cubism began in 1907 by picasso and braque. used cezanne’s idea that all shapes in nature are...
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CUBISM Began in 1907 by Picasso and
Braque. Used Cezanne’s idea that all shapes in
nature are based on the sphere, cone and cylinder.
They painted three dimensional objects as though they could be seen from many angles at the same time.
The Beginnings of Cubism• Picasso and Braque are influenced by Greek, Iberian and African art
Greek Iberian African
The Beginnings of Cubism Picasso had Gertrude
Stein sit 92 times for this portrait. He struggled with this painting and then left for Spain in 1906. Upon his return, he finished the painting from memory, giving her face a stylized, mask-like appearance.
Picasso, Gertrude Stein, 1906
Picasso
This painting is a radical departure from traditional modes of representation and art critics suggest this painting represents the beginning of Modern Art.
Les Demonoiselles d”Avignon, 1907
Analytical Cubism Objects are broken up and
recombined to show tilted planes or facets – like the surface of a gem.
Cubism developed in 1908. Limited palette of browns, greens &
blues Both artists worked in this style
from 1908-1912
Analytical Cubism
Picasso, Aficionado, 1912
Picasso,The Guitar Player, 1910
Picasso, Portrait of Ambroise Vollard, 1910
Synthetic Cubism Features flat shapes and a variety of
colors and textures. Picasso and Braque co-developed
Synthetic Cubism in 1912 Uses the same techniques as analytical
Cubism plus…. Bolder, more vivid color Collage was introduced Assemblage was introduced Influenced by wallpaper design.
Picasso, Still Life with Chair Caning, 1912
Synthetic Cubism Collage is the
technique of gluing
additional materials
to a background
surface.
The subdued palette
of Analytical Cubism
gave way to a bright
color palette of red,
yellow and blue.
Braque The artists tried to rebuild
the subject in new and interesting ways.
They joined separate parts of the subject together, often using more than one angle of view of the subject.
Sometimes, the artist painted the inside and the outside of the subject.
Fruit Dish, 1912