In order to start of this session we had go through the key points that were happening in the art world and anything in the world in general that was affecting the art movements between 1848 – 1945.
In this session we were concentrating on Cubist movement in order to see how the art changed into the Cubism we had a look at Impressionist works such as Edouard Manet ‘Olympia’ 1863 – which was accepted into the Salon in 1865. The subject of ideal nudistic (Venus) was brought back by Parisian Prostitute inviting her next customer with her gaze.
After some time things like Photography was introduced meaning that artists weren’t as much needed. Usually they were booked to make portraits of people but now the cameras were able to do it faster and cheaper. Hence artists had to change their way of working, meaning Impressionism started and with that later Cubism.
Cézanne was a Post-Impressionist painter who had wanted to concentrate on how things really looked. The physical solidity of oranges and apple etc. in his Still Lifes. He was interested in different viewpoints and the;
1. Realisation: Bringing into being
2. Modulation: layering and adjusting paint.
After seeing the revolutionary work of Cézanne – Braque and Picasso saw an opportunity in his use of brushstrokes, colours and perspectives and began a new movement called Cubism.
One of the earliest works by the Cubists was Picasso’s ‘Les Demoiselles D’Avignon’ 1907
This painting was influenced by Cézanne’s Bathers and it speaks about:
• The way males look at women.
• More brute than Bathers.
• 5 prostitutes from the Parisian Brothel.
• Replaced heads with Nambarian Status and African Masks (sexual?)
The naturalism way of painting was then taken and made into images of cubes. Cubist painted object just as they saw them but from several viewpoints and flattening the shapes and colours that make the audience ask what we know to combine with what we see. These images became very abstract in Synthetic Cubism. There was a huge progression of reduction of shapes and audience had to start imagining more.
Picasso’s ‘Still life with a bottle of rum’ 1911