Pablo Picasso's Cubist period from 1907-1912 saw his style evolve significantly. An early Cubist work, his 1909 plaster bust Tête de femme exhibits strong African influences in the carved facial features, alluding to tribal masks. In contrast, his 1911 painting Tête is a more abstract, fractured portrait composed of simple lines and shapes. While both works exhibit Cubist characteristics, Tête lacks discernible features and African influence, demonstrating Picasso had already begun adapting Cubism within a few years. Comparing works from Picasso's Cubist period is essential to understanding how his style continuously changed, both during this time and his artistic career overall.
Colonial Empires About 1900This map is really important .docxdrandy1
Colonial Empires About 1900
This map is really important in understanding how non-Western cultures would have a profound impact on art of the early 20th century. Africa, in particular, was divided among many nations with France taking a huge chunk. Many items would be imported into Europe and would inspire artists like Picasso and Matisse, as you will see.
HENRI MATISSE, Luxe, calme et volupté, 1904-5
Fauvism:
Bold colors of Van Gogh, but used them as complete artistic expression; figure was secondary to color, form, and line; combination of subjective expression and pure optical sensation
Called the fauves by critics who thought the artists like Matisse painted like wild beasts
Combination of Impressionism’s love of nature with Post-Impressionism’s love of expressive color; influenced by African art
Impression upon other coming of age avant-garde artists who were trying to take what Cézanne started even further
Not an entirely cohesive movement as the artists all had their own personal agendas
Henri Matisse first studied law, but in 1891 enrolled in art school and studied under Bouguereau (whose idea later rejected) then studied with Moreau in 1892 who encouraged him to follow his own direction. Later he would experiment with non-descriptive color. He met Andre Derain and Maurice de Vlaminck in 1900 who would also work in the fauvist style.
I’m showing you other works by Matisse so that you get a sense of how much he experimented during the first decade of the 20th century. This piece is a radical reinterpretation of French pastoral landscape painting. We have nudes who don’t have a care in the world, an idyllic female world. There are staccato brushstrokes and color straight from the paint tube applied in a rainbow of colors.
HENRI MATISSE, Blue Nude: Memory of Biskra, 1907
Influences of African art can be seen in the exaggeration of the female body, especially in the breasts and buttocks, and in the mask-like face. The extreme position of the body makes it look like the figure is composed of different people. The color is inherently Fauve in that it isn’t descriptive of nature. This is part of the odalisque tradition, but his painting isn’t seductive and erotic because Matisse believed that he was creating a picture, not a woman.
Figure 24-3 HENRI MATISSE, Red Room (Harmony in Red), 1908–1909. Oil on canvas, approx.
5’ 11” x 8’ 1”. State Hermitage Museum, Saint Petersburg.
This painting is more abstract. The use of color is very unconventional and gives the painting a sense of flatness. It is more decorative in surface patterning; a new pictorial space is defined by color and line. Matisse is doing something important here: he’s tell you that you’re looking at a painting, not an actual view of the world. By emphasizing the flatness of the surface, he’s emphasizing that it is a thing in and of itself.
Figure 24-6 ERNST LUDWIG KIRCHNER, Street, Dresden, 1908 (dated 1907). Oil on canvas, 4’ 11 1/4” x 6’ 6 7/8”. M.
Colonial Empires About 1900This map is really important .docxcargillfilberto
Colonial Empires About 1900
This map is really important in understanding how non-Western cultures would have a profound impact on art of the early 20th century. Africa, in particular, was divided among many nations with France taking a huge chunk. Many items would be imported into Europe and would inspire artists like Picasso and Matisse, as you will see.
HENRI MATISSE, Luxe, calme et volupté, 1904-5
Fauvism:
Bold colors of Van Gogh, but used them as complete artistic expression; figure was secondary to color, form, and line; combination of subjective expression and pure optical sensation
Called the fauves by critics who thought the artists like Matisse painted like wild beasts
Combination of Impressionism’s love of nature with Post-Impressionism’s love of expressive color; influenced by African art
Impression upon other coming of age avant-garde artists who were trying to take what Cézanne started even further
Not an entirely cohesive movement as the artists all had their own personal agendas
Henri Matisse first studied law, but in 1891 enrolled in art school and studied under Bouguereau (whose idea later rejected) then studied with Moreau in 1892 who encouraged him to follow his own direction. Later he would experiment with non-descriptive color. He met Andre Derain and Maurice de Vlaminck in 1900 who would also work in the fauvist style.
I’m showing you other works by Matisse so that you get a sense of how much he experimented during the first decade of the 20th century. This piece is a radical reinterpretation of French pastoral landscape painting. We have nudes who don’t have a care in the world, an idyllic female world. There are staccato brushstrokes and color straight from the paint tube applied in a rainbow of colors.
HENRI MATISSE, Blue Nude: Memory of Biskra, 1907
Influences of African art can be seen in the exaggeration of the female body, especially in the breasts and buttocks, and in the mask-like face. The extreme position of the body makes it look like the figure is composed of different people. The color is inherently Fauve in that it isn’t descriptive of nature. This is part of the odalisque tradition, but his painting isn’t seductive and erotic because Matisse believed that he was creating a picture, not a woman.
Figure 24-3 HENRI MATISSE, Red Room (Harmony in Red), 1908–1909. Oil on canvas, approx.
5’ 11” x 8’ 1”. State Hermitage Museum, Saint Petersburg.
This painting is more abstract. The use of color is very unconventional and gives the painting a sense of flatness. It is more decorative in surface patterning; a new pictorial space is defined by color and line. Matisse is doing something important here: he’s tell you that you’re looking at a painting, not an actual view of the world. By emphasizing the flatness of the surface, he’s emphasizing that it is a thing in and of itself.
Figure 24-6 ERNST LUDWIG KIRCHNER, Street, Dresden, 1908 (dated 1907). Oil on canvas, 4’ 11 1/4” x 6’ 6 7/8”. M.
Hadj Ounis's most notable work is his sculpture titled "Metamorphosis." This piece showcases Ounis's mastery of form and texture, as he seamlessly combines metal and wood to create a dynamic and visually striking composition. The juxtaposition of the two materials creates a sense of tension and harmony, inviting viewers to contemplate the relationship between nature and industry.
Explore the multifaceted world of Muntadher Saleh, an Iraqi polymath renowned for his expertise in visual art, writing, design, and pharmacy. This SlideShare delves into his innovative contributions across various disciplines, showcasing his unique ability to blend traditional themes with modern aesthetics. Learn about his impactful artworks, thought-provoking literary pieces, and his vision as a Neo-Pop artist dedicated to raising awareness about Iraq's cultural heritage. Discover why Muntadher Saleh is celebrated as "The Last Polymath" and how his multidisciplinary talents continue to inspire and influence.
2137ad - Characters that live in Merindol and are at the center of main storiesluforfor
Kurgan is a russian expatriate that is secretly in love with Sonia Contado. Henry is a british soldier that took refuge in Merindol Colony in 2137ad. He is the lover of Sonia Contado.
2137ad Merindol Colony Interiors where refugee try to build a seemengly norm...luforfor
This are the interiors of the Merindol Colony in 2137ad after the Climate Change Collapse and the Apocalipse Wars. Merindol is a small Colony in the Italian Alps where there are around 4000 humans. The Colony values mainly around meritocracy and selection by effort.
2. Picasso and the Cubist Dichotomy
An avant garde artist of myriad talents, Pablo Picasso is undoubtedly a key Modernist
figure. In order to trace and understand his evolving style, his work is often neatly organised
into distinctive periods – Rose, Blue, and Cubist being among his most well known.
However, while a useful approach to understanding his retrospective oeuvre, his individual
works do not always appear stylistically identical to other pieces of the period; even a couple
of years’ difference can result in a clear shift in style. A prime example of such discord is
found when comparing a painting and sculpture from his Cubist (1907-1912) period: Tête de
femme (Fernande) (Figure 1) from 1909 and Tête, created in 1911 (Figure 2).
At the turn of the century, Africanism1
dominated the Western art consciousness. To
the Post-Impressionists and Fauvists, this manifested as a unique colour palette and spanned
exotic landscapes to primitive portraits. To Picasso, it materialised as inadvertent homages to
African mask and ancient sculpture. While famously evident in his renowned Les
Demoiselles d’Avignon (Figure 3) from 1907, a lesser-known but equally pertinent
embodiment of such influences is his Tête de femme. Produced approximately two years
after the movement’s onset, the sculpted plaster bust exhibits Cubism’s (and Picasso’s) key
considerations: soft curves contrast sharp angles, and, as in the case of Les Demoiselles
d’Avignon, a strong African influence is evident in the figure’s face, whose carved features
allude to a wooden tribal mask. While Cubist pieces by Picasso are commonly defined by
ambiguity, Tête de femme is instantly identifiable. Though somewhat fractured and clearly
unrealistic, the piece is neither abstract nor so broken down that it becomes imperceptible; it
is certainly a face, but also clearly Cubist.
Cubist paintings – even those spawned by the same artist — thus, often range in their
ability to be reasoned or recognised, as evident when comparing Tête de femme (Fernande)
to Tête. Produced in Paris in 1911, Tête, too, is characteristically a work of Picasso.
Comprised of imperfect lines, sketched curves, and a dappled, muted background, the
painting is a relatively simple piece; from a purely aesthetic perspective, Tête may even
appear as a completely abstract study. However, when observed more closely (and once
1
Patricia Leighten, ‘The White Peril and L’Art negre: Picasso, Primitivism, and Anticolonialism,’ The Art Bulletin,
vol. 72, no. 4, December.1990, p. 609-630.
3. aware of its revealing title2
), it becomes clear that this work is a fractured, deconstructed
portrait; a circle and oval comprise the figure’s eyes, while a large 45-degree angle suggests a
nose and a rounded contour represents the chin. Though Cubist by nature, it is void of
African influence and instant discernibility, proving that, a mere two years later, Picasso was
already adapting the Cubist sensibility.
Ultimately, while often imagined as a homogenous period in the artist’s life, for
Picasso, Cubism was an intrinsically and intricately changing style. Whether a nearly
abstract painting or a figurative sculpture, it is evident that comparing the Cubist work of
Picasso is not only essential to understanding the isolated period itself, but his lifelong artistic
approach, too.
2
The English translation of ‘tête’ is “head.”