2 papers Art history visual analysis (5-7 pages)
Reborn0804
unit_3________________cubism_211.pptART HISTORY 132
Cubism:
Tubism, Orphism & Futurism
Fernand Leger
(1881-1955)
- training:
- failed entrance exam to Ecole des Beaux-Arts in 1903
- studied at Ecole des Arts Decoratifs and Academie Julian
- biography: WW I
- gassed while serving as a stretcher-bearer on the front
- contact w/ men of different social classes came as a revelation
- art movement: Tubism
- forms: curvilinear & tubular
- spatial order: flattened
- color: vibrant
- post-WWI aesthetic: renounces abstraction
- discovers beauty of common objects
- clean and precise
- forms: defined in simplest terms
- color: vibrant
- subject matter: cityscape and machine parts
Leger’s Tubist The Card Players
(1917)
(Left) CEZANNE’s Post-Impressionist The Cardplayers (c. 1890)
vs.
(right) LEGER’s Tubist The Cardplayers (c. 1915)
LEGER’s The City
(1919)
LEGER’s Tubist Three Women
(1921)
(Left) LEGER’s Tubist Three Women (c. 1925 CE)
vs.
(right) Classical Greek Three Goddesses (c. 500 BCE)
Robert Delaunay
(1885-1941)
- Orphism (c. 1911-14)
- movement name assigned by Apollinaire in 1913
- Orpheus poet/musician (Greek mythology)
- rather than cubes or tubes, experimented w/ color circle
- emphasizes “simultaneity”
- aim: to depict luminous essence of nature
- light: organizing role of representation
- aesthetic: coloré tradition
- as opposed to Cubists who experiment only in line, giving color secondary role
- laws of complementary & simultaneous contrasts
- observation of “movement of colors”
- studies in transparency of color
- similarity to musical notes
- drove D to discover "movement of color"
Delaunay
- The Red Tower (1911)
- phase: self-designated “destructive”
- motif: Eiffel Tower
- sign of modernity and progress
- subject: vast space, atmosphere, and light
- forms: disjointed; fractured
- light: fractures space & forms
- spatial order: imploding
- composition: symmetrical
- views from awindow framed by curtains
- buildings bracketing tower curve like drapery
- color:
- primaries and secondaries located at center
- muted hues frame image
(Left) Delaunay’s Orphist The Red Tower (1911)
vs.
(right) Seurat’s Neo-Impressionist Eiffel Tower (1889)
Delaunay
- Homage to Bleriot (1914)
- theme: airflight
- first Frenchman to fly over English Channel
- narrative: non-temporal & simultaneous
- motif: Eiffel Tower
- spatial order: suggests depth through scale
- composition: lyrical use of circles
- color: vibrant & complementary
- prismatic dispersion evenly across canvas
- light/shadow: unifies composition
- brushwork: non-divisionist/schematic
Umberto Boccioni
(1882-1916)
- training:
- 1901: Rome
- attends Accademia di Belle Arti
- learns Divisionist techniques from Balla
- 1902: Paris
- studies Impressionism & Post-Impressionism
- biography:
- 1906: travels to Russia
- 1906-07: moves to Venice
- 1907: settles in Milan
- associated w/ Carrà & meets poet Marinetti
- 1910: helps formulate Futurist manifestos
- 1911: Paris
- meets Picasso/Apollinaire through Severini
- exhibition history:
- 1912: first Futurist show in Paris
- exhibition travels to London, Berlin, & Brussels
- 1913: solo show of sculpture & paintings in Paris
- World War I:
- July 1915: enlists in army w/ Marinetti
- suffers accident during cavalry exercises
- dies August 1916
Boccioni’s States of Mind: Farewell
(1911)
Boccioni
- Dynamism of a Soccer Player (1912)
- concept: motion
- composition: compact
- color: subdued primaries
- spatial order: implodes
- light: fractures forms
- forms: interpenetrate
- lines of force
- arabesque curves
Boccioni’s Dynamism of a Cyclist
(1913)
Boccioni
- Unique Forms of Continuity in Space
- date: 1913
- medium: bronze
- surface texture: polished
- aesthetic: adopts Cubist method of fracturing of planes
- aim: speed & dynamism of contemporary life
- form: to make objects live by showing their extensions in space
- process: “systematization of the interpenetration of planes”
- force-lines
- arabesque curves
(Left) BOCCIONI’s Unique Forms of Continuity in Space (c. 1915)
vs.
(right) Hellenistic Greek Winged Victory (c. 250 BC)
Giacomo Balla
(1871-1958)
- training:
- studied briefly at Accademia Albertina di Belle Arti and the Liceo Artistico in Turin In 1891
- exhibited for the first time under the aegis of the Società Promotrice di Belle Arti
- studied at the University (c. 1892)
- moved to Rome (1895)
- worked for several years as an illustrator, caricaturist, and portrait painter
- exhibition history:
- work included in Venice Biennale (1899)
- exhibited regularly for the next ten years in Esposizione internazionale di belle arti at the galleries of the Società degli Amatori e Cultori di Belle Arti
- in 1904, represented in Internationale Kunstausstellung in Dusseldorf
- In1909, exhibited at Salon d'Automne in Paris
- in 1900, spent seven months in Paris
- about 1903, began to instruct Severini and Boccioni in divisionist painting techniques
- Futurist painting manifesto of 1910
- signed the second with Boccioni, Carrà, and Severini
- although did not exhibit with the group until 1913
- in 1912, traveled to London and Dusseldorf, where he began painting his abstract light studies
Balla
Dynamism of a Dog on a Leash (1912)
- concept: motion & speed
- method: superimposition
- spatial order: simultaneous views
- forms: flattened
- composition: dynamic
- color: monochromatic
Balla’s Abstract Speed - The Car has Passed
(1913)
Gino Severini
(1883-1966)
- training:
- studied at Scuola Tecnica in Cortona
- moving to Rome in 1899
- attended art classes at the Villa Medici
- by 1901 met Boccioni
- Together, Severini and Boccioni visited studio of Balla
- introduced to painting w/ “divided” rather than mixed color
- settles in Paris in November 1906:
- studied Impressionist painting
- met Neo-Impressionist Paul Signac
- came to know most of the Parisian avant-garde (e.g., painters Braque, Gris, & Picasso, as well as poets Apollinaire & Max Jacob)
- Futurism:
- signed “Technical Manifesto” (April 1910), along w/ Balla, Boccioni & Carra
- however, less attracted to subject of machine
- frequently chose form of dancer to express Futurist theories of dynamism in art
Severini’s Dynamic Hieroglyphic of the Bal Tabarin
(1912)
Severini
- Armored Train (1915)
- subject: outbreak of WWI
- theme: speed & dynamism of mechanized world
- narrative: combat soldiers
- composition:
- figures placed along central vertical axis
- surrounding space penetrated by diagonals
- color: primaries & secondaries
- brushwork:
