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Pablo Picasso, 1910, Girl with a Mandolin (Fanny Tellier), oil on canvas, 100.3 × 73.6 cm, Museum of Modern Art, New York. Cubism is an early-20th-century avant-garde art movement begun in Paris that revolutionized painting and the visual arts, and influenced artistic innovations in music, ballet, literature, and architecture.
Crystal Cubism was the culmination of a continuous narrowing of scope in the name of a return to order; based upon the observation of the artists relation to nature, rather than on the nature of reality itself. [3]
Analytic cubism, exemplified by Violin and Candlestick, Paris, was jointly developed by Pablo Picasso and Georges Braque from about 1908 through 1912. Analytic cubism was followed by Synthetic cubism, characterized by the introduction of different textures, surfaces, collage elements, papier collé and a large variety of merged subject matter ...
Du "Cubisme", also written Du Cubisme, or Du « Cubisme » (and in English, On Cubism or Cubism), is a book written in 1912 by Albert Gleizes and Jean Metzinger. This was the first major text on Cubism , predating Les Peintres Cubistes by Guillaume Apollinaire (1913).
Presently, the effect of the influence of nature is less obvious: instead of designed objects looking exactly like the natural form, they use only slight characteristics to remind us of nature. Victor Papanek (1923–1999) was one of the first American industrial designers to use biomorphic analysis in his design assignments.
Broadly defined as "the faithful representation of reality", [14] Realism as a literary movement is based on "objective reality." It focuses on showing everyday activities and life, primarily among the middle- or lower-class society, without romantic idealization or dramatization. [ 15 ]
In the historical analysis of most modern movements such as Cubism there has been a tendency to suggest that sculpture trailed behind painting. Writings about individual sculptors within the Cubist movement are commonly found, while writings about Cubist sculpture are premised on painting, offering sculpture nothing more than a supporting role. [1]
Other exponents of this movement in the graphic field were Georges Braque, Juan Gris, Louis Marcoussis and Jacques Villon. Braque was, together with Picasso, the father of cubism. His printmaking started late, once he had already abandoned cubism and in a neoclassical style, as can be seen in his etchings for the Theogony of Hesiod (1931). [13]