1. CUBISM

2. Pablo Picasso, Les Demoiselles D’Avignon, 1907.
I paint
forms
as I think
them
not
as I see
Pablo Picasso, Les Demoiselles D’Avignon, 1907.

3. Picasso, Enamel Saucepan, 1945 (Synthetic Cubism)
show the
‘concept’
of an object
rather than
details
of the
real thing
Picasso, Enamel Saucepan, 1945 (Synthetic Cubism)

4. different views of an object SIMUTANEOUSLY, emphasizing: time, space &
the Machine Age
Picasso, A Portrait of David-Henry Kahnweiler, 1910

5. and multiple perspective
Picasso & Braque
used techniques
as faceting,
‘passage’
and multiple perspective
Pablo Picasso, Ma Jolie, , Oil on Canvas

6. 'Factory, Horta de Ebbo', 1909 (oil on canvas)
During
the early
process
they
did not realize
they were creating MOVEMENT
CUBISM
'Factory, Horta de Ebbo', 1909 (oil on canvas)

7. by their own understanding of Cézanne
influenced
and
guided
by their own understanding of Cézanne
PAUL CÉZANNE ( ) 'Bibemus Quarry', 1895 (oil on canvas

8. "Every thing in nature takes it's form from the sphere, cone or cylindar."
- Paul Cezanne

9. in Georges Braque's work Road near L'Estaque.
Cezanne’s quote
basis of painting
for seven years.
Paul Cezanne's
influence most noted
in Georges Braque's work
Road near L'Estaque.
GEORGES BRAQUE 'Viaduct at L'Estaque', 1908 (oil on canvas)

10. Primitive Cubism 1907 to 1908 or Proto Cubism
Analytical Cubism to 1912
High Analytical to 1912
or Hermetic Cubism
Synthetic Cubism to 1920

11. Primitive
Cubism
began
in 1907
until 1908
The Vase, Bowl, Lemon
Picasso
1907

12. Picasso, Les Demoiselles d'Avignon (The Young Ladies of Avignon , 1907
simplify
objects
to their
most basic,
primitive terms
Picasso, Les Demoiselles d'Avignon (The Young Ladies of Avignon , 1907

13. the subject usually discernible

14. figures & objects were dissected or "analyzed“ into many small facets
Picasso
Girl with a Mandolin (Fanny Tellier)

15. figures & objects reassembled, to evoke those same figures or objects.
Juan Gris,
Portrait of Picasso
1912

16. Exploration of a subject’s pure form Mentally broke the subject
Analytical Cubism
Began 1908 to 1912
Exploration of a subject’s pure form
Mentally broke the subject
into flat planes and arranged them
in complex, overlapping relationships
Georges Braque (French, ). Violin and Palette (Violon et palette), September 1, Oil on canvas.

17. Limited Monochormatic Palette
grays, browns, dark greens, ochre, dark yellows
maintains an emotionless scene
Picasso's Ma Jolie from 1912
is a classic example of this technique.

18. "high" Analytic Cubism (1910–12), also called hermetic
Candlestick and Playing Cards on a Table, Autumn 1910 Georges Braque (French, 1882–1963)Oil on canvas

19. The composition of this small
oval painting consists of clearly defined Cubist planes
in hues of brown and ocher highlighted
by black and white.

20. At the center
can be identified the corner of a table upon which rests the round base of a brass candlestick

21. and, at the right,
two playing cards
—the ace of hearts
and the six
of diamonds.

22. This still life
presents
one of the
earliest
instances
of Braque's choice
of an
oval format.

23. both Braque and Picasso would make frequent
Soon,
both Braque and Picasso would make frequent
use of this shape.
Woman with a Mandolin
(Georges Braque ,1910)

24. In rectangular Analytic Cubism, planes and facets of forms concentrate
in the center
of a composition,
Still Life with a Bottle of Rum, 1911Pablo Picasso (Spanish, 1881–1973)Oil on canvas

25. and the corners remain relatively empty.
Still Life with a Pair of Banderillas, Summer 1911Georges Braque (French, 1882–1963)Oil on canvas

26. An oval format avoids such corners,
and therefore Braque and Picasso sometimes favored this shape.
The Clarinet
(La clarinette),
summer-fall 1912.
Oil with sand on fine linen canva

27. Picasso and Braque
so abstracted their works
that they were reduced
to just a series
of overlapping planes
and facets
mostly in monochromatic
browns, grays, or blacks.
In their work from this period,
frequently combined
representational motifs
with letters

28. Their favorite motifs were still lifes with musical instruments, bottles, pitchers, glasses, newspapers, playing cards
and the human face.
Landscapes were rare.

29. These quasi-scientific and mathematical interests were linked with the
‘hermetic sciences’,
the occult and alchemy………….

30. Paul Cezanne La Montagne Saint Victoire Barnes, 1885
BRAQUE, Houses at L'Estaque L'Estaque,1908
CUBISM name by:
French art critic Louis Vauxcelles
after seeing Braque’s landscapes at L'Estaque in emulation of Cezanne

31. Paul Cezanne (Post-Impressionist)
Major Influences…
Paul Cezanne (Post-Impressionist)
Femme de Vert 1909

32. Les Demoiselles d’Avignon, 1907.
Major Influences…
African Zimba Mask
Les Demoiselles d’Avignon, 1907.

33. Les Demoiselles d’Avignon, 1907.
Major Influences…
African Zimba Mask
Les Demoiselles d’Avignon, 1907.

34. Analytical Cubism REVOLUTIONARY STYLE Invented by Picasso and
George Braque
REVOLUTIONARY STYLE
response to a world that was changing with unprecedented speed
aim was to develop a new way of seeing reflecting the modern age

35. 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.

36. The problem for artists at this time was how to reflect the modernity
of the era
using traditions
from the last
four centuries.
Pablo Picasso
Carafe, Jug and Fruit Bowl, 1909

37. new
Space Concept
first since
Masaccio
The Holy Trinity

38. Retains some sort of depth
Picasso, Girl with a Mandolin (Fanny Teller), 1910

39. Georges Braque. The Portuguese, 1911
Analytical Cubism
Little
contrast
in color
Georges Braque. The Portuguese, 1911

40. Faceted shapes and translucent divisions of space
Analytical Cubism
Faceted shapes
and
translucent
divisions
of space
Pablo Picasso, Portrait of Vollard, 1910.
ANALYTICAL CUBISM

41. Analytical Cubism Complex and systematic design Georges Braque,
Violin and Jug, 1910)
ANALYTICAL CUBISM

42. Georges Braque, Fruitdish, 1908-09.
Differing views
of the same subject
in the same work
Georges Braque, Fruitdish,

43. Georges Braque, Musical Instruments, 1908.

44. Pablo Picasso, Aficionado, 1912.
Analytical Cubism
Pablo Picasso, Aficionado, 1912.
ANALYTICAL CUBISM

45. Pablo Picasso, Composition with Skull, 1908.
SYNTHETIC
CUBISM
more colourful
Pablo Picasso, Composition with Skull, 1908.

46. Puts forms back together after breaking them apart
Pablo Picasso, Three Musicians, 1921.
Puts forms
back together
after breaking
them apart

47. pasted makes the collage look like a real surface
Synthetic Cubism
“Collage”
French word “glue”
Foreign materials
pasted makes the collage look like a real surface
Scraps are changed and painted on, giving them a double meaning
George Braque, Gillet, 1914.

48. Picasso, Bottle of Pernod and Glass, 1912
collage and papier colles,
bridged the gap
between life and art
inserting pieces
of the real world
onto the canvas.
Picasso, Bottle of Pernod and Glass, 1912

49. Pablo Picasso, Glass and Bottle of Suze, 1912.
Synthetic Cubism
Pablo Picasso, Glass and Bottle of Suze, 1912.
SYNTHETIC CUBISM

50. Picasso, Man with a Hat and a Violin, 1912
from a a group of seventeen papiers collés
created from newspaper articles
arranged cuttings from Le Journal
December 3 and 9, 1912 ,
straight and slightly curved charcoal lines scaffolded
text refers to:
Balkan Wars,
unrest of miners in the Nord
Pas-de-Calais départements, issues debated in Parliament and to local announcements and advertisements.

51. On one hand, the Cubist artists shared the unease about the increasing industrialization of their way of life as evidenced by their pre-Cubist fascination with all that was “primitive,” from tribal art, to children’s art, to folk art, to low art in an attempt to relocate a kind of artistic expression that was natural and simple and unsophisticated.  On the other hand, these same Cubists were equally fascinated with the brave new world of machine driven objects, cars, airplanes and the modern ocean liner.  The Cubists were the generation that will absorb and adjust to the Machine Age and the end of the old ways, accepting the new ways of living.  The Eiffel Tower, once hated by Parisians who were used to and preferred Charles Garnier’s Opéra, was greatly admired by a new generation that saw the towering structure as the symbol of everything new and modern.  Striding over the city of Paris, the Eiffel Tower nakedly revealed the nature and the “truth” of its materials and its method of construction—a deliberately modern statement of all that was new.

52. http://www. google. com/imgres. imgurl=http://people. bethel

53. Related
Maps
World, 1900 A.D. – Present
Europe, 1900 A.D. – Preesnt
Timelines
France 1900 A.D. to PResent

54. TermsART MOVEMENT/STYLECubism in Modern and Contemporary ArtCubism in Twentieth–Century European ArtSchool of Paris in Twentieth–Century European ArtARTISTBraque, Georges (French, 1882–1963

55. presentThematic EssaysCubismWorks of Art by CollectionModern and Contemporary ArtIndex)MATERIAL AND TECHNIQUEPainting in Oil on Canvas from FranceSUBJECT MATTER/THEMEStill LifeARTIST BIOGRAPHYBraque, Georges (French, 1882–1963)TECHNICAL GLOSSARYCanvasOil Paint