle of Suze (1912, St. Louis, Washington U.) own ideas. Starting with painting in France, we will go on to Picasso: Still Life with Chair Caning (1912, Paris), Video look at similar work in different media in other countries. rb. D. Lights, Color, Action! A. Pablo’s Music A brief account of the work of Robert Delaunay, who brought a Fauve palette to the Cubist style, and of his move to an abstract art Five Picasso paintings having to do with music or musicians offered as based on color that the critic Guillaume Apollinaire called Orphism. a road map for today’s journey. Delaunay: Champ de Mars (1911, Chicago) Picasso: Old Guitarist (1904, Chicago) Delaunay: Hommage à Blériot (1914, Grenoble) Picasso: Three Musicians (1921, NY Met) Delaunay: First Disc (1912–13, p.c.) Picasso: Girl with a Mandolin (1910, MoMA) Delaunay: Simultaneous Contrasts, Sun and Moon (1913, MoMA) Picasso: The Guitarist (1911) Laurencin: Réunion à la campagne (1909, Musée Picasso) Picasso: Violin (1912, Otterlo) Apollinaire: Lines for Lou Debussy: General Lavine, Eccentric (from Preludes, Bk.2) B. Picasso’s Path Picasso’s progress to Cubism had two principals engines: the influence E. Moving to Italy of Paul Cézanne and an interest in so-called “primitive” art. We look at The Italian Futurist Movement, started in 1909 by Filippo Tommaso both, with a short detour to visit Picasso’s friend Gertrude Stein. Marinetti to capture the movement, noise, and danger of modern Picasso: Au Lapin Agile (1905, NY Met) life, borrowed much of its visual language from French Cubism. Cézanne: Boy in a Red Waistcoat (1890, NGA DC), detail Matisse: The Dance (1910, St. Petersburg) Cézanne: Mont Sainte-Victoire from Bibémus Quarry (1897, BMA) Duchamp: Nude Descending a Staircase #2 (1912, Philadelphia) Braque: Houses at L’Estaque (1908, Lille) Boccioni: The City Rises (1910, NY MoMA) Picasso: Les demoiselles d’Avignon (1907, NY MoMA) Boccioni: The Street Enters the House (1911, Hanover) Picasso: Daniel-Henry Kahnweiler (1910, Chicago) Russolo: Risveglia di una città (1913), excerpt Picasso: Gertrude Stein (1906, NY Met) Boccioni: Unique Forms of Continuity in Space (1913, NY MoMA) Stein: “A Carafe” from Tender Buttons (1912) Marinetti: Zang, Tumb, Tumb (1912, opening) Braque: Glass on a Table (1910, London Tate) .
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