Cubism
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.
"Cubist" redirects here. For the company, see Cubist Pharmaceuticals.
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. 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.
Georges Braque, 1909–10, La guitare (Mandora, La Mandore), oil on canvas, 71.1 x 55.9 cm, Tate Modern, London
Albert Gleizes, 1910, La Femme aux Phlox (Woman with Phlox), oil on canvas, 81 x 100 cm, Museum of Fine Arts, Houston. Exhibited in Room 41, Salon des Indépendants 1911, Armory Show 1913
Georges Braque, 1910, Violin and Candlestick, oil on canvas, 60.96 x 50.17 cm, San Francisco Museum of Modern Art
Jean Metzinger, 1910–11, Deux Nus (Two Nudes, Two Women), oil on canvas, 92 x 66 cm, Gothenburg Museum of Art, Sweden. Exhibited at the first Cubist manifestation, Room 41 of the 1911 Salon des Indépendants, Paris
Robert Delaunay, 1910–11, La ville no. 2, oil on canvas, 146 x 114 cm, Musée National d'Art Moderne, Paris
Henri Le Fauconnier, 1910–11, L'Abondance (Abundance), oil on canvas, 191 x 123 cm, Gemeentemuseum Den Haag
Marcel Duchamp, 1911, La sonate (Sonata), oil on canvas, 145.1 x 113.3 cm, Philadelphia Museum of Art
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
Fernand Léger, 1911–1912, Les Fumeurs (The Smokers), oil on canvas, 129.2 x 96.5 cm, Solomon R. Guggenheim Museum, New York
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
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
Francis Picabia, 1912, La Source (The Spring), oil on canvas, 249.6 x 249.3 cm, Museum of Modern Art, New York
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
Albert Gleizes, 1912–13, Les Joueurs de football (Football Players), oil on canvas, 225.4 x 183 cm, National Gallery of Art, Washington D.C.
Jean Metzinger, 1912–1913, L'Oiseau bleu (The Blue Bird), oil on canvas, 230 x 196 cm, Musée d'Art Moderne de la Ville de Paris. Exhibited at the Salon des Indépendants, 1913
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
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
Diego Rivera, 1915, Portrait of Ramón Gómez de la Serna, 109.6 × 90.2 cm. Latin American Art Museum of Buenos Aires
Jean Metzinger, April 1916, Femme au miroir (Femme à sa toilette, Lady at her Dressing Table), oil on canvas, 92.4 x 65.1 cm, private collection
Pablo Picasso, 1918, Arlequin au violon (Harlequin with Violin), oil on canvas, 142 x 100.3 cm, The Cleveland Museum of Art, Ohio
Gino Severini, 1919, Bohémien Jouant de L'Accordéon (The Accordion Player), Museo del Novecento, Milan
Albert Gleizes, 1920, Femme au gant noir (Woman with Black Glove), oil on canvas, 126 x 100 cm, National Gallery of Australia
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
(center) Jean Metzinger, c.1913, 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
Paintings by Fernand Léger, 1912, La Femme en Bleu, Woman in Blue, Kunstmuseum Basel; Jean Metzinger, 1912, Dancer 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
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
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
Paintings by Henri Le Fauconnier, 1910–11, L'Abondance, Haags Gemeentemuseum; Jean Metzinger, 1911, Le goûter (Tea Time), Philadelphia Museum of Art; Robert Delaunay, 1910–11, La Tour Eiffel. Published in La Veu de Catalunya, 1 February 1912
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
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
Jean Metzinger, 1911, Le goûter (Tea Time), Philadelphia Museum of Art. Published in Le Journal, 30 September 1911
Paintings by Juan Gris, Bodegón; August Agero (sculpture); Jean Metzinger, 1910–11, Deux Nus, Two Nudes, Gothenburg Museum of Art; Marie Laurencin (acrylic); Albert Gleizes, 1911, Paysage, Landscape. Published in La Publicidad, 26 April 1912
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
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
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
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
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
Jean Metzinger, April 1916, Femme au miroir (Femme à sa toilette, Lady at her Dressing Table), The Sun, New York, Sunday 28 April 1918
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