Assignment on cubism and synthetic cubism
By adding writing and bits and pieces of everyday objects into their paintings, Picasso, Braque and Gris were striving to connect with an enlarged sense of the realness of their subjects. Thus the aim of painting is not to pretend that the viewer is looking through a window, but to make the viewer aware of the picture surface itself as well as the subject matter it depicts.
First of all, such artworks appear as a busy interweaving of planes and lines where the subjects are completely fractured. Synthetic Cubism also featured an entirely new range of textures and incorporated a wide variety of extraneous materials. Georges Braques - The Portuguese, , Oil on canvas, By including such elements within respected artworks, Cubist artists suggested that art could be made with scissors and glue as effectively as with brushes and paint. Thus their juxtaposition in the same picture makes the point about the nature of language but also blurs the distinction between them. For these artworks, he used newspapers, music sheets, wallpapers, various fabrics, cardboard, etc. Metzinger's Baigneuses is reproduced top right. Leger created his images of machine forms and robots from cylinders and cones, the basic building blocks of his work. It bridged the gap between reality and art by literally interpolating pieces of the real world onto the canvas. Contrary to reassembling facets of the original image, it was a matter of synthesizing entirely new structures. Woman with a Guitar So why were Picasso and Braque incorporating mundane materials such as oil cloth and wallpaper?
Authentic pieces of paper replaced painted flat depictions of paper, real music notebooks replaced drawn musical notation, etc. All of a sudden he was thrust in a world of expanding vision and horizons, of accelerated tempo and mobility and of fluctuating perspectives.
There were virtually no more restrictions of any kind as the only boundaries were set by the amount of creativity the artists possessed. In order to bring painting back to reality, Braque introduced a new element to their work--visually realistic objects taken from popular culture.
The resulting image seems more like an example of the suggestion of Cubism than the rigorous definition of it. Undoubtedly, due to the great success of the exhibition, Cubism became avant-garde movement recognized as a genre or style in art with a specific common philosophy or goal. Cubism was born as a response to this predicament, and it is no accident that the movement was a Parisian phenomenon, considering the city's artistic legacy and its magnetic ability to attract the most gifted young artists and writers from all over the world. Cubism as a publicly debated movement became relatively unified and open to definition. Soon afterwards, an artistic partnership developed between the two artists that was to define the nature of painting for years to come. Georges Braque Viaduct at L'Estaque oil on canvas, The limitations of perspective were also seen as an obstacle to progress by the Cubists. Bergson argued that intellectual perception led to a fundamentally false representation of the nature of things, that in nature nothing is ever absolutely still. Alternative interpretations of Cubism have therefore developed. Furthermore, he incorporated into his painting references to primitive art, a practice that ran counter to the ceremonious adulation of the whole continuum of Western art. Synthetic Cubism was more symbolic than Analytical Cubism. Provenance: Jacques Nayral, Niels Bohr The historical study of Cubism began in the late s, drawing at first from sources of limited data, namely the opinions of Guillaume Apollinaire. Both Duchamp in and Picabia from to developed an expressive and allusive abstraction dedicated to complex emotional and sexual themes. After inventing Analytic Cubism in , he easily could have just kept painting in that style for decades and still gotten rich and famous. Besides being one of the most important Synthetic artworks, Fruit Dish and Glass is also a great indicator of how the author wanted to shift away from the serious and overly complex nature of Analytic Cubism. Since the French word for an easel picture is tableau, Picasso delights in the joke that his picture is a vertical tableau which is also a horizontal table.
Braque also added shadows with graphite and charcoal thereby mixing drawing and painting techniques. Relativity became everything.
There are a few characteristics that seem to be common to all Analytic pieces. It's almost as if Braque has taken the violin, shattered it into bits and pieces, and then holds it so that we can see all of the violin's fragments as they move around still part of its main structure.
His support gave his artists the freedom to experiment in relative privacy. The motif of the viaduct at l'Estaque had inspired Braque to produce three paintings marked by the simplification of form and deconstruction of perspective.
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