While public awareness partially defined this paradigm shift, the major difference in regards to artistic approaches include the departure from discernable images to those which were much more abstract in their nature. Having said this, the emergence of High Cubism (from 1909 onward) represented a significant transformation. Regardless of the confusion, it was already clear that Cubism would feature as a prominent driving force behind many artists of the time. "What do they mean? Have those responsible for them taken leave of their senses? Is it art or madness? Who knows?" One contemporary critic of the time noted (2): It is also unsurprising that Cubism initially perplexed its viewers. Two notable examples here are the Salon des Indépendants and the Salon d'Automne when paintings were displayed during the spring of 1911. There is indeed some credence to this, as masses were first exposed to Cubism when works were displayed within the salons of Paris. Some claim that public recognition played an important role. There is a considerable amount of debate in regards to which factors separate the Early Cubist period from the High Cubist period. It should still be stressed that Picasso is nonetheless considered to the the pioneering figure within this formative time. There are others who exhibited an equally important influence during this formative time. By 1911, many contemporaries stated that Picasso was the official founder of Cubism. Other Picasso works during this time such as Reservoir at Horta de Ebro clearly reflect the Cubist style. The majority of historians believe that Les Demoiselles d'Avignon (1907) represents the first famous venture into this field (often termed as "Proto Cubism").
These are known as Early Cubist (1907-1908) and High Cubism (1909-1914).Īs Pablo Picasso is often considered to be the father of Cubism, it only stands to reason that his paintings were present from an early stage. Many contemporary scholars have broken the Cubist movement down into two discrete periods. This would draw the eye of the viewer to specific portions and hopefully, influence his or her impression of the painting as a whole. In order to achieve more depth, many artists such as Picasso would paint these cubes and shapes from multiple perspectives.
#CUBISM STYLE SERIES#
This was done by breaking a picture down into its geometric components almost as if reducing its essence to a series of lines and angles. To put this another way, they hoped to literally embrace the two-dimensional aspect of the canvas. "The Cubist painters rejected the inherited concept that art should copy nature, or that they should adopt the traditional techniques of perspective, modelling, and foreshortening." As Sabine Rewald from the Metropolitan Museum of Art explains (1):
It can be argued that Cubism was a direct response to the rather traditionalist styles associated with the latter half of the 19th century (and in particular, some of the works associated with Victorian painters). Nearly any geometric angle could be employed to achieve the desired result. However, we need to make a point to emphasise that cubes were only a portion of this concept. Let us begin by examining the specific techniques behind Cubism as a whole before moving on.Ĭubism Defined: Redefining Art in Relation to NatureĪs the name hints, Cubism involves the use of geometric shapes and patterns to represent a specific form. We will address both of these concepts while also examining a handful of other styles that are directly linked to this unique style of art. In order to appreciate this influence, it is important to examine the principles behind Cubism as well as the relationship between this movement and Picasso himself. Primarily developed and espoused by Pablo Picasso, this style has had an impact upon artists for well over a century.
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