Cubism was a revolutionary art movement that emerged in the early 1900s and had a profound impact on the development of modern art. The movement was led by artists such as Pablo Picasso and Georges Braque, and it marked a departure from traditional representational art.
Cubism developed in three phases: Cezanian Cubism, Analytical Cubism, and Synthetic Cubism. Each phase of Cubism was characterized by distinct styles, techniques, and subject matter, and together they represent a progression towards a more abstract and decorative form of art.
This table provides an overview of the key characteristics of each phase of Cubism and highlights the evolution of the movement over time.
1. Cezanian Cubism
Cezanian Cubism, also known as Proto-Cubism, is the first phase of the Cubist movement. It was developed by Pablo Picasso and Georges Braque in the early 1900s and is considered to be a precursor to the more abstract forms of Cubism that would follow.
Characteristics of Cezanian Cubism
The defining characteristics of Cezanian Cubism include fragmented forms, multiple viewpoints, and a strong emphasis on the flatness of the picture plane. This phase of Cubism was heavily influenced by African and Iberian art and is characterized by its use of bold, simplified forms and strong lines.
The subject matter in Cezanian Cubism was often still recognizable, but was fragmented and rearranged to create a new, abstract representation.
Influence of African and Iberian Art on Cezanian Cubism
African and Iberian art had a significant impact on the development of Cezanian Cubism. These art forms were characterized by their use of bold, simplified forms and strong lines, which were incorporated into the style of Cezanian Cubism.
Additionally, African and Iberian art often depicted the subject matter from multiple viewpoints, which was also a defining characteristic of Cezanian Cubism. The influence of these art forms helped to establish the foundations of Cubism and set the stage for the more abstract forms of Cubism that would follow.
Examples of Cezanian Cubism
- Les Demoiselles d’Avignon by Pablo Picasso: This painting, created in 1907, is considered to be one of the earliest and most important examples of Cezanian Cubism. It features five figures that are fragmented and rearranged to create a new, abstract representation. The bold lines and simplified forms in the painting reflect the influence of African and Iberian art on Cezanian Cubism.
- Houses at L’Estaque by Georges Braque: This painting, created in 1908, is another important example of Cezanian Cubism. It features houses and trees that are fragmented and rearranged to create a new, abstract representation. The strong lines and simplified forms in the painting reflect the influence of African and Iberian art on Cezanian Cubism.
- Still Life with Chair Caning by Georges Braque: This painting, created in 1912, is another important example of Cezanian Cubism. It features a still life composition that is fragmented and rearranged to create a new, abstract representation. The use of bold lines and simplified forms in the painting reflects the influence of African and Iberian art on Cezanian Cubism.
These three examples demonstrate the key characteristics of Cezanian Cubism, including fragmented forms, multiple viewpoints, and a strong emphasis on the flatness of the picture plane.
They also demonstrate the influence of African and Iberian art on the development of Cezanian Cubism and the foundations of the Cubist movement.
2. Analytical Cubism
Analytical Cubism is the second phase of the Cubist movement, developed between 1908 and 1912. It is characterized by the use of fragmented forms and multiple viewpoints to analyze the subject matter.
In Analytical Cubism, the subject matter was broken down into its component parts and reassembled in a new way, creating a new, abstract representation of the subject.
Characteristics of Analytical Cubism
The defining characteristics of Analytical Cubism include the fragmented and reassembled representation of the subject matter, the use of multiple viewpoints to analyze the subject, and the use of abstract shapes and lines to represent the subject.
In Analytical Cubism, the subject matter was often still recognizable but was abstracted and fragmented to create a new representation. This phase of Cubism was more abstract and less representational than Cezanian Cubism, and it marked a shift towards a more abstract and analytical form of Cubism.
In Analytical Cubism, the artists sought to deconstruct the subject matter and understand its underlying structure. This was achieved through the use of fragmented forms, multiple viewpoints, and abstract shapes and lines.
The resulting paintings often had a flattened, abstract appearance, and were characterized by their use of neutral colors and limited brushwork.
Overall, Analytical Cubism represented a significant departure from the more representational forms of Cezanian Cubism and marked a new direction for the Cubist movement.
Analysis of the Subject Matter in Analytical Cubism
- Deconstruction of the subject matter: In Analytical Cubism, the artists sought to understand the underlying structure of the subject matter by breaking it down into its component parts. This was achieved by fragmenting the subject and rearranging the fragments in a new way.
- Use of multiple viewpoints: In Analytical Cubism, the artists used multiple viewpoints to analyze the subject matter. This allowed them to see the subject from different angles and understand its underlying structure more thoroughly.
- Representation of the subject through abstract shapes and lines: In Analytical Cubism, the subject matter was represented through the use of abstract shapes and lines. This allowed the artists to convey the underlying structure of the subject without being limited by representational accuracy.
- Creation of a new representation of the subject: Through the process of deconstruction, analysis, and representation through abstract shapes and lines, the artists in Analytical Cubism created a new, abstract representation of the subject matter. This new representation was characterized by its fragmented and reassembled forms and was often more abstract and less representational than the original subject.
These steps demonstrate the process of analysis that the artists in Analytical Cubism employed to understand the subject matter and create a new, abstract representation of it.
Through their use of fragmented forms, multiple viewpoints, and abstract shapes and lines, they sought to convey the underlying structure of the subject matter and create a new, abstract representation of it.
Examples of Analytical Cubism
- Violin and Candlestick by Georges Braque: This painting, created in 1910, is an important example of Analytical Cubism. It features a violin and a candlestick that are fragmented and rearranged to create a new, abstract representation of the subject matter. The use of multiple viewpoints and abstract shapes and lines in the painting reflects the analytical approach of Analytical Cubism.
- Nude Descending a Staircase by Pablo Picasso: This painting, created in 1912, is another important example of Analytical Cubism. It features a fragmented and reassembled representation of a nude figure descending a staircase. The use of multiple viewpoints and abstract shapes and lines in the painting reflects the analytical approach of Analytical Cubism.
- Still Life with Fruit Dish by Georges Braque: This painting, created in 1912, is another important example of Analytical Cubism. It features a still-life composition that is fragmented and rearranged to create a new, abstract representation of the subject matter. The use of multiple viewpoints and abstract shapes and lines in the painting reflects the analytical approach of Analytical Cubism.
These three examples demonstrate the key characteristics of Analytical Cubism, including the fragmented and reassembled representation of the subject matter, the use of multiple viewpoints to analyze the subject, and the representation of the subject through abstract shapes and lines.
They also demonstrate the shift towards a more abstract and analytical form of Cubism that took place during the Analytical Cubist phase.
3. Synthetic Cubism
Synthetic Cubism is the third and final phase of the Cubist movement, developed between 1912 and 1914. It is characterized by the use of collage and papier collé (pasting paper cutouts onto the canvas) to represent the subject matter.
In Synthetic Cubism, the subject matter was represented through the use of flat, abstract shapes and fragments, often taken from printed sources such as newspapers and magazines.
Characteristics of Synthetic Cubism
The defining characteristics of Synthetic Cubism include the use of collage and papier collé to represent the subject matter, the representation of the subject through flat, abstract shapes and fragments, and the use of color to enhance the decorative effect of the paintings.
In Synthetic Cubism, the subject matter was often still recognizable but was represented through abstract shapes and fragments, rather than through fragmented forms and multiple viewpoints. This phase of Cubism was more decorative and less analytical than Analytical Cubism, and it marked a shift towards a more decorative and synthesized form of Cubism.
Use of Collage and Papier Collé in Synthetic Cubism
In Synthetic Cubism, the artists used collage and papier collé to represent the subject matter. Collage involved the use of found materials, such as newspaper clippings and magazine pages, which were pasted onto the canvas to create a new representation of the subject.
Papier collé involved the use of paper cutouts, which were pasted onto the canvas to create a new representation of the subject. The use of collage and papier collé allowed the artists to create flat, abstract shapes and fragments, which were used to represent the subject matter.
The use of these techniques also added a decorative element to the paintings, enhancing the decorative effect of Synthetic Cubism.
Overall, Synthetic Cubism represented a significant departure from the more analytical forms of Analytical Cubism and marked a shift towards a more decorative and synthesized form of Cubism.
The use of collage and papier collé allowed the artists to represent the subject matter in a new, abstract way, and the use of color enhanced the decorative effect of the paintings.
Examples of Synthetic Cubism
- Still Life with Chair Caning by Georges Braque: This painting, created in 1912, is an important example of Synthetic Cubism. It features a still-life composition that is represented through the use of collage and papier collé. The flat, abstract shapes and fragments used to represent the subject matter reflect the decorative and synthesized approach of Synthetic Cubism.
- Guitar, Sheet Music, and Glass by Georges Braque: This painting, created in 1912, is another important example of Synthetic Cubism. It features a guitar, sheet music, and glass that are represented through the use of collage and papier collé. The flat, abstract shapes and fragments used to represent the subject matter reflect the decorative and synthesized approach of Synthetic Cubism.
- Le goûter (Tea Time) by Georges Valmier: This painting, created in 1917, is another important example of Synthetic Cubism. It features a tea time scene that is represented through the use of collage and papier collé. The flat, abstract shapes and fragments used to represent the subject matter reflect the decorative and synthesized approach of Synthetic Cubism.
These three examples demonstrate the key characteristics of Synthetic Cubism, including the use of collage and papier collé to represent the subject matter, the representation of the subject through flat, abstract shapes and fragments, and the use of color to enhance the decorative effect of the paintings.
They also demonstrate the shift towards a more decorative and synthesized form of Cubism that took place during the Synthetic Cubist phase.
Table Overview of the Three Phases of Cubism
| Phase of Cubism | Time Period | Key Characteristics |
|---|---|---|
| Cezanian Cubism | 1907-1908 | Fragmented forms, multiple viewpoints, strong emphasis on the flatness of the picture plane, influence of African and Iberian art |
| Analytical Cubism | 1908-1912 | Fragmented and reassembled representation of the subject matter, use of multiple viewpoints to analyze the subject, representation of the subject through abstract shapes and lines |
| Synthetic Cubism | 1912-1914 | Use of collage and papier collé to represent the subject matter, representation of the subject through flat, abstract shapes and fragments, use of color to enhance the decorative effect of the paintings |
FAQs
Who were the main artists involved in Cubism?
Pablo Picasso and Georges Braque are considered to be the main artists involved in the Cubist movement. They were both instrumental in the development of Cezanian Cubism, Analytical Cubism, and Synthetic Cubism, and their works are considered to be some of the most important examples of Cubist art.
Cubism emerged as an art movement in the early 1900s, with the development of Cezanian Cubism by Pablo Picasso and Georges Braque. The movement then evolved into Analytical Cubism and Synthetic Cubism, with the final phase of Synthetic Cubism taking place between 1912 and 1914.
Cezanian Cubism is the first phase of the Cubist movement, characterized by fragmented forms, multiple viewpoints, and a strong emphasis on the flatness of the picture plane. Analytical Cubism is the second phase of the Cubist movement, characterized by the use of fragmented forms and multiple viewpoints to analyze the subject matter. In Analytical Cubism, the subject matter was often still recognizable but was abstracted and fragmented to create a new representation.
Analytical Cubism is the second phase of the Cubist movement, characterized by the use of fragmented forms and multiple viewpoints to analyze the subject matter. Synthetic Cubism is the third and final phase of the Cubist movement, characterized by the use of collage and papier collé to represent the subject matter. In Synthetic Cubism, the subject matter was often still recognizable but was represented through abstract shapes and fragments, rather than through fragmented forms and multiple viewpoints.
Cubism is considered to be one of the most important art movements of the 20th century, and it had a significant impact on the development of modern art. Cubism marked a departure from traditional representational art, and it paved the way for the development of abstract art. The fragmented forms, multiple viewpoints, and abstract shapes and lines used in Cubism continue to influence contemporary art and design.
Conclusion
Cubism was a groundbreaking art movement that had a profound impact on the development of modern art. The movement was characterized by its fragmented forms, multiple viewpoints, and abstract shapes and lines, and it represented a significant departure from traditional representational art.
The three phases of Cubism, Cezanian Cubism, Analytical Cubism, and Synthetic Cubism, each had unique styles, techniques, and subject matter, and together they represent a progression towards a more abstract and decorative form of art.
The works of the Cubist artists, such as Pablo Picasso and Georges Braque, continue to be celebrated and studied, and the influence of Cubism can still be seen in contemporary art and design. The legacy of Cubism is a testament to the revolutionary impact that it had on the art world, and it continues to inspire artists and art lovers around the world.
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