Cubism: Difference between revisions
Extended confirmed users 1,727 edits Related is redundant, Paris covers European with more precision and avoid exclusion of where else internationaly it had effects, the Americas in particular. Also Ballet possibly led more to its popularization than anything else, so it is added Tags: Reverted Visual edit |
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[[File:Pablo Picasso, 1910, Girl with a Mandolin (Fanny Tellier), oil on canvas, 100.3 x 73.6 cm, Museum of Modern Art New York..jpg|thumb|upright=1.15|[[Pablo Picasso]], 1910, ''[[Girl with a Mandolin|Girl with a Mandolin (Fanny Tellier)]]'', oil on canvas, 100.3 × 73.6 cm, [[Museum of Modern Art]], New York]] |
[[File:Pablo Picasso, 1910, Girl with a Mandolin (Fanny Tellier), oil on canvas, 100.3 x 73.6 cm, Museum of Modern Art New York..jpg|thumb|upright=1.15|[[Pablo Picasso]], 1910, ''[[Girl with a Mandolin|Girl with a Mandolin (Fanny Tellier)]]'', oil on canvas, 100.3 × 73.6 cm, [[Museum of Modern Art]], New York]] |
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'''Cubism''' is an early-20th-century [[avant-garde]] [[art movement]] |
'''Cubism''' is an early-20th-century [[avant-garde]] [[art movement]] that revolutionized European [[painting]] and [[sculpture]], and inspired related artistic movements in [[music]], [[literature]], and [[architecture]]. In Cubist works of art, the subjects are analyzed, broken up, and reassembled in an abstract form—instead of depicting objects from a single perspective, the artist depicts the subject from multiple perspectives to represent the subject in a greater context.<ref>Jean Metzinger, ''Note sur la peinture'', Pan (Paris), October–November 1910</ref> Cubism has been considered the most influential art movement of the 20th century.<ref name="moma.org">{{Cite web|url=https://www.moma.org/collection/|archiveurl=https://web.archive.org/web/20140813112047/http://www.moma.org/collection/details.php?theme_id=10068&displayall=1|url-status=dead|title=The Collection | MoMA|archivedate=August 13, 2014|website=The Museum of Modern Art}}</ref><ref>[http://www.metmuseum.org/about-the-museum/press-room/exhibitions/2014/cubism-the-leonard-lauder-collection ''Cubism: The Leonard A. Lauder Collection'', The Metropolitan Museum of Art, New York, 2014] {{webarchive|url=https://web.archive.org/web/20150517015704/http://www.metmuseum.org/about-the-museum/press-room/exhibitions/2014/cubism-the-leonard-lauder-collection |date=2015-05-17 }}</ref> The term ''cubism'' is broadly associated with a variety of artworks produced in Paris ([[Montmartre]] and [[Montparnasse]]) or near Paris ([[Puteaux]]) during the 1910s and throughout the 1920s. |
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The movement was pioneered by [[Pablo Picasso]] and [[Georges Braque]], and joined by [[Jean Metzinger]], [[Albert Gleizes]], [[Robert Delaunay]], [[Henri Le Fauconnier]], [[Juan Gris]], and [[Fernand Léger]].<ref>{{Cite web|url=https://www.moma.org/collection/|archiveurl=https://web.archive.org/web/20140613022945/http://www.moma.org/collection/details.php?theme_id=10068§ion_id=T020541|url-status=dead|title=The Collection | MoMA|archivedate=June 13, 2014|website=The Museum of Modern Art}}</ref> One primary influence that led to Cubism was the representation of [[three-dimensional space|three-dimensional]] form in the late works of [[Paul Cézanne]].<ref name="moma.org"/> A retrospective of Cézanne's paintings was held at the {{lang|fr|[[Salon d'Automne]]|italic=no}} of 1904, current works were displayed at the 1905 and 1906 {{lang|fr|Salon d'Automne|italic=no}}, followed by two commemorative retrospectives after his death in 1907.<ref name="Joann Moser">Joann Moser, ''Jean Metzinger in Retrospect, Pre-Cubist works, 1904–1909'', The University of Iowa Museum of Art, J. Paul Getty Trust, University of Washington Press 1985, pp. 34–42</ref> |
The movement was pioneered by [[Pablo Picasso]] and [[Georges Braque]], and joined by [[Jean Metzinger]], [[Albert Gleizes]], [[Robert Delaunay]], [[Henri Le Fauconnier]], [[Juan Gris]], and [[Fernand Léger]].<ref>{{Cite web|url=https://www.moma.org/collection/|archiveurl=https://web.archive.org/web/20140613022945/http://www.moma.org/collection/details.php?theme_id=10068§ion_id=T020541|url-status=dead|title=The Collection | MoMA|archivedate=June 13, 2014|website=The Museum of Modern Art}}</ref> One primary influence that led to Cubism was the representation of [[three-dimensional space|three-dimensional]] form in the late works of [[Paul Cézanne]].<ref name="moma.org"/> A retrospective of Cézanne's paintings was held at the {{lang|fr|[[Salon d'Automne]]|italic=no}} of 1904, current works were displayed at the 1905 and 1906 {{lang|fr|Salon d'Automne|italic=no}}, followed by two commemorative retrospectives after his death in 1907.<ref name="Joann Moser">Joann Moser, ''Jean Metzinger in Retrospect, Pre-Cubist works, 1904–1909'', The University of Iowa Museum of Art, J. Paul Getty Trust, University of Washington Press 1985, pp. 34–42</ref> |
Revision as of 01:21, 13 May 2024
Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related artistic movements in music, literature, and architecture. In Cubist works of art, the subjects are analyzed, broken up, and reassembled in an abstract form—instead of depicting objects from a single perspective, the artist depicts the subject from multiple perspectives to represent the subject in a greater context.[1] Cubism has been considered the most influential art movement of the 20th century.[2][3] The term cubism is broadly associated with a variety of artworks produced in Paris (Montmartre and Montparnasse) or near Paris (Puteaux) during the 1910s and throughout the 1920s.
The movement was pioneered by Pablo Picasso and Georges Braque, and joined by Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Juan Gris, and Fernand Léger.[4] One primary influence that led to Cubism was the representation of three-dimensional form in the late works of Paul Cézanne.[2] A retrospective of Cézanne's paintings was held at the Salon d'Automne of 1904, current works were displayed at the 1905 and 1906 Salon d'Automne, followed by two commemorative retrospectives after his death in 1907.[5]
In France, offshoots of Cubism developed, including Orphism, abstract art and later Purism.[6][7] The impact of Cubism was far-reaching and wide-ranging. In France and other countries Futurism, Suprematism, Dada, Constructivism, Vorticism, De Stijl and Art Deco developed in response to Cubism.[citation needed] Early Futurist paintings hold in common with Cubism the fusing of the past and the present, the representation of different views of the subject pictured at the same time or successively, also called multiple perspective, simultaneity or multiplicity,[8] while Constructivism was influenced by Picasso's technique of constructing sculpture from separate elements.[9] Other common threads between these disparate movements include the faceting or simplification of geometric forms, and the association of mechanization and modern life.
History
Scholars have divided the history of Cubism into phases. In one scheme, the first phase of Cubism, known as Analytic Cubism, a phrase coined by
Proto-Cubism: 1907–1908
Cubism burgeoned between 1907 and 1911. Pablo Picasso's 1907 painting Les Demoiselles d'Avignon has often been considered a proto-Cubist work.
In 1908, in his review of Georges Braque's exhibition at Kahnweiler's gallery, the critic Louis Vauxcelles called Braque a daring man who despises form, "reducing everything, places and a figures and houses, to geometric schemas, to cubes".[14][15]
Vauxcelles recounted how Matisse told him at the time, "Braque has just sent in [to the 1908 Salon d'Automne] a painting made of little cubes".[15] The critic Charles Morice relayed Matisse's words and spoke of Braque's little cubes. The motif of the viaduct at l'Estaque had inspired Braque to produce three paintings marked by the simplification of form and deconstruction of perspective.[16]
Georges Braque's 1908
By 1911 Picasso was recognized as the inventor of Cubism, while Braque's importance and precedence was argued later, with respect to his treatment of space, volume and mass in the L’Estaque landscapes. But "this view of Cubism is associated with a distinctly restrictive definition of which artists are properly to be called Cubists," wrote the art historian Christopher Green: "Marginalizing the contribution of the artists who exhibited at the Salon des Indépendants in 1911 [...]"[12]
The assertion that the Cubist depiction of space, mass, time, and volume supports (rather than contradicts) the flatness of the canvas was made by Daniel-Henry Kahnweiler as early as 1920,[18] but it was subject to criticism in the 1950s and 1960s, especially by Clement Greenberg.[19]
Contemporary views of Cubism are complex, formed to some extent in response to the "Salle 41" Cubists, whose methods were too distinct from those of Picasso and Braque to be considered merely secondary to them. Alternative interpretations of Cubism have therefore developed. Wider views of Cubism include artists who were later associated with the "Salle 41" artists, e.g.,
John Berger identifies the essence of Cubism with the mechanical diagram. "The metaphorical model of Cubism is the diagram: The diagram being a visible symbolic representation of invisible processes, forces, structures. A diagram need not eschew certain aspects of appearance but these too will be treated as signs not as imitations or recreations."[20]
Early Cubism: 1909–1914
There was a distinct difference between Kahnweiler's Cubists and the Salon Cubists. Prior to 1914, Picasso, Braque, Gris and Léger (to a lesser extent) gained the support of a single committed art dealer in Paris, Daniel-Henry Kahnweiler, who guaranteed them an annual income for the exclusive right to buy their works. Kahnweiler sold only to a small circle of connoisseurs. His support gave his artists the freedom to experiment in relative privacy. Picasso worked in Montmartre until 1912, while Braque and Gris remained there until after the First World War. Léger was based in Montparnasse.[12]
In contrast, the Salon Cubists built their reputation primarily by exhibiting regularly at the Salon d'Automne and the Salon des Indépendants, both major non-academic Salons in Paris. They were inevitably more aware of public response and the need to communicate.[12] Already in 1910 a group began to form which included Metzinger, Gleizes, Delaunay and Léger. They met regularly at Henri le Fauconnier's studio near the boulevard du Montparnasse. These soirées often included writers such as Guillaume Apollinaire and André Salmon. Together with other young artists, the group wanted to emphasise a research into form, in opposition to the Neo-Impressionist emphasis on color.[21]
Louis Vauxcelles, in his review of the 26th Salon des Indépendants (1910), made a passing and imprecise reference to Metzinger, Gleizes, Delaunay, Léger and Le Fauconnier as "ignorant geometers, reducing the human body, the site, to pallid cubes."[22][23] At the 1910 Salon d'Automne, a few months later, Metzinger exhibited his highly fractured Nu à la cheminée (Nude), which was subsequently reproduced in both Du "Cubisme" (1912) and Les Peintres Cubistes (1913).[24]
The first public controversy generated by Cubism resulted from Salon showings at the Indépendants during the spring of 1911. This showing by Metzinger, Gleizes, Delaunay, le Fauconnier and Léger brought Cubism to the attention of the general public for the first time. Amongst the Cubist works presented, Robert Delaunay exhibited his Eiffel Tower, Tour Eiffel (Solomon R. Guggenheim Museum, New York).[25]
At the Salon d'Automne of the same year, in addition to the Indépendants group of Salle 41, were exhibited works by André Lhote, Marcel Duchamp, Jacques Villon, Roger de La Fresnaye, André Dunoyer de Segonzac and František Kupka. The exhibition was reviewed in the October 8, 1911 issue of The New York Times. This article was published a year after Gelett Burgess' The Wild Men of Paris,[26] and two years prior to the Armory Show, which introduced astonished Americans, accustomed to realistic art, to the experimental styles of the European avant garde, including Fauvism, Cubism, and Futurism. The 1911 New York Times article portrayed works by Picasso, Matisse, Derain, Metzinger and others dated before 1909; not exhibited at the 1911 Salon. The article was titled The "Cubists" Dominate Paris' Fall Salon and subtitled Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition – What Its Followers Attempt to Do.[27][28]
Among all the paintings on exhibition at the Paris Fall Salon none is attracting so much attention as the extraordinary productions of the so-called "Cubist" school. In fact, dispatches from Paris suggest that these works are easily the main feature of the exhibition. [...]
In spite of the crazy nature of the "Cubist" theories the number of those professing them is fairly respectable. Georges Braque, André Derain, Picasso, Czobel, Othon Friesz, Herbin, Metzinger—these are a few of the names signed to canvases before which Paris has stood and now again stands in blank amazement.
What do they mean? Have those responsible for them taken leave of their senses? Is it art or madness? Who knows?[27][28]
Salon des Indépendants
The subsequent 1912 Salon des Indépendants located in Paris (20 March to 16 May 1912) was marked by the presentation of Marcel Duchamp's
Galeries Dalmau
In 1912, Galeries Dalmau presented the first declared group exhibition of Cubism worldwide (Exposició d'Art Cubista),[31][32][33] with a controversial showing by Jean Metzinger, Albert Gleizes, Juan Gris, Marie Laurencin and Marcel Duchamp (Barcelona, 20 April to 10 May 1912). The Dalmau exhibition comprised 83 works by 26 artists.[34][35][36] Jacques Nayral's association with Gleizes led him to write the Preface for the Cubist exhibition,[31] which was fully translated and reproduced in the newspaper La Veu de Catalunya.[37][38] Duchamp's Nude Descending a Staircase, No. 2 was exhibited for the first time.[39]
Extensive media coverage (in newspapers and magazines) before, during and after the exhibition launched the Galeries Dalmau as a force in the development and propagation of modernism in Europe.[39] While press coverage was extensive, it was not always positive. Articles were published in the newspapers Esquella de La Torratxa[40] and El Noticiero Universal[41] attacking the Cubists with a series of caricatures laced with derogatory text.[41] Art historian Jaime Brihuega writes of the Dalmau show: "No doubt that the exhibition produced a strong commotion in the public, who welcomed it with a lot of suspicion.[42]
Salon d'Automne
The Cubist contribution to the 1912 Salon d'Automne created scandal regarding the use of government owned buildings, such as the Grand Palais, to exhibit such artwork. The indignation of the politician Jean Pierre Philippe Lampué made the front page of Le Journal, 5 October 1912.[43] The controversy spread to the Municipal Council of Paris, leading to a debate in the Chambre des Députés about the use of public funds to provide the venue for such art.[44] The Cubists were defended by the Socialist deputy, Marcel Sembat.[44][45][46]
It was against this background of public anger that Jean Metzinger and Albert Gleizes wrote
Abstraction and the ready-made
The most extreme forms of Cubism were not those practiced by Picasso and Braque, who resisted total abstraction. Other Cubists, by contrast, especially
Also labeled an Orphist by Apollinaire, Marcel Duchamp was responsible for another extreme development inspired by Cubism. The ready-made arose from a joint consideration that the work itself is considered an object (just as a painting), and that it uses the material detritus of the world (as collage and papier collé in the Cubist construction and Assemblage). The next logical step, for Duchamp, was to present an ordinary object as a self-sufficient work of art representing only itself. In 1913 he attached a bicycle wheel to a kitchen stool and in 1914 selected a bottle-drying rack as a sculpture in its own right.[12]
Section d'Or
The Section d'Or, also known as Groupe de Puteaux, founded by some of the most conspicuous Cubists, was a collective of painters, sculptors and critics associated with Cubism and Orphism, active from 1911 through about 1914, coming to prominence in the wake of their controversial showing at the 1911
The group seems to have adopted the name Section d'Or to distinguish themselves from the narrower definition of Cubism developed in parallel by Pablo Picasso and Georges Braque in the Montmartre quarter of Paris, and to show that Cubism, rather than being an isolated art-form, represented the continuation of a grand tradition (indeed, the golden ratio had fascinated Western intellectuals of diverse interests for at least 2,400 years).[49]
The idea of the Section d'Or originated in the course of conversations between Metzinger, Gleizes and Jacques Villon. The group's title was suggested by Villon, after reading a 1910 translation of
During the late 19th and early 20th centuries, Europeans were discovering
The art historian Douglas Cooper states that
The most serious objection to regarding the Demoiselles as the origin of Cubism, with its evident influence of primitive art, is that "such deductions are unhistorical", wrote the art historian
In addition to Seurat, the roots of cubism are to be found in the two distinct tendencies of Cézanne's later work: first his breaking of the painted surface into small multifaceted areas of paint, thereby emphasizing the plural viewpoint given by binocular vision, and second his interest in the simplification of natural forms into cylinders, spheres, and cones. However, the cubists explored this concept further than Cézanne. They represented all the surfaces of depicted objects in a single picture plane, as if the objects had all their faces visible at the same time. This new kind of depiction revolutionized the way objects could be visualized in painting and art.
The historical study of Cubism began in the late 1920s, drawing at first from sources of limited data, namely the opinions of Guillaume Apollinaire. It came to rely heavily on Daniel-Henry Kahnweiler's book Der Weg zum Kubismus (published in 1920), which centered on the developments of Picasso, Braque, Léger, and Gris. The terms "analytical" and "synthetic" which subsequently emerged have been widely accepted since the mid-1930s. Both terms are historical impositions that occurred after the facts they identify. Neither phase was designated as such at the time corresponding works were created. "If Kahnweiler considers Cubism as Picasso and Braque," wrote Daniel Robbins, "our only fault is in subjecting other Cubists' works to the rigors of that limited definition."[51]
The traditional interpretation of "Cubism", formulated post facto as a means of understanding the works of Braque and Picasso, has affected our appreciation of other twentieth-century artists. It is difficult to apply to painters such as Jean Metzinger, Albert Gleizes, Robert Delaunay and Henri Le Fauconnier, whose fundamental differences from traditional Cubism compelled Kahnweiler to question whether to call them Cubists at all. According to Daniel Robbins, "To suggest that merely because these artists developed differently or varied from the traditional pattern they deserved to be relegated to a secondary or satellite role in Cubism is a profound mistake."[51]
The history of the term "Cubism" usually stresses the fact that Matisse referred to "cubes" in connection with a painting by Braque in 1908, and that the term was published twice by the critic Louis Vauxcelles in a similar context. However, the word "cube" was used in 1906 by another critic, Louis Chassevent, with reference not to Picasso or Braque but rather to Metzinger and Delaunay:
The critical use of the word "cube" goes back at least to May 1901 when Jean Béral, reviewing the work of Henri-Edmond Cross at the Indépendants in Art et Littérature, commented that he "uses a large and square pointillism, giving the impression of mosaic. One even wonders why the artist has not used cubes of solid matter diversely colored: they would make pretty revetments." (Robert Herbert, 1968, p. 221)[53]
The term Cubism did not come into general usage until 1911, mainly with reference to Metzinger, Gleizes, Delaunay, and Léger.[51] In 1911, the poet and critic Guillaume Apollinaire accepted the term on behalf of a group of artists invited to exhibit at the Brussels Indépendants. The following year, in preparation for the Salon de la Section d'Or, Metzinger and Gleizes wrote and published Du "Cubisme"[54] in an effort to dispel the confusion raging around the word, and as a major defence of Cubism (which had caused a public scandal following the 1911 Salon des Indépendants and the 1912 Salon d'Automne in Paris).[55] Clarifying their aims as artists, this work was the first theoretical treatise on Cubism and it still remains the clearest and most intelligible. The result, not solely a collaboration between its two authors, reflected discussions by the circle of artists who met in Puteaux and Courbevoie. It mirrored the attitudes of the "artists of Passy", which included Picabia and the Duchamp brothers, to whom sections of it were read prior to publication.[12][51] The concept developed in Du "Cubisme" of observing a subject from different points in space and time simultaneously, i.e., the act of moving around an object to seize it from several successive angles fused into a single image (multiple viewpoints, mobile perspective, simultaneity or multiplicity), is a generally recognized device used by the Cubists.[56]
The 1912 manifesto Du "Cubisme" by Metzinger and Gleizes was followed in 1913 by Les Peintres Cubistes, a collection of reflections and commentaries by Guillaume Apollinaire.[24] Apollinaire had been closely involved with Picasso beginning in 1905, and Braque beginning in 1907, but gave as much attention to artists such as Metzinger, Gleizes, Delaunay, Picabia, and Duchamp.[12]
The fact that the 1912 exhibition had been curated to show the successive stages through which Cubism had transited, and that Du "Cubisme" had been published for the occasion, indicates the artists' intention of making their work comprehensible to a wide audience (art critics, art collectors, art dealers and the general public). Undoubtedly, due to the great success of the exhibition, Cubism became avant-garde movement recognized as a genre or style in art with a specific common philosophy or goal.[48]
Crystal Cubism: 1914–1918
A significant modification of Cubism between 1914 and 1916 was signaled by a shift towards a strong emphasis on large overlapping geometric planes and flat surface activity. This grouping of styles of painting and sculpture, especially significant between 1917 and 1920, was practiced by several artists; particularly those under contract with the art dealer and collector Léonce Rosenberg. The tightening of the compositions, the clarity and sense of order reflected in these works, led to its being referred to by the critic Maurice Raynal as 'crystal' Cubism. Considerations manifested by Cubists prior to the outset of World War I—such as the fourth dimension, dynamism of modern life, the occult, and Henri Bergson's concept of duration—had now been vacated, replaced by a purely formal frame of reference.[57]
Crystal Cubism, and its associative rappel à l'ordre, has been linked with an inclination—by those who served the armed forces and by those who remained in the civilian sector—to escape the realities of the Great War, both during and directly following the conflict. The purifying of Cubism from 1914 through the mid-1920s, with its cohesive unity and voluntary constraints, has been linked to a much broader ideological transformation towards conservatism in both French society and French culture.[12]
Cubism after 1918
The most innovative period of Cubism was before 1914.[citation needed] After World War I, with the support given by the dealer Léonce Rosenberg, Cubism returned as a central issue for artists, and continued as such until the mid-1920s when its avant-garde status was rendered questionable by the emergence of geometric abstraction and Surrealism in Paris. Many Cubists, including Picasso, Braque, Gris, Léger, Gleizes, Metzinger and Emilio Pettoruti while developing other styles, returned periodically to Cubism, even well after 1925. Cubism reemerged during the 1920s and the 1930s in the work of the American Stuart Davis and the Englishman Ben Nicholson. In France, however, Cubism experienced a decline beginning in about 1925. Léonce Rosenberg exhibited not only the artists stranded by Kahnweiler's exile but others including Laurens, Lipchitz, Metzinger, Gleizes, Csaky, Herbin and Severini. In 1918 Rosenberg presented a series of Cubist exhibitions at his Galerie de l’Effort Moderne in Paris. Attempts were made by Louis Vauxcelles to argue that Cubism was dead, but these exhibitions, along with a well-organized Cubist show at the 1920 Salon des Indépendants and a revival of the Salon de la Section d’Or in the same year, demonstrated it was still alive.[12]
The reemergence of Cubism coincided with the appearance from about 1917–24 of a coherent body of theoretical writing by Pierre Reverdy, Maurice Raynal and Daniel-Henry Kahnweiler and, among the artists, by Gris, Léger and Gleizes. The occasional return to classicism—figurative work either exclusively or alongside Cubist work—experienced by many artists during this period (called
Influence in Asia
Interpretation
Intentions and criticism
The Cubism of Picasso and Braque had more than a technical or formal significance, and the distinct attitudes and intentions of the Salon Cubists produced different kinds of Cubism, rather than a derivative of their work. "It is by no means clear, in any case," wrote Christopher Green, "to what extent these other Cubists depended on Picasso and Braque for their development of such techniques as faceting, 'passage' and multiple perspective; they could well have arrived at such practices with little knowledge of 'true' Cubism in its early stages, guided above all by their own understanding of Cézanne." The works exhibited by these Cubists at the 1911 and 1912 Salons extended beyond the conventional Cézanne-like subjects—the posed model, still-life and landscape—favored by Picasso and Braque to include large-scale modern-life subjects. Aimed at a large public, these works stressed the use of multiple perspective and complex planar faceting for expressive effect while preserving the eloquence of subjects endowed with literary and philosophical connotations.[12]
In Du "Cubisme" Metzinger and Gleizes explicitly related the sense of time to multiple perspective, giving symbolic expression to the notion of ‘duration’ proposed by the philosopher
This technique of representing simultaneity, multiple viewpoints (or
Cubism and
Cubist sculpture
Just as in painting, Cubist sculpture is rooted in Paul Cézanne's reduction of painted objects into component planes and geometric solids (cubes, spheres, cylinders, and cones). And just as in painting, it became a pervasive influence and contributed fundamentally to Constructivism and Futurism.
Cubist sculpture developed in parallel to Cubist painting. During the autumn of 1909 Picasso sculpted Head of a Woman (Fernande) with positive features depicted by negative space and vice versa. According to Douglas Cooper: "The first true Cubist sculpture was Picasso's impressive Woman's Head, modeled in 1909–10, a counterpart in three dimensions to many similar analytical and faceted heads in his paintings at the time."[11] These positive/negative reversals were ambitiously exploited by Alexander Archipenko in 1912–13, for example in Woman Walking.[12] Joseph Csaky, after Archipenko, was the first sculptor in Paris to join the Cubists, with whom he exhibited from 1911 onwards. They were followed by Raymond Duchamp-Villon and then in 1914 by Jacques Lipchitz, Henri Laurens and Ossip Zadkine.[63][64]
Indeed, Cubist construction was as influential as any pictorial Cubist innovation. It was the stimulus behind the proto-Constructivist work of both Naum Gabo and Vladimir Tatlin and thus the starting-point for the entire constructive tendency in 20th-century modernist sculpture.[12]
Architecture
Cubism formed an important link between early-20th-century art and architecture.[65] The historical, theoretical, and socio-political relationships between avant-garde practices in painting, sculpture and architecture had early ramifications in France, Germany, the Netherlands and Czechoslovakia. Though there are many points of intersection between Cubism and architecture, only a few direct links between them can be drawn. Most often the connections are made by reference to shared formal characteristics: faceting of form, spatial ambiguity, transparency, and multiplicity.[65]
Architectural interest in Cubism centered on the dissolution and reconstitution of three-dimensional form, using simple geometric shapes, juxtaposed without the illusions of classical perspective. Diverse elements could be superimposed, made transparent or penetrate one another, while retaining their spatial relationships. Cubism had become an influential factor in the development of modern architecture from 1912 (La Maison Cubiste, by Raymond Duchamp-Villon and André Mare) onwards, developing in parallel with architects such as Peter Behrens and Walter Gropius, with the simplification of building design, the use of materials appropriate to industrial production, and the increased use of glass.[66]
Cubism was relevant to an architecture seeking a style that needed not refer to the past. Thus, what had become a revolution in both painting and sculpture was applied as part of "a profound reorientation towards a changed world".
La Maison Cubiste (Cubist House)
At the 1912
La Maison Cubiste was a fully furnished model house, with a facade, a staircase, wrought iron banisters, and two rooms: a living room—the Salon Bourgeois, where paintings by Marcel Duchamp, Metzinger (Woman with a Fan), Gleizes, Laurencin and Léger were hung, and a bedroom. It was an example of L'art décoratif, a home within which Cubist art could be displayed in the comfort and style of modern, bourgeois life. Spectators at the Salon d'Automne passed through the plaster facade, designed by Duchamp-Villon, to the two furnished rooms.[70] This architectural installation was subsequently exhibited at the 1913 Armory Show, New York, Chicago and Boston,[71] listed in the catalogue of the New York exhibit as Raymond Duchamp-Villon, number 609, and entitled "Facade architectural, plaster" (Façade architecturale).[72][73]
The furnishings, wallpaper, upholstery and carpets of the interior were designed by André Mare, and were early examples of the influence of cubism on what would become Art Deco. They were composed of very brightly colored roses and other floral patterns in stylized geometric forms.
Mare called the living room in which Cubist paintings were hung the Salon Bourgeois. Léger described this name as 'perfect'. In a letter to Mare prior to the exhibition Léger wrote: "Your idea is absolutely splendid for us, really splendid. People will see Cubism in its domestic setting, which is very important.[2]
"Mare's ensembles were accepted as frames for Cubist works because they allowed paintings and sculptures their independence", Christopher Green wrote, "creating a play of contrasts, hence the involvement not only of Gleizes and Metzinger themselves, but of Marie Laurencin, the Duchamp brothers (Raymond Duchamp-Villon designed the facade) and Mare's old friends Léger and Roger La Fresnaye".[74]
In 1927, Cubists
Czech Cubist architecture
The original Cubist architecture is very rare. Cubism was applied to architecture only in Bohemia (today Czech Republic) and especially in its capital, Prague.[79][80] Czech architects were the first and only ones to ever design original Cubist buildings.[81] Cubist architecture flourished for the most part between 1910 and 1914, but the Cubist or Cubism-influenced buildings were also built after World War I. After the war, the architectural style called Rondo-Cubism was developed in Prague fusing the Cubist architecture with round shapes.[82]
In their theoretical rules, the Cubist architects expressed the requirement of dynamism, which would surmount the matter and calm contained in it, through a creative idea, so that the result would evoke feelings of dynamism and expressive plasticity in the viewer. This should be achieved by shapes derived from pyramids, cubes and prisms, by arrangements and compositions of oblique surfaces, mainly triangular, sculpted facades in protruding crystal-like units, reminiscent of the so-called diamond cut, or even cavernous that are reminiscent of the late Gothic architecture. In this way, the entire surfaces of the facades including even the gables and dormers are sculpted. The grilles as well as other architectural ornaments attain a three-dimensional form. Thus, new forms of windows and doors were also created, e. g. hexagonal windows.[82] Czech Cubist architects also designed Cubist furniture.
The leading Cubist architects were
Cubism in other fields
The influence of Cubism extended to other artistic fields, outside painting and sculpture. In literature, the written works of
The poets generally associated with Cubism are Guillaume Apollinaire, Blaise Cendrars, Jean Cocteau, Max Jacob, André Salmon and Pierre Reverdy. As American poet Kenneth Rexroth explains, Cubism in poetry "is the conscious, deliberate dissociation and recombination of elements into a new artistic entity made self-sufficient by its rigorous architecture. This is quite different from the free association of the Surrealists and the combination of unconscious utterance and political nihilism of Dada."[83] Nonetheless, the Cubist poets' influence on both Cubism and the later movements of Dada and Surrealism was profound; Louis Aragon, founding member of Surrealism, said that for Breton, Soupault, Éluard and himself, Reverdy was "our immediate elder, the exemplary poet."[84] Though not as well remembered as the Cubist painters, these poets continue to influence and inspire; American poets John Ashbery and Ron Padgett have recently produced new translations of Reverdy's work. Wallace Stevens' "Thirteen Ways of Looking at a Blackbird" is also said to demonstrate how cubism's multiple perspectives can be translated into poetry.[85]
John Berger said: "It is almost impossible to exaggerate the importance of Cubism. It was a revolution in the visual arts as great as that which took place in the early Renaissance. Its effects on later art, on film, and on architecture are already so numerous that we hardly notice them."[86]
Gallery
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Georges Braque, 1909–10, La guitare (Mandora, La Mandore), oil on canvas, 71.1 x 55.9 cm, Tate Modern, London
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Salon des Indépendants 1911, Armory Show1913
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Georges Braque, 1910, Violin and Candlestick, oil on canvas, 60.96 x 50.17 cm, San Francisco Museum of Modern Art
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Salon des Indépendants, Paris
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Robert Delaunay, 1910–11, La ville no. 2, oil on canvas, 146 x 114 cm, Musée National d'Art Moderne, Paris
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Gemeentemuseum Den Haag
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Marcel Duchamp, 1911, La sonate (Sonata), oil on canvas, 145.1 x 113.3 cm, Philadelphia Museum of Art
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Pablo Picasso, 1911, La Femme au Violon, oil on canvas, private collection, on long-term loan to Bavarian State Painting Collections, Pinakothek der Moderne, Munich
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Fernand Léger, 1911–1912, Les Fumeurs (The Smokers), oil on canvas, 129.2 x 96.5 cm, Solomon R. Guggenheim Museum, New York
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Georges Braque, 1911–12, Man with a Guitar (Figure, L’homme à la guitare), oil on canvas, 116.2 x 80.9 cm, Museum of Modern Art
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Jacques Villon, 1912, Girl at the Piano (Fillette au piano), oil on canvas, 129.2 x 96.4 cm, oval, Museum of Modern Art, New York. Exhibited at the 1913 Armory Show
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Francis Picabia, 1912, La Source (The Spring), oil on canvas, 249.6 x 249.3 cm, Museum of Modern Art, New York
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Fernand Léger, 1912–13, Nude Model in the Studio (Le modèle nu dans l'atelier), oil on burlap, 128.6 x 95.9 cm, Solomon R. Guggenheim Museum, New York
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Les Joueurs de football (Football Players), oil on canvas, 225.4 x 183 cm, National Gallery of Art, Washington D.C.
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Musée d'Art Moderne de la Ville de Paris. Exhibited at the Salon des Indépendants, 1913
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Pablo Picasso, 1913–14, Femme assise dans un fauteuil (Eva), Woman in an Armchair, oil on canvas, 149.9 x 99.4 cm, Leonard A. Lauder Cubist Collection
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Juan Gris, 1915, Nature morte à la nappe à carreaux (Still Life with Checked Tablecloth), oil and graphite on canvas, 116.5 x 89.2 cm, Metropolitan Museum of Art, Leonard A. Lauder collection
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Diego Rivera, 1915, Portrait of Ramón Gómez de la Serna, 109.6 × 90.2 cm. Latin American Art Museum of Buenos Aires
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Femme au miroir (Femme à sa toilette, Lady at her Dressing Table), oil on canvas, 92.4 x 65.1 cm, private collection
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Museo Reina Sofia, Madrid
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Pablo Picasso, 1918, Arlequin au violon (Harlequin with Violin), oil on canvas, 142 x 100.3 cm, The Cleveland Museum of Art, Ohio
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Gino Severini, 1919, Bohémien Jouant de L'Accordéon (The Accordion Player), Museo del Novecento, Milan
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Albert Gleizes, 1920, Femme au gant noir (Woman with Black Glove), oil on canvas, 126 x 100 cm, National Gallery of Australia
Press articles and reviews
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Paintings by Albert Gleizes, 1910–11, Paysage, Landscape; Juan Gris (drawing); Jean Metzinger, c.1911, Nature morte, Compotier et cruche décorée de cerfs. Published on the front page of El Correo Catalán, 25 April 1912
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(center)Le Fumeur (Man with Pipe), Carnegie Museum of Art, Pittsburgh; (left) Alexander Archipenko, 1914, Danseuse du Médrano (Médrano II), (right) Archipenko, 1913, Pierrot-carrousel, Solomon R. Guggenheim Museum, New York. Published in Le Petit Comtois, 13 March 1914
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Paintings byDancer in a café, Albright-Knox Art Gallery; and sculpture by Alexander Archipenko, 1912, La Vie Familiale, Family Life (destroyed). Published in Les Annales politiques et littéraires, n. 1529, 13 October 1912
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Paintings by Gino Severini, 1911, La Danse du Pan-Pan, and Severini, 1913, L’autobus. Published in "Les Annales politiques et littéraires", Le Paradoxe Cubiste, 14 March 1920
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Paintings by Gino Severini, 1911, Souvenirs de Voyage; Albert Gleizes, 1912, Man on a Balcony, L’Homme au balcon; Severini, 1912–13, Portrait de Mlle Jeanne Paul-Fort; Luigi Russolo, 1911–12, La Révolte. Published in "Les Annales politiques et littéraires", Le Paradoxe Cubiste (continued), n. 1916, 14 March 1920
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Paintings byLe goûter (Tea Time), Philadelphia Museum of Art; Robert Delaunay, 1910–11, La Tour Eiffel. Published in La Veu de Catalunya, 1 February 1912
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Jean Metzinger, 1910–11, Paysage (whereabouts unknown); Gino Severini, 1911, La danseuse obsedante; Albert Gleizes, 1912, l'Homme au Balcon, Man on a Balcony (Portrait of Dr. Théo Morinaud). Published in "Les Annales politiques et littéraires", Sommaire du n. 1536, décembre 1912
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Jean Metzinger, c.1911, Nature morte, Compotier et cruche décorée de cerfs; Juan Gris, 1911, Study for Man in a Café; Marie Laurencin, c.1911, Testa ab plechs; August Agero, sculpture, Bust; Juan Gris, 1912, Guitar and Glasses, or Banjo and Glasses. Published in Veu de Catalunya, 25 April 1912
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Le goûter (Tea Time), Philadelphia Museum of Art. Published in Le Journal, 30 September 1911
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Paintings byDeux Nus, Two Nudes, Gothenburg Museum of Art; Marie Laurencin (acrylic); Albert Gleizes, 1911, Paysage, Landscape. Published in La Publicidad, 26 April 1912
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Umberto Boccioni, 1911, La rue entre dans la maison; Luigi Russolo, 1911, Souvenir d’une nuit. Published in Les Annales politiques et littéraires, 1 December 1912
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Francis Picabia, paintings published in the New York Tribune, 9 March 1913. Picabia held his first one-man show in New York, Exhibition of New York studies by Francis Picabia, at 291 art gallery (formerly Little Galleries of the Photo-Secession), March 17 - April 5, 1913
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Joseph Csaky, Head, 1913, plaster lost; Robert Delaunay, Hommage à Blériot, 1914 (Kunstmuseum Basel); Henri Ottmann, The Hat Seller, published in The Sun, New York, 15 March 1914
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Albert Gleizes, (left) in front of his painting Jazz; Jean Crotti (center) studying his Femme à la toque rouge; Marcel Duchamp (right) at his drawing board, in front of Jacques Villon's Portrait de M. J. B. peintre, The Sun, New York, 2 January 1916
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Albert Gleizes (with Chal Post, 1915); Marcel Duchamp (with his brother Jacques Villon's Portrait de M. J. B. peintre (Jacques Bon) 1914); Jean Crotti; Hugo Robus; Stanton Macdonald-Wright; and Frances Simpson Stevens (center), Every Week, Vol. 4, No. 14, April 2, 1917, p. 14
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Femme au miroir (Femme à sa toilette, Lady at her Dressing Table), The Sun, New York, Sunday 28 April 1918
See also
References
- ^ Jean Metzinger, Note sur la peinture, Pan (Paris), October–November 1910
- ^ a b c "The Collection | MoMA". The Museum of Modern Art. Archived from the original on August 13, 2014.
- ^ Cubism: The Leonard A. Lauder Collection, The Metropolitan Museum of Art, New York, 2014 Archived 2015-05-17 at the Wayback Machine
- ^ "The Collection | MoMA". The Museum of Modern Art. Archived from the original on June 13, 2014.
- ^ Joann Moser, Jean Metzinger in Retrospect, Pre-Cubist works, 1904–1909, The University of Iowa Museum of Art, J. Paul Getty Trust, University of Washington Press 1985, pp. 34–42
- ^ "The Collection | MoMA". The Museum of Modern Art.
- ^ Magdalena Dabrowski, Geometric Abstraction, Heilbrunn Timeline of Art History, The Metropolitan Museum of Art, New York, 2000
- ^ a b "The Collection | MoMA". The Museum of Modern Art. Archived from the original on July 2, 2015.
- ^ "The Collection | MoMA". The Museum of Modern Art. Archived from the original on October 24, 2008.
- ISBN 9781856695848
- ^ ISBN 0-87587-041-4
- ^ a b c d e f g h i j k l m n o p q Christopher Green, 2009, Cubism, MoMA, Grove Art Online, Oxford University Press Archived 2014-08-13 at the Wayback Machine
- ^ a b c Cooper, 24
- ^ Louis Vauxcelles, Exposition Braques, Gil Blas, 14 November 1908, Gallica (BnF)
- ^ ISBN 9780141905006– via Google Books.
- ^ Futurism in Paris – The Avant-garde Explosion, Centre Pompidou, Paris 2008
- ^ Louis Vauxcelles, Le Salon des Indépendants, Gil Blas, 25 March 1909, Gallica (BnF)
- ^ D.-H. Kahnweiler. Der Weg zum Kubismus (Munich, 1920; Eng. trans., New York, 1949)
- ^ C. Greenberg. The Pasted-paper Revolution, ARTnews, 57 (1958), pp. 46–49, 60–61 (Internet Archive); repr. as 'Collage' in Art and Culture (Boston, 1961), pp. 70–83
- ISBN 9780297177098.
- ^ a b "Fondation Gleizes, Chronologie (in French)" (PDF). Archived from the original (PDF) on November 12, 2008.
- ^ "Gil Blas / dir. A. Dumont". Gallica. March 18, 1910.
- ^ Daniel Robbins, Jean Metzinger: At the Center of Cubism, 1985, Jean Metzinger in Retrospect, The University of Iowa Museum of Art, J. Paul Getty Trust, University of Washington Press
- ^ a b c Guillaume Apollinaire, Les Peintres cubistes: Méditations esthétiques (Paris, 1913)
- ^ "Eiffel Tower". The Guggenheim Museums and Foundation. Archived from the original on February 28, 2014.
- ^ "The Wild Men of Paris". www.architecturalrecord.com. Archived from the original on April 24, 2016.
- ^ a b "Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition --- What Its Followers Attempt to Do". October 8, 1911. Archived from the original on March 5, 2016 – via NYTimes.com.
- ^ a b "The "Cubists" Dominate Paris' Fall Salon, The New York Times, October 8, 1911 (High-resolution PDF)" (PDF). Archived (PDF) from the original on 2022-10-09.
- ^ "Nude Descending a Staircase (No. 2)". philamuseum.org. Archived from the original on September 18, 2017.
- ^ "Statens Museum for Kunst, National Gallery of Denmark, Jean Metzinger, 1911–12, Woman with a Horse, oil on canvas, 162 × 130 cm". Archived from the original on January 15, 2012.
- ^ a b Mark Antliff and Patricia Leighten, A Cubism Reader, Documents and Criticism, 1906–1914, University of Chicago Press, 2008, pp. 293–295
- ISBN 0226330389
- ^ Commemoració del centenari del cubisme a Barcelona. 1912–2012, Associació Catalana de Crítics d'Art – ACCA
- ISBN 8447513831
- ISBN 0300075294
- ^ "Exposició d'Art Cubista". Dalmau Galleries.
- ^ Joaquim Folch i Torres, Els Cubistes a cân Dalmau, Pàgina artística de La Veu de Catalunya Archived 2018-04-22 at the Wayback Machine (Barcelona) 18 April 1912, Any 22, núm. 4637–4652 (16–30 abr. 1912)
- ^ Joaquim Folch y Torres, "El cubisme", Pàgina Artística de La Veu, La Veu de Catalunya Archived 2016-03-04 at the Wayback Machine, 25 April 1912 (includes numerous articles on the artists and exhibition)
- ^ ISBN 0300121067
- ^ Cubist caricature, Esquella de La Torratxa, Núm 1740 (3 maig 1912)
- ^ a b "[Exposició d'Art Cubista – Noticiero Universal]". Dalmau Galleries.
- ^ Jaime Brihuega, Las Vanguardias Artísticas en España 1909–1936, Madrid. Istmo.1981
- ^ "Le Journal". Gallica. October 5, 1912. Archived from the original on September 4, 2015.
- ^ ISSN 1270-5942
- ^ Patrick F. Barrer: Quand l'art du XXe siècle était conçu par les inconnus, pp. 93–101, gives an account of the debate.
- ^ "biography". www.peterbrooke.org.uk. Archived from the original on May 22, 2013.
- ^ "Albert-Gleizes-œuvre". September 18, 2007. Archived from the original on 2007-09-18.
- ^ a b "The History and Chronology of Cubism, p. 5". Archived from the original on March 14, 2013.
- ^ "La Section d'Or, Numéro spécial, 9 Octobre 1912". Archived from the original on April 3, 2017.
- ^ Cooper, 20–27
- ^ a b c d e f g Robbins, Daniel (April 19, 1964). "Albert Gleizes, 1881–1953 : a retrospective exhibition". [New York : Solomon R. Guggenheim Foundation] – via Internet Archive.
- ^ Louis Chassevent, Les Artistes Indépendants, 1906, Quelques Petits Salons. Paris, 1908. Chassevent discussed Delaunay and Metzinger in terms of Signac's influence, referring to Metzinger's "precision in the cut of his cubes..."
- ^ a b Robert Herbert, Neo-Impressionism, The Solomon R. Guggenheim Foundation, New York, 1968
- ^ A. Gleizes and J. Metzinger. Du "Cubisme", Edition Figuière, Paris, 1912 (Eng. trans., London, 1913)
- ^ "Mercure de France : série moderne / directeur Alfred Vallette". Gallica. December 1, 1912. Archived from the original on September 4, 2015.
- ^ ISBN 9780719050046. Archived from the originalon January 1, 2016 – via Google Books.
- ISBN 0300034687
- ^ "The Museum of Modern Art". Moma.org. Retrieved 2011-06-11.
- ^ Kolokytha, Chara; Hammond, J.M.; Vlčková, Lucie. "Cubism". Routledge Encyclopedia of Modernism.
- ^ Archive, Asia Art. "Cubism in Asia: Unbounded Dialogues – Report". aaa.org.hk. Retrieved 2018-12-22.
- ^ Gris, Juan. "Portrait of Pablo Picasso". The Art Institute of Chicago. Retrieved 2021-06-07.
- ^ Pablo Picasso, 1909–10, Head of a Woman, bronze, published in Umělecký Mĕsíčník, 1913 Archived 2014-03-03 at the Wayback Machine, Blue Mountain Project, Princeton University
- ^ Robert Rosenblum, "Cubism", Readings in Art History 2 (1976), Seuphor, Sculpture of this Century
- ISBN 9780871692306. Archived from the originalon January 1, 2016 – via Google Books.
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- ^ a b c "The Collection | MoMA". The Museum of Modern Art. Archived from the original on April 5, 2012.
- ^ P. R. Banham. Theory and Design in the First Machine Age (London, 1960), p. 203
- ISBN 0-8076-0104-7
- ^ "Albert Gleizes and Jean Metzinge, except from Du Cubisme, 1912" (PDF). Archived from the original (PDF) on June 2, 2013.
- ^ La Maison Cubiste, 1912 Archived 2013-03-13 at the Wayback Machine
- ^ Kubistische werken op de Armory Show Archived 2013-03-13 at the Wayback Machine
- ^ "Detail of Duchamp-Villon's Façade architecturale, 1913, from the Walt Kuhn Family papers and Armory Show records, 1859–1984, bulk 1900–1949". www.aaa.si.edu. Archived from the original on March 14, 2013.
- ^ "Catalogue of international exhibition of modern art: at the Armory of the Sixty-ninth Infantry". Association of American Painters and Sculptors. April 19, 1913 – via Internet Archive.
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- ^ "Cubist architecture". www.radio.cz. Radio Prague. Archived from the original on 11 September 2015. Retrieved 1 September 2015.
- ^ a b c "Czech Cubism". www.kubista.cz. Kubista. Archived from the original on 8 October 2015. Retrieved 1 September 2015.
- ^ Rexroth, Kenneth. "The Cubist Poetry of Pierre Reverdy (Rexroth)". Bopsecrets.org. Archived from the original on 2011-05-19. Retrieved 2011-06-11.
- ^ Reverdy, Pierre. "Title Page > Pierre Reverdy: Selected Poems". Bloodaxe Books. Archived from the original on 2011-05-27. Retrieved 2011-06-11.
- ^ "Untitled Document". Archived from the original on 2007-08-13. Retrieved 2008-04-07.
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Further reading
- Alfred H. Barr, Jr., Cubism and Abstract Art, New York: Museum of Modern Art, 1936.
- Cauman, John (2001). Inheriting Cubism: The Impact of Cubism on American Art, 1909–1936. New York: Hollis Taggart Galleries. ISBN 0-9705723-4-4.
- Cooper, Douglas (1970). The Cubist Epoch. London: Phaidon in association with the Los Angeles County Museum of Art & the Metropolitan Museum of Art. ISBN 0-87587-041-4.
- Paolo Vincenzo Genovese, Cubismo in architettura, Mancosu Editore, Roma, 2010. In Italian.
- John Golding, Cubism: A History and an Analysis, 1907-1914, New York: Wittenborn, 1959.
- ISBN 978-0-307-26665-1
- Mark Antliff and Patricia Leighten, A Cubism Reader, Documents and Criticism, 1906–1914, The University of Chicago Press, 2008
- Christopher Green, Cubism and its Enemies, Modern Movements and Reaction in French Art, 1916–28, Yale University Press, New Haven and London, 1987
- Mikhail Lifshitz, The Crisis of Ugliness: From Cubism to Pop-Art. Translated and with an Introduction by David Riff. Leiden: BRILL, 2018 (originally published in Russian by Iskusstvo, 1968)
- Daniel Robbins, Sources of Cubism and Futurism, Art Journal, Vol. 41, No. 4, (Winter 1981)
- Cécile Debray, Françoise Lucbert, La Section d'or, 1912-1920-1925, Musées de Châteauroux, Musée Fabre, exhibition catalogue, Éditions Cercle d'art, Paris, 2000
- Ian Johnston, Preliminary Notes on Cubist Architecture in Prague, 2004
External links
- Cubism, Heilbrunn Timeline of Art History, Metropolitan Museum of Art
- Cubist pioneer Diego Rivera
- Cubism, Agence Photographique de la Réunion des musées nationaux et du Grand Palais des Champs-Elysées (RMN)
- Czech Cubist Architecture
- Cubism, Guggenheim Collection Online
- Index of Historic Collectors and Dealers of Cubism, Leonard A. Lauder Research Center for Modern Art, Metropolitan Museum of Art
- Elizabeth Carlson, Cubist Fashion: Mainstreaming Modernism after the Armory, Winterthur Portfolio, Vol. 48, No. 1 (Spring 2014), pp. 1–28. doi:10.1086/675687