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Cubism by Guillaume Apollinaire, Dorothea Eimert, Anatoli Podoksik.

By Guillaume Apollinaire, Dorothea Eimert, Anatoli Podoksik.

This quantity offers Cubism, the twentieth century avant-garde paintings flow, pioneered through Pablo Picasso and Georges Braque, that revolutionized ecu portray and sculpture, and encouraged similar events in track, literature and structure. In cubist visible artistic endeavors, gadgets are damaged up, analyzed, and re-assembled in an abstracted shape -- rather than depicting items from one standpoint, the artist depicts the  Read more...

Introduction --
Origin --
Analytical cubism --
Synthetic cubism --
Artists --
Pablo Picasso --
Georges Braque --
Juan Gris --

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Musée National d’Art Moderne, Centre Georges-Pompidou, Paris. qxp 2/3/2010 8:45 AM Page 34 Georges Braque, Man with a Pipe, 1912. 6 cm. Kunstmuseum, Basel. Georges Braque, Fruit Basket, Bottle and Glass, 1912. Glued paper and charcoal, 62 x 46 cm. Private collection. Pablo Picasso, Still-Life with Chair Caning, 1912. Oil on polished canvas wrapped with rope, 29 x 37 cm. Musée Picasso, Paris. Marcel Duchamp, The Bride, 1912. 6 cm. Philadelphia Museum of Art, Philadelphia. Marcel Duchamp, The Passage from the Virgin to the Bride, 1912.

The same applies to Picasso’s works of 1908, which startle one at first glance by their significance and power of expression; but for separate works to acquire their real meaning, one must restore the context of that art. ”9 Turning from the paintings to the original ideas—sketches, drafts, studies—one sees everywhere not simply figurative compositions but, as it were, depictions of certain events, ideas for subjects, each with its own internal dramaturgy. It seems as though the new form itself—built on the expressive rhythm of strong, sinuous lines, on sharp, clean, articulated planes, on the internal equilibrium of the entire pictorial structure, this morphologically clear and monumentally impressive form—produced in the artist’s imagination impersonal, timeless, powerful images.

50, 51), which is often, and not without reason, interpreted as Picasso’s original variation on the Vanitas theme, so widespread in traditional Western painting. Indeed, the death’s head, a traditional symbol of the vanity of life, is combined here with the palette and brushes, painting and books, as well as the pipe, as allegories of intellectual and sensual pleasure, characteristic of that genre. qxp 2/3/2010 8:48 AM Page 57 At the same time, the pipe, book of verses, palette, brushes, painting and the skull could be ordinary objects in an artist’s studio, and their being thrown together in disorder here is typical of a studio such as Picasso’s in the Bateau-Lavoir (to say nothing of all the others he was to occupy).

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