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Updated: May 12, 2025
From this the Impressionists escaped by persuading themselves that they were men of science. And against this my contemporaries set up a conscious æstheticism, slightly tinged with certain metaphysico-moral doctrines concerning the cowiness of cows and the thing in itself. With Cubism conscious æstheticism holds the field, for the Cubist theory is, in the main, æsthetic.
One new tendency that which insists more passionately than ever on order and organization merely continues the impetus given by Cézanne and received by all his followers; but another, more vague, towards something which I had rather call humanism than humanity, does imply, I think, a definite breach with Cubism and the tenets of the austerer doctrinaires.
None of them can fairly be described as doctrinaire: by that time an artist with a pronounced taste for abstractions betook himself to Cubism almost as a matter of course. All owe much to Cézanne Utrillo least; Modigliani and Marie Laurencin owe a good deal to Picasso's blue period; while Luc-Albert Moreau owes something to Segonzac.
You have no sooner arrived at some notion of the difference between Cubism and Futurism than you find your Cubist doing things that are both Cubist and Futurist, or neither Cubist nor Futurist, according as you look at them. You find things made up of geometrical figures to give volume, yet with all the parts many times repeated to give motion.
It is not easy to get any clear conception of the doctrines of these schools, but, so far as I am able to understand them and I have taken some pains to do so they are something like this: Cubism is static; Futurism is kinetic. Cubism deals with bulk; Futurism deals with motion. The Cubist, by a kind of extension of Mr.
Modern artists tend to feel strongly the necessity for the former, and, if they be Frenchmen, to believe intellectually in the propriety of the latter. Look at a picture by Cézanne or by Picasso. What could be more orderly? Cubism is nothing but the extreme manifestation of this passion for order, for the complete organization of forms and colours.
They are illuminations for the manuscripts of the ascetic soul. They are windows for houses in which men and women may withdraw, and be reconciled to the doom of isolation. With the arrival of Cubism into the modern esthetic scene, there appeared a change in the manner of creation, though the same methods of invention remained chiefly without change.
It is a sensitive and gracefully aristocratic creation Marie Laurencin produces for us, one that makes the eye avid of more experience and the mind of more of its subtlety. It is an essentially beautiful and satisfying contribution to modern painting, this nacreous cubism of Marie Laurencin.
He says, "My claim for them is that while laboured and struggling in execution, they represent a study of Egyptian hieroglyphics and Japanese art, two most orthodox origins for art, and have no relation whatever to cubism, post-impressionism, or futurism.... I have been very fond of Swinburne all my life, and I should say my drawing is nearer to his ornate mood than any of my writing has been.
If you are trying to record your impression of a face it is certain that by the time you have done one eye the other eye will no longer be where it was it may be at the other side of the room. You must cut nature into small bits and shuffle them about wildly if you are to reproduce what we really see. Whatever its extravagance, Cubism remains a form of graphic art.
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