Fernand Leger, "The Discs” 1918

Art Cubed – Fragmenting Reality Vocabulary

Cubism A style of Abstract art where the image is separated into cubes and other geometric shapes. Created by Pablo Picasso and Georges Braque in Paris in the early 20th century. Inspired by African Folk Art

Analytic Cubism

The type of Cubism that uses monochromatic colours and breaks down the image into geometric shapes

Collage Cutting and tearing paper and arranging to create an image or design Most of the elements adhered in producing most collages are "found" materials. Introduced by the Cubist artists, this process was widely used by artists who followed, and is a familiar technique in contemporary art.

"Collage" was originally a French word, derived from the word coller, meaning "to paste."

Paint Pigment that is dispersed into a liquid, called a vehicle or binder - to make it adhere both to itself and to the surface to which it is applied. Paint can have a matte, semi-gloss, or glossy finish. Types of paint include acrylic, oil paint, watercolour, gouache, enamel, encaustic, fresco, lacquer, oriental lacquer, tempera, and stucco.

Synthetic Cubism The type of Cubism that uses collage and bold colours

Monochromatic Using different shades (light and dark) of the same color

Geometric Shapes Shapes that are precise and mathematical. Such as cubes, squares, cones

Composition Organisation of an artwork

Cubism - the first style of abstract art

Cubism was a truly revolutionary style of modern art developed by Pablo Picasso and Georges Braques. It was the first style of abstract art which evolved at the beginning of the 20th century in response to a world that was changing with unprecedented speed. Cubism was an attempt by artists to revitalise the tired traditions of Western art which they believed had run their course. The Cubists challenged conventional forms of representation, such as perspective. Their aim was to develop a new way of seeing which reflected the modern age.

In the four decades from 1870-1910, western society witnessed more technological progress than in the previous four centuries. During this period inventions such as photography, cinematography, sound recording, the telephone, the motor car and the airplane heralded the dawn of a new age. The problem for artists at this time was how to reflect the modernity of the era using the tired and trusted traditions that had served art for the last four centuries. Photography had begun to replace painting as the tool for documenting the age and for artists to sit illustrating cars, planes and images of the new technologies was not exactly rising to the challenge. Artists needed a more radical approach - a 'new way of seeing' that expanded the possibilities of art in the same way that technology was extending the boundaries of communication and travel. This new way of seeing was called Cubism - the first abstract style of modern art. Picasso and Braque developed their ideas on Cubism around 1907 in Paris and their starting point was a common interest in the later paintings of Paul Cézanne.

The Influence of Cézanne on Cubism Cézanne was not primarily interested in creating an illusion of depth in his painting and he abandoned the tradition of perspective drawing. Perspective, which had been used since the Early Renaissance, was a geometric formula that solved the problem of how to draw three-dimensional objects on a two dimensional surface. Cézanne felt that the illusionism of perspective denied the fact that a painting is a flat two-dimensional object. He liked to flatten the space in his paintings to place more emphasis on their surface - to stress the difference between a painting and reality. He saw painting

in more abstract terms as the construction and arrangement of colour on a two-dimensional surface. It was this flat abstract approach that appealed to the Cubists and their early paintings, such as Picasso's 'Factory at Horta de Ebbo' (1909) and Braque's 'Viaduct at L'Estaque' (1908,) took it to an extrem

Pablo Picasso (1881-1973) Factory, Horta de Ebbo (oil on canvas, 1909)

Paul Cézanne (1839-1906) Bibemus Quarry (oil on canvas, 1895)

The Cubist Vision The limitations of perspective were also seen as an obstacle to progress by the Cubists. The fact that a picture drawn in perspective could only work from one viewpoint restricted their options. As the image was drawn from a fixed position, the result was frozen, like a snapshot - but the Cubists wanted to make pictures that reached beyond the rigid geometry of perspective. They wanted to introduce the idea of 'relativity' - how the artist perceived and selected elements from the subject, fusing both their observations and memories into the one concentrated image. To do this the Cubists examined the way that we see. When you look at an object your eye scans it, stopping to register on a certain detail before moving on to the next point

of interest and so on. You can also change your viewpoint in relation to the object allowing you to look at it from above, below or from the side. Therefore, the Cubists proposed that your sight of an object is the sum of many different views and your memory of an object is not constructed from one angle, as in perspective, but from many angles selected by your sight and movement. Cubist painting, paradoxically abstract in form, was an attempt at a more realistic way of seeing. A typical Cubist painting depicts real people, places or objects, but not from a fixed viewpoint. Instead it will show you many parts of the subject at one time, viewed from different angles, and reconstructed into a composition of planes, forms and colours. The whole idea of space is reconfigured: the front, back and sides of the subject become interchangeable elements in the design of the work.

The Cubists - Picasso, Braque and Gris

Pablo Picasso and Georges Braque conceived and developed Cubism but other artists also adopted the style. The Spanish artist Juan Gris, who is often referred to as the 'Third Musketeer of Cubism', was the best of these and he refined the Cubist vocabulary into his own instantly recognisable visual language. Other notable artists associated with Cubism were Fernand Leger, Robert Delaunay, Albert Gleizes, Jean Metzinger, Louis Marcoussis, Marie Laurencin and Roger de La Fresnaye.

Georges Braque (1882-1963) Viaduct at L'Estaque (oil on canvas, 1908)

Juan Gris (1887-1927) Violin and Glass (oil on canvas, 1915)

The Influence of African Art on Cubism

The Cubists believed that the traditions of Western art had become exhausted and another remedy they applied to revitalize their work was to draw on the expressive energy of art from other cultures, especially African art. However, they were not interested in the true religious or social symbolism of these cultural objects, but valued them superficially for their

expressive style. They viewed them as subversive elements that could be used to attack and subsequently refresh the tired tradition of Western art. This inspiration to cross-reference art from different cultures probably came from Paul Gauguin, the French post- impressionist artist, whose paintings and prints were influenced by the native culture of Tahiti and the Marquesas Islands where he spent his final years.

Analytical Cubism Cubism had two distinct phases. The early phase which lasted until about 1912 was called Analytical Cubism. Here the artist analysed the subject from many different viewpoints and reconstructed it within a geometric framework, the overall effect of which was to create an image that evoked a sense of the subject. These fragmented images were unified by the use of a subdued and limited palette of colours. Around 1912, the styles of Picasso and Braque were becoming predictable. Their images had grown so similar that their paintings of this period are often difficult to tell apart. Their work was increasingly abstract and less recognisable as the subject of their titles. Cubism was running out of creative steam. In an attempt to revitalise the style and pull it back from total abstraction, Picasso began to glue printed images from the 'real world' onto the surface of his still lifes. His painting 'Still Life with Chair Caning', was the first example of this 'collage' technique and it opened the door for himself and other artists to the second phase of the Cubist style: Synthetic Cubism.

Pablo Picasso (1881-1973) Left: Head of a Woman, (oil on canvas, 1907) Right: Dan Mask

Georges Braque (1882-1963) Violin and Jug (oil on canvas, 1910)

Analytic cubism defines the early phase of Cubism and it describes the innovations and experimentation of the two artists, Pablo Picasso and Georges Braque. Considered as fathers of the Cubism movement, the two painters revolutionised the face of art. Lasting from 1909 until 1912, analytic cubism images are characterized by a fragmentary appearance, linear construction, reduction of colour to an almost monochromatic colour palette, understanding of the objects as basic

geometric shapes, and the use of multiple viewpoints. Unlike other avant-garde images produced by Italian Futurists, Piet Mondrian or the pioneer of abstract art Wassily Kandinsky, analytic cubism images were left open to interpretation and were not accompanied by an artist’s manifesto. For years art historians and critics have analysed and attempted to come to terms with analytic cubism, and to make sense of its fragmented forms, shallow and heavily worked surfaces.

The Beginning of Analytic Cubism – What Pushed for the New? Challenging the canons of creativity, cubist artists aimed to revitalise art so that it would be more in tune with the innovations and the birth of the modern age. At the turn of the 20th century, artists found

themselves in the midst of great change. Technological advances, dramatic political and social changes were all occurring at this time. The birth of photography forever transformed the role and need for visual art as it was used to document the changes occurring in the world. For many painters and artists, creativity needed to reflect these bursts of new energy and ideas. The two authors, Picasso and Braque, inspired by the Post-Impressionist artist, Paul Cezanne, rejected the rule of three-dimensionality and perspective in art and began to experiment with flat surfaces, reduction of form and colour, and the understanding of nature in forms of basic geometric shapes. Attempting

Pablo Picasso – Factory in Horta de Ebbo, 1909.

to create a sense of totality which reflected the need for the new, the two artists collaborated, communicated daily, and experimented with space, time, and representation of the world.

The Style of Analytic Cubism

As a particularly rigid form of avant-garde art, analytic cubism was the most intellectual and uncompromising stage of Cubism movement. Termed in this way, it reflected the shift from the earlier brighter images for a more analytical approach towards the subject matter. The structured dissection of the subject, viewpoint-

by-viewpoint, resulted in the fragmentary image and overlapping planes. During 1910 – 1912, Picasso and Braque abstracted their works to the point that they were reduced to a mere play of planes and facets. The produced result is best described as a collage of various viewpoints which are glued back together to form a total picture. Reducing the colour to the almost monochromatic shades of grey, brown, and black, the focus remained on the structure of the form and the density of the image at the centre of the canvas. The favourite motifs were usually still life with a musical instrument, bottles, pitchers, glasses, newspapers, and the human face and figures. Landscape images were rare.

Continuing with the research of the two-dimensional surface and the rejection of the single point perspective, analytic cubism images were objects in their own right. This understanding of Cubist artworks was put forward by the critic Clement Greenberg who defined the images as constructions of various parts that both represent and are new understandings of reality.

The Importance of Analytic Cubism and its Images The painting Portrait of Ambroise Vollard is considered as the image which defines the style of analytic cubism. In this work, Pablo Picasso has disassembled a human figure into a series of flat transparent geometric plates. The early cubist painting style, with its focus on cube-like imagery, has disappeared and in its place, we are offered an image which celebrates the planes. The overall quality of deconstruction and then the creation of the

Left: Pablo Picasso – Artwork / Right: Pablo Picasso – Portrait of Ambroise Vollard.

Georges Braque – Still Life With A Bunch of Grapes.

image aided by the multi-layered arrangements of overlapping planes is one of the key elements of the new artistic style. The importance of Analytic Cubism is seen in its questioning of the traditional artistic canons. The rejection of the three-dimensionality and the reduction of form to the basic idea of a flat surface impressed not only painters but marked the new understanding of sculpture and architecture as well. The analytic cubism ended in 1912 and in its place the two artists offered Synthetic Cubism, an equally revolutionary style of creativity which incorporated found objects and materials as well as paint and canvas. These two styles defined the Cubism movement which for many is considered as the moments which marked the birth of non-representational art. Exploring the pivotal phase of modern art, analytical cubism culminated during two-year period, between 1910 –1912. The creative exchange of the two masters, Pablo Picasso and Georges Braque produced the Cubism movement which is considered as one of the most revolutionary periods of art. The book is the first publication to delve deeply into these two intense years of productivity, revealing the intriguing pictorial game being played out between these two great artists. Essays by prominent curators and historians offer sustained readings of paintings, drawings, and prints in terms of their engagement with issues of genre, format, medium, and artistic process. To understand the play between the two authors is to understand Cubism and to fully comprehend its importance for later developments in art history.

Synthetic Cubism

Influenced by the introduction of bold and simple collage shapes, Synthetic Cubism moved away from the unified monochrome surfaces of Analytic Cubism to a more direct, colourful and decorative style. Although synthetic cubist images appear more abstract in their use of simplified forms, the other elements of their composition are applied quite traditionally. Interchanging lines, colours, patterns and textures that switch from geometric to

freehand, dark to light, positive to negative and plain to patterned, advance and recede in rhythms across the picture plain.

Pablo Picasso (1881-1973) Still Life with Mandolin and Guitar (oil on canvas, 1924)

The Birth of Synthetic Cubism: Picasso's Guitars Anne Umland, curator in the department of painting and sculpture, and her assistant Blair Hartzell, have organized a once-in-a-lifetime opportunity to study Picasso's 1912-14 Guitar series in one beautiful installation. This team assembled 85 works from over 35 public and private collections; a heroic feat indeed.

Why Picasso’s Guitar Series? Most art historians credit the Guitar series as the definitive transition from Analytic to Synthetic Cubism. However, the guitars launched so much more. After a slow and careful examination of all the collages and constructions, it is clear that the Guitar series (which includes a few violins as well) crystallized Picasso's brand of Cubism. The series establishes a repertoire of signs that remained active in the artist's visual vocabulary through the Parade sketches and into the Cubo-Surrealist works of the 1920s.

When Did the Guitar Series Begin? We don't know exactly when the Guitar series began. The collages include snippets of newspapers dated to November and December 1912. Black and white photographs of Picasso's studio on the Boulevard Raspail, published in Les Soirées de Paris, no. 18 (November 1913), show the cream-colored construction paper guitar surrounded by numerous collages and drawings of guitars or violins set up side by side on one wall.

Picasso gave his 1914 metal Guitar to the Museum of Modern Art in 1971. At that time, the director of paintings and drawings, William Rubin, believed that the "maquette" (model) cardboard guitar dated to the early part of 1912. (The museum acquired the "maquette" in 1973, after Picasso's death, in accordance with his wishes.)

During the preparation for the huge Picasso and Braque: Pioneering Cubism exhibition in 1989, Rubin shifted the date to October 1912. Art historian Ruth Marcus agreed with Rubin in her 1996 article on the Guitar series, which convincingly explains the transitional significance of the series. The current MoMA exhibition sets the date for the "maquette" at October to December 1912.

How Do We Study the Guitar Series? The best way to study the Guitar series is to notice two things: the wide variety of media and the repertoire of repeated shapes that mean different things within different contexts.

The collages integrate real substances such as wallpaper, sand, straight pins, ordinary string, brand labels, packaging, musical scores, and newspaper with the artist's drawn or painted versions of the same or similar objects. The combination of elements broke with traditional two-dimensional art practices, not only in terms of incorporating such humble materials but also because these materials referred to modern life in the streets, in the studios, and in the cafés. This interplay of real-world items mirrors the integration of contemporary street imagery in his friends' avant-garde poetry, or what Guillaume Apollinaire called la nouveauté poésie (novelty poetry) - an early form of Pop Art.

Another Way to Study the Guitars The second way to study the Guitar series requires a scavenger hunt for Picasso's repertoire of shapes that appear in most of the works. The MoMA exhibition provides an excellent opportunity to cross-check references and contexts. Together, the collages and Guitar constructions seem to reveal the artist's internal conversation: his criteria and his ambitions. We see the various short-hand signs to indicate objects or body parts migrate from one context to another, reinforcing and shifting meanings with only the context as a guide.

For example, the curvy side of a guitar in one work resembles the curve of a man's ear along his "head" in another. A circle may indicate a guitar's sound hole in one section of the collage and a bottle's bottom in another. Or a circle can be the top of the bottle's cork and simultaneously resemble a top hat neatly positioned on a moustached gentleman's face.

Ascertaining this repertory of shapes helps us understand the synecdoche in Cubism (those little shapes that indicate the whole in order to say: here is a violin, here is a table, here is a glass and here is a human being). This repertoire of signs developed during the Analytic Cubism Period became simplified shapes of this Synthetic Cubism Period.

The Guitar Constructions Explain Cubism The Guitar constructions made of cardboard paper (1912) and sheet metal (1914) clearly demonstrate the formal considerations of Cubism. As Jack Flam wrote in "Cubiquitous," a better word for Cubism would have been "Planarism," since the artists conceptualized reality in terms of the different faces or planes of an object (front, back, top, bottom, and sides) depicted on one surface -- a.k.a. simultaneity.

Picasso explained the collages to the sculptor Julio Gonzales: "It would have sufficed to cut them up -- the colours, after all, being no more than indications of differences in perspective, of planes inclined one way or the other -- and then assemble them

according to the indications given by the colour, in order to be confronted with a 'sculpture'." (Roland Penrose, The Life and Work of Picasso, third edition, 1981, p.265)

The Guitar constructions occurred as Picasso worked on the collages. The flat planes deployed on flat surfaces became flat planes projecting from the wall in a three-dimension arrangement located in real space.

Daniel-Henri Kahnweiler, Picasso's dealer at the time, believed that the Guitar constructions were based on the artist's Grebo masks, which he acquired in August 1912. These three-dimensional objects represent the eyes as cylinders projecting from the flat surface of the mask, as indeed Picasso's Guitar constructions represent the sound hole as a cylinder projecting from the body of the guitar.

André Salmon inferred in La jeune sculpture française that Picasso looked at contemporary toys, such as a tiny tin fish suspended in a circle of tin ribbon that represented the fish swimming in its bowl.

William Rubin suggested in his catalogue for the Picasso and Braque show of 1989 that airplane gliders captured Picasso's imagination. (Picasso called Braque "Wilbur," after one of the Wright brothers, whose historic flight took place on December 17, 1903. Wilbur had just died on May 30, 1912. Orville died on January 30, 1948.)

From Traditional to Avant-garde Sculpture Picasso's Guitar constructions broke with the continuous skin of conventional sculpture. In his 1909 Head (Fernande), a bumpy, lumpy contiguous series of planes represent the hair and face of the woman he loved at this time. These planes are positioned in such a manner to maximize the reflection of light on certain surfaces, similar to the depicted planes illuminated by light in Analytic Cubist paintings. These lit surfaces become colourful surfaces in the collages.

The cardboard Guitar construction depends on flat planes. It is composed of only 8 parts: the "front and "back" of the guitar, a box for its body, the "sound hole" (which looks like the cardboard cylinder inside a roll of toilet paper), the neck (which curves upward like an elongated trough), a triangle pointing down to indicate the guitar's head and a short folded paper near the triangle threaded with "guitar strings." Ordinary strings strung vertically, represent the guitar strings, and laterally (in a comically droopy way) represent the frets. A semi-circular piece, attached to the bottom of the maquette represents a table top location for the guitar and completes the original appearance of the work.

The cardboard Guitar and the sheet metal Guitar seem to simultaneously represent the inside and outside of the real instrument.

"El Guitare" During the spring of 1914, the art critic André Salmon wrote:

"I have seen what no man has seen before in Picasso's studio. Leaving aside painting for the moment, Picasso built this immense guitar out of sheet metal with parts that could be given to any idiot in the universe who on his own might put the object together as well as the artist himself. More phantasmagorical than Faust's laboratory, this studio (which certain people might claim had no art in the conventional sense of the term) was

furnished with the newest of objects. All the visible forms surrounding me appeared absolutely new. I had never seen such new things before. I didn't even know what a new object could be.

Some visitors, already shocked by the things that they saw covering the walls, refused to call these objects paintings (because they were made of oil-cloth, packing paper and newspaper). They pointed a condescending finger at the object of Picasso's clever pains, and said: 'What is it? Does you put it on a pedestal? Does you hang it on a wall? Is it painting or is it sculpture?'

Picasso dressed in the blue of a Parisian worker responded in his finest Andalusian voice: 'It's nothing. It's el guitare!'

And there you have it! The watertight compartments of art are demolished. We are now liberated from painting and sculpture just as we were liberated from the idiotic tyranny of academic genres. It's no longer this or that. It's nothing. It's el guitare!"

Draw a Cubism inspired musical instrument of your choice in the box.

Art Cubed – Cubism Quiz 1. What is Cubism?

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2. What is the difference between Analytic and Synthetic Cubism?

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3. What is something interesting you know about Cubism?

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4. Do you know of any Cubist Artists? Who?

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5. What can you tell me about them?

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6. What was the purpose of Cubist artworks?

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7. Which part of the world was Cubism popular?

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8. In the box below design and draw a Cubist inspired work.

Activity: Cubist Camouflage Drawing

The first cubist inspired project is a drawing that reflects the characteristics of analytical cubism.

1. Select a colour scheme for your artwork. You may choose your colour scheme from

the box to the right. Limit yourself to 4 colours.

2. Using oil pastels, coloured pencils or chalk pastels, start to colour your drawing.

Within each geometric shape use blending to create a range of values. Think about how

you will create contrast in the areas adjacent to each shape. (Should blending be

worked in opposite directions? Will you choose different colours?)

3. Select a colour scheme for your artwork. You may choose your colour scheme from

the box to the right. Limit yourself to 4 colours.

4. Using oil pastels, start to colour your drawing. Within each geometric shape use

blending to create a range of values. Think about how you will create contrast in the

areas adjacent to each shape. (Should blending be worked in opposite directions? Will

you choose different colours?)

Colour Schemes

Analogous: 3-4 colours that are neighbors on the

wheel Triad: 3 colours that are equally spaced on the

wheel Warm: reds, oranges, and yellows Cool: blue, green,

and violet colors Complimentary: colours

opposite one another on the wheel

Neutral: mixing complementary colours

lowers their intensity (greys and browns)

PABLO PICASSO, CUBISM and THE SUBJECTIVE FRAME Picasso was one of the most original and versatile artists, creating some of the most controversial art works in the 20th century. Cubism headed by Picasso and Braque, had a strict approach to painting, which was concerned with what objects are, rather than how they may appear or look. Objects were treated as flat geometric shapes, reduced to their basic forms of cone, sphere and cylinder and broken up into parts/sections.

‘Weeping Woman‘painted in 1937 is about suffering, despair and anguish, the mutilated face is deeply unattractive and viciously savage. The portrait is of the artist’s girlfriend, Dora Maar and was painted in the same year as his famous picture, ‘Guernica ‘. It has terrible power, the woman bites into her handkerchief in despair, as the tears roll down her cheeks. The acid yellows, part of the background, greens, weary reds, sickly whites and sinister purples all work to create this powerful and painful image.

Through the subjective frame,

we examine personal opinion,

thoughts and feelings.

What materials has Picasso used to create this artwork?

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Describe your first impression of this artwork.

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Picasso Weeping Woman 1937 Oil on Canvas

This striking painting of a woman holding a handkerchief to her tear-stained face has rich personal and political associations. It is one of a series of weeping women that Picasso created in 1937. He addressed this theme in a number of different mediums, producing powerful paintings, drawings and etchings that were intended to stand as mute visual witnesses to an unspeakable modern tragedy. Not surprisingly, then, the pain that Picasso himself brought to the many loves in his life may also have informed the artist’s obsession with the motif of a grieving woman.

List the figures/ items/objects can you see in this artwork:

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What do you think these figure/ items/objects symbolise of in real life?

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How does this artwork make you feel? Why?

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What does this artwork remind you of?

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What words would you use to describe the expression or mood of this picture?

Pick out six words from the list below by circling them

ANGRY HAPPY SAD SOLEMN DESPAIR TERROR ANGUISH SORROW

CALM BITTER TEARFUL HURT AGONY WEIRD BEAUTIFUL PEACEFUL

ATTRACTIVE SHOCKED HORROR JOYFUL COLD FRIGHTENED SURPRISED

THOUGHTFUL PAINFUL SUFFERING DISTURBING

Draw in box No 1. A portrait of a friend, then in box No 2. Make up another portrait and this time change the face around, using geometric shapes like Picasso did for his picture ‘ Weeping Woman ‘.

Paul Klee & The Structural Frame The structural frame looks at how art is put together and how signs and symbols communicate meanings. Through this frame, we consider the physical qualities of an artwork e.g. elements of design and materials used.

Castle and Sun 1928

Paul Klee

1. Describe the following elements of design in Paul Klee’s artwork ‘Castle and Sun’:

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Shape: ________________________________________________________________________________

Colour: _______________________________________________________________________________

Tone: _________________________________________________________________________________

Texture: ______________________________________________________________________________

Size: __________________________________________________________________________________

Direction: ____________________________________________________________________________

2. What is the ‘subject matter’? Is it realistic?

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Cardboard Cubist Sculptures

Chose a Cubist painting and then used cardboard, paper and strong to create 3

dimensional sculpture of your chosen painting. This will challenge you to think

and create what the subject matter looked like on all sides, not just from the

front. Start by drawing front, side and back views of your sculpture before

proceeding to the cardboard. Materials:

Pens, Pencil, Drawing Paper, Sketch book, Computer, Ruler/Straight Edge, Markers, Cardboard, X-acto, Hot Glue, String,

Procedure:

a. Set:

1. Shown examples of Cubist paintings

b. Essential Questions :

1. Why did you choose the painting that you did?

2. Is your 3D sculpture a good representation of your image?

c. Instructional Sequence:

1. Select a Cubist painting from a book, magazine or the internet.

• You must have approval from teacher before continuing.

2. Begin sketching out their ideas.

• You must have approval from teacher before continuing.

3. Plan out your pieces to construct on paper, before cutting them out of cardboard.

4. Begin cutting the necessary pieces out of cardboard and approved materials to begin forming your sculpture.

5. Begin constructing your 3D sculpture using approved materials.

6. At the completion of the artmaking activity, there will be a student driven critique of the project.