Cubism 1907 - 1925
Influence
Cubism was greatly influenced by Cezanne, a Post - Impressionist painter, because of Cezanne 's representation of his form and structure within the composition. Cezanne only showed the essential features of the geometric shapes. African sculptures also influenced Cubism through their simplified and stylised form and their focus of shape and line. The Ancient Iberian was known to have influenced the leader of cubism, Pablo Picasso.
Aims/Intentions
Cubism established a very different mark in the history of art as it focused on looking at a composition in a different perspective and rejected the concept of the fact that art should be copied by nature. There was little consideration of realism or emotional content within the artworks produced during this time and was aimed to reduce or fracture natural forms into geometric composition of lines and flat shapes. They emphasized the two dimensions on the canvas.
Characteristics
Cubism is usually focused on objects rather than landscapes and seascapes such as:bottles, musical instruments, fruits and the human figure. There are three areas in Cubism and they are:
Procubist Period - Evolving stage of cubism. The characteristics of Cubism are incorporated in this period. That includes basic shapes, lines ect.
Analytical Cubism Period -Emphasised geometric pattern with a limited composition. Revert from representing an object from one point of view into depicting it from multi- viewpoints. 3D view on a flat pane.
Technique: Limited colour palette, layered small strokes with minimal tone and create form with fine line.
Synthetic Cubism Period - They incorporate great use of colour and became a more decorative style of painting.
Technique: Incorporates: wallpaper, newspaper, cloth and collage (a radical departure from tradition).
Cubism was greatly influenced by Cezanne, a Post - Impressionist painter, because of Cezanne 's representation of his form and structure within the composition. Cezanne only showed the essential features of the geometric shapes. African sculptures also influenced Cubism through their simplified and stylised form and their focus of shape and line. The Ancient Iberian was known to have influenced the leader of cubism, Pablo Picasso.
Aims/Intentions
Cubism established a very different mark in the history of art as it focused on looking at a composition in a different perspective and rejected the concept of the fact that art should be copied by nature. There was little consideration of realism or emotional content within the artworks produced during this time and was aimed to reduce or fracture natural forms into geometric composition of lines and flat shapes. They emphasized the two dimensions on the canvas.
Characteristics
Cubism is usually focused on objects rather than landscapes and seascapes such as:bottles, musical instruments, fruits and the human figure. There are three areas in Cubism and they are:
Procubist Period - Evolving stage of cubism. The characteristics of Cubism are incorporated in this period. That includes basic shapes, lines ect.
Analytical Cubism Period -Emphasised geometric pattern with a limited composition. Revert from representing an object from one point of view into depicting it from multi- viewpoints. 3D view on a flat pane.
Technique: Limited colour palette, layered small strokes with minimal tone and create form with fine line.
Synthetic Cubism Period - They incorporate great use of colour and became a more decorative style of painting.
Technique: Incorporates: wallpaper, newspaper, cloth and collage (a radical departure from tradition).
Sample Essay: The Woman playing the Mandolin by Pablo Picasso (Technique Analysis)
Pablo Picasso’s “The woman playing the mandolin” 1910 is an oil on canvas that depicts a typical analytical cubistic composition, through the reinforcement of repetitious bold lines and the fractured, flattened use of geometric shapes.
Through the application of a soft and subtle tone on the figure, Picasso produces a sense of depth and realism by pushing the figure forward from the background. Thin, quick sharp manipulation of lines creates the harsh geometric shapes of the figure and accentuates the form’s outline through the darkened edges. Picasso utilizes curvaceous strokes to give an impression of femininity complementing the sharp shapes.
Faded lines situated around the corners are utilized to create a framing of the composition and thin straight short lines point to the figure to emphasize the focal point. Application of darker, heavier and thicker tone allows the figure to appear more dimensional and yet still maintain its abstract form. The utilization of monotone hues of khaki brown and olive yellow are painted in a muted and dull manner, unifying the composition; through the dark brown tones surrounding the figure, Picasso creates a sense of distance and depth bringing the illumined form closer to the viewing audiences’ perspectives.
The mandolin composes of solid shapes and is the most intact object throughout the composition; its curved form depicts the feministic qualities whilst contrasting the figure and the rough background. Chocolate-creamy tonal colours are manipulated to contrast itself against the light hues of the figure and the use of tones defines the body of the mandolin, while the darkened corner of the mandolin suggests an ‘anchoring’ of the composition. The fret of the neck is delicately applied whilst sharp, vertical lines create the strings which by adding fine details, Picasso is able to accentuate an easier distinguishability of the mandolin from the figure and the background.
Through the application of a soft and subtle tone on the figure, Picasso produces a sense of depth and realism by pushing the figure forward from the background. Thin, quick sharp manipulation of lines creates the harsh geometric shapes of the figure and accentuates the form’s outline through the darkened edges. Picasso utilizes curvaceous strokes to give an impression of femininity complementing the sharp shapes.
Faded lines situated around the corners are utilized to create a framing of the composition and thin straight short lines point to the figure to emphasize the focal point. Application of darker, heavier and thicker tone allows the figure to appear more dimensional and yet still maintain its abstract form. The utilization of monotone hues of khaki brown and olive yellow are painted in a muted and dull manner, unifying the composition; through the dark brown tones surrounding the figure, Picasso creates a sense of distance and depth bringing the illumined form closer to the viewing audiences’ perspectives.
The mandolin composes of solid shapes and is the most intact object throughout the composition; its curved form depicts the feministic qualities whilst contrasting the figure and the rough background. Chocolate-creamy tonal colours are manipulated to contrast itself against the light hues of the figure and the use of tones defines the body of the mandolin, while the darkened corner of the mandolin suggests an ‘anchoring’ of the composition. The fret of the neck is delicately applied whilst sharp, vertical lines create the strings which by adding fine details, Picasso is able to accentuate an easier distinguishability of the mandolin from the figure and the background.