Cubismo

Pablo Picasso, Georges Braque, & Cubism

  • 1. Cubism c.1907- c. 1914
  • 2. Stages of Cubism… •  Analytic Cubism (1908–11) •  Synthetic Cubism (1912–24)
  • 3. Analytic Cubism: •  Objects are shown from many viewpoints at once so that solid forms are shattered. •  They become fractured, geometric shapes compressed into a sliver of space and flattened against the canvas. •  Space is treated as if it were a solid, tangible mass. •  Confusion is enhanced because colour is removed and everything is painted in browns and greys with a few fragmented black outlines. •  Addition of stenciled text towards the end of Analytic Cubism.
  • 4. Synthetic Cubism: •  Was developed c.1912 •  Colour was re-introduced with two technical innovations called papier collé and collage. –  Papier collé involves sticking coloured paper onto the canvas and was invented by Braque. –  Collage was subsequently developed by Picasso and involved including all kinds of material such as newspaper or fabric in the painting. Both techniques bridged the gap between art and life by sticking bits of the real world o

    Proto-Cubism

    Phase in art history

    Proto-Cubism (also referred to as Protocubism, Early Cubism, and Pre-Cubism or Précubisme) is an intermediary transition phase in the history of art chronologically extending from 1906 to 1910. Evidence suggests that the production of proto-Cubist paintings resulted from a wide-ranging series of experiments, circumstances, influences and conditions, rather than from one isolated static event, trajectory, artist or discourse. With its roots stemming from at least the late 19th century, this period is characterized by a move towards the radical geometrization of form and a reduction or limitation of the color palette (in comparison with Fauvism). It is essentially the first experimental and exploratory phase of an art movement that would become altogether more extreme, known from the spring of 1911 as Cubism.

    Proto-Cubist artworks typically depict objects in geometric schemas of cubic or conic shapes. The illusion of classical perspective is progressively stripped away from objective representation to reveal the constructive essenc

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