Presentation on the topic of cubism. Presentation on the topic “Cubism
Georges Braque (1882-1963) – French painter, sculptor, engraver, one of the founders of Cubism. J. Braque was born in Argenteuil. He studied fine art first from his father, then in the workshop of a decorative artist. In 1902 he entered the Amber Academy in Paris. At the beginning of his work, Braque was associated with Fauvism and painted mainly landscapes using complex color schemes. The early period of his work coincides with the period of analytical cubism. He works on still lifes and landscapes, using an almost monochromatic palette. During the First World War, Brak was called up to the front, was wounded, and underwent serious surgery. After recovery, he returns to creativity again. Gradually, Braque moved away from cubism, switching to creating flat paintings of more varied colors. Since 1930, the artist begins to use human figures in interior compositions, very close in style to abstractionism. J. Braque's late paintings become laconic. The scenes of the desert plains and the sea coast of Normandy are harmoniously combined with the motifs of an abandoned boat and a plow in an autumn field. The compositions are harmonious and very close to classicism.
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The main directions and styles in the art of the early 20th century: cubism fauvism futurism expressionism dadaism surrealism abstractionism
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Cubi zm (fr. Cubisme) is a modernist movement in the visual arts, primarily in painting, that originated at the beginning of the 20th century and is characterized by the use of emphatically geometrized conventional forms, the desire to “split” real objects into stereometric primitives. The emergence of cubism is traditionally dated to 1906-1907. The term “cubism” appeared in 1908, after the art critic Louis Vaucelle called the new paintings of Georges Braque “cubic whims”.
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Cube zm is an art direction founded in the first quarter of the 20th century in painting, whose representatives depict the objective world in the form of combinations of regular geometric volumes: cube, cube-ball, cube-cylinder, cube-cone, in order to more fully express the ideas of things, artists use traditional perspective as an optical illusion and strive to give a comprehensive image of them by decomposing the form and combining several of its types within one picture. Increased interest in form leads to differentiation in the use of colors. Warm colors for protruding elements of the plot motif, cool colors for distant or distant elements of the picture. In architecture and sculpture it is characterized by the use of emphatically geometrized conventional forms, the desire to split real objects into stereometric primitives, the desire to identify the simplest geometric forms underlying objects.
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There are three periods in the development of cubism: Cezan's, analytical, synthetic. 1. The “Cezan” period, or otherwise the “Negro” period, is associated with the discovery and rethinking of primitive art, begun by Paul Cezan. This period is characterized by paintings that depict sharp breaks in forms, large volumes that seem to be laid out on a plane, creating a feeling of relief in the image. The color scheme emphasized and divided the volume. Compositions are created mainly on the basis of landscapes, figures, and still lifes painted from life. 2. The analytical period is characterized by the fact that the depicted object was completely crushed into its constituent parts, stratified into small facets separate from each other. The color palette was limited to black and white. This period in the development of Cubism was more transitional than independent. 3. The synthetic stage lasted from 1912 to 1914. During this period, decorativeness prevails, paintings become more like panels.
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Representatives Painting Pablo Picasso, Georges Braque, Aristarkh Lentulov Sculpture Alexander Archipenko, Constantin Brancusi Photography Joseph Badalov
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The most prominent representatives of cubism and its founders are considered to be two great artists - Pablo Picasso and Georges Braque. In their works, artists compared geometric surfaces with minimal resemblance to the depicted objects; they believed that the form should be far from the depicted object. There was no emotional intensity in the works. Lines and shapes replaced feelings. Color in the works of the Cubists was given minimal importance; artists sought to use it as little as possible. These were mostly gray, black, brown colors. The images in the works of the Cubists had no prototypes in life, lost reality, became abstract, understandable only to the author himself. The painters presented the object as if from several points of view from above, below, from the inside, from the side, placed these images on one canvas, superimposed one on top of the other. The desire to depict the unimaginable led to a simplification of painting genres.
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The Cubists did not divide their works into genres (portrait, landscape, still life), but gave them a general name - painting. Art critics consider unlimited freedom to be the main achievement of the Cubists. To expand the possibilities of their direction, the Cubists combined various techniques and materials in their paintings: colored paper, wallpaper, etc. One of the new means of expression was collage - a montage of a picture made from stickers. Over time, the new direction reached a dead end. In search of new means of expression, artists pasted newspapers onto paintings and painted over them with wrapping paper. They felt it allowed them to create space.
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Pablo Picasso Pablo Picasso (1861-1973) is an outstanding artist of the 20th century, painter, draftsman, engraver, sculptor, one of the founders of Cubism. Pablo Picasso learned the basics of fine art from his father, an art teacher. Then, from the age of 14, he studied at the Barcelona Academy of Fine Arts, and at the age of 16 he entered the Royal Academy of San Fernado in Madrid. In 1904, the artist moved to Paris.
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One of the first works in the Cubist style was the painting “The Girls of Avignon” (1907). In this painting, the plot is visible, but realism is already disappearing. The figures of women are depicted with geometric shapes and concave-convex planes of the design. The presence of cut-off modeling with the use of shading is still partially felt, but the stroke is already actively used.
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Events in Spain found a response in the work of P. Picasso; he painted the painting “Guernica” (1937). You can notice some elements of realism here. The picture became a warning to humanity about the coming war, about the horrors of fascism, it caused an emotional explosion in society. The author expressed his protest and anxiety with the help of brittle lines cutting across the faces of the characters in the picture.
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Georges Braque Georges Braque (1882-1963) - French painter, sculptor, engraver, one of the founders of Cubism. J. Braque was born in Argenteuil. He studied fine art first from his father, then in the workshop of a decorative artist. In 1902 he entered the Ambert Academy in Paris. At the beginning of his work, Braque was associated with Fauvism; he painted mainly landscapes using complex color schemes. The early period of his work coincides with the period of analytical cubism. He works on still lifes and landscapes, using an almost monochromatic palette. During the First World War, Brak was called to the front, was wounded, and underwent serious surgery. After recovery, he returns to creativity again. Gradually, Braque moved away from cubism, switching to creating flat paintings of more varied colors. Since 1930, the artist begins to use human figures in interior compositions, very close in style to abstractionism. J. Braque's late paintings become laconic. The scenes of the desert plains and the sea coast of Normandy are harmoniously combined with the motifs of an abandoned boat and a plow in an autumn field. The compositions are harmonious and very close to classicism.
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In 1949-1956. Braque created the “Workshops” series, one of his most significant works, which included eight large-format canvases depicting objects of art, where there is a sparkling image of a white bird - a symbol of creative flight. Objects are becoming more recognizable, and the color scheme has become more versatile. Later, the image of the bird develops in his work into an independent theme (“Black Birds”, 1956-1957)
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Aristarkh Lentulov (1882-1943) Born in 1882 in the village of Vorona, Penza province, into the family of a priest. Aristarkh Lentulov's mother was left a widow early on with four children, the youngest of whom was the future artist. After the Penza Theological School, Lentulov moved to the seminary. However, an art school was opened in Penza, and Aristarkh Lentulov was included in the first intake. Lentulov received further artistic education at the Kiev Art School, in the St. Petersburg studio of D. Kardovsky. Since 1909 he lived in Moscow.
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Upon returning from Paris, the artist created a series of panels depicting architectural monuments of Moscow. These works combine the natural impression of medieval architecture, traditional folkloric brightness and cubo-futuristic transformation of form. In many works of the 1910s, Lentulov used appliqué. "Nizhny Novgorod" (1915)
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Alexander Archipenko (1887-1964) Ukrainian-American sculptor, born in Kyiv. In 1906 he moved to Moscow, and in 1908 to Paris. There, in Archipenko’s biography, the development of his cubic technique in sculpture was laid, where he soon joined the Cubists, and in 1923 he moved to the USA. Archipenko’s sculpture is based on sharp deformation and geometric stylization of plastic form, maintaining only a distant connection with reality. His works are distinguished by deliberate distortion of proportions and sharp linear rhythm.
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If the Fauvists dreamed of creating art that would please the eye and soothe the senses, then the Cubists wanted to “disturb human souls.” The new direction was largely dictated by the desire to continue experimental searches in the field of form. “Many people believe that cubism,” wrote P. Picasso, “is a special kind of transitional art, an experiment, and its results will only be felt in the future. To think so means not to understand Cubism. Cubism is not a “grain” or an “embryo,” but an art for which form is primarily important, and form, once created, cannot disappear and lives an independent life.”
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A similar characteristic was picked up by journalist Louis Vexel in a review of an exhibition of paintings by Georges Braque (1882-1963), held in Paris in November 1908 and which became a major event in the artistic life of Europe. And although the artists themselves considered the term “cubism” to be too narrow in relation to their art, it nevertheless took root and began to designate one of the new directions in painting. Moreover, Cubism had a significant influence on other types of art: sculpture, architecture, decorative and applied arts, ballet, stage design and even literature.
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Georges Braque. Violin and palette. 1910 Museum of Modern Art, New York Color and subject matter in Cubism played a secondary role; the main ones were drawing, static design and composition. Pablo Picasso noted: “Cubism is no different from ordinary art movements. The same principles and elements apply here as elsewhere. The fact that Cubism remained misunderstood for a long time and that even now there are people who do not understand anything about it does not mean that it is untenable. The fact that I don’t read German... doesn’t mean that the German language doesn’t exist.”
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A true troublemaker was the painting of the Spanish artist Pablo Picasso (1881-1973) “Les Demoiselles d'Avignon”. Pablo Picasso. Girls of Avignon. 1907 Museum of Modern Art, New York
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It was she who marked the beginning of a new direction in the art of Cubism. Matisse saw in it a caricature of modern trends in painting and considered it simply a bad trick of his friend. J. Braque, one of the first to see this work, indignantly declared that Picasso wanted to force him “to eat tow and drink kerosene.” The famous Russian collector and great admirer of the artist’s talent S.I. Shchukin, seeing her in the studio, exclaimed with tears in his eyes: “What a loss for French painting!” Fortunately, numerous attacks from critics turned out to be only an incentive for Picasso’s further creative searches. The huge canvas was the result of long thoughts of the artist, who clearly neglected the canons of classical female beauty. Picasso explained: “I did half the painting, I felt that this was not it! I did it differently - I asked myself: should I redo the whole thing. Then he said: no, they will understand what I wanted to say.”
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What did the artist “want to say” and what confused the audience so much about it? Five naked female figures, captured from different angles, filled almost the entire surface of the canvas. Idol-like frozen figures are carelessly carved from hard wood or stone. Strange mask faces are highly distorted and deformed. Devoid of any feelings or emotions, they frighten and fascinate at the same time... The girl on the right looks indifferently through the parted curtain. The figure, sitting with its back, has turned around and gazes intently at the viewer. In every glance there is a silent reproach and reproach to a society that has rejected women and doomed them to illness and death. Thus, according to the author, the painting was supposed to awaken the sleeping conscience of his contemporaries, and therefore was perceived as the artist’s passionate voice in defense of desecrated beauty, a humiliated and powerless woman.
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The second stage in the development of a new direction in painting is considered to be synthetic cubism, which uses various objects from real life. Pablo Picasso. Still life with a straw chair. 1912 Picasso Museum, Paris
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Pablo Picasso. Still life with a straw chair. 1912 Picasso Museum, Paris The neck of a guitar, the border of a tablecloth, the cylindrical stem of a glass, the neck of a bottle, the bend of a smoking pipe, a deck of playing cards - everything could serve as a reason for deciphering the paintings. Especially often letters and numbers, fragments of words, fragments of telegraph or newspaper lines, inscriptions on shop windows and cafes, car license plates, identification marks on the sides of airplanes were introduced... Moreover, the paintings used materials foreign to oil painting: sand, sawdust , iron, glass, plaster, coal, boards, wallpaper. This was the beginning of the art of collage (gluing onto some base materials that differ from it in color and texture).
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One day Picasso took an oilcloth on which was depicted the mesh of a wicker chair. Having cut out a piece of the shape he needed, he glued it to the canvas. This is how “Still Life with a Straw Chair” was created. The small oval-shaped painting was full of details that went against the existing norms of painting. Disparate elements, connected in a certain way, still created a single whole. Pablo Picasso. Still life with a straw chair. 1912 Picasso Museum, Paris “Picasso deliberately violates the harmonious perception of the painting by combining objects on one canvas, the reality of each of which is perceived to varying degrees. But they are combined in such a way that they create a play of contradictory and at the same time complementary feelings” (R. Penrose).
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In addition to still life, the Cubists often turned to the portrait genre. The human figure, presented in geometric forms, very vaguely reproduced the real model. The head resembled a ball, the arms were a rectangle, the back was a triangle. The face disintegrated into many separate elements, from which it was difficult to reconstruct the appearance of the person being portrayed. However, there is a known case when an American critic recognized a man in a Parisian cafe who was known to him only from a Cubist portrait of Picasso. Pablo Picasso. Portrait of Ambroise Vollard, 1909-1910. Pushkin Museum im. A. S. Pushkin, Moscow
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The artist managed to achieve an amazing “similarity” in the famous “Portrait of Ambroise Vollard”. Set against a backdrop of intricate crystals, it vaguely conveys the somewhat flattened nose of the famous collector. The high and straight forehead stands out from the prevailing gray color scheme with soft tones. Barely distinguishable facial features are absorbed by cubic forms. Vollard himself claimed that, although many could not recognize him on the canvas, the four-year-old son of one of his friends, seeing the portrait for the first time, immediately exclaimed: “This is Uncle Ambroise!” Pablo Picasso. Portrait of Ambroise Vollard, 1909-1910. Pushkin Museum, Moscow
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His name was already surrounded by legends during his lifetime. They admired him and argued about him. He was overthrown and again raised to the heights of Olympus. Hundreds of studies have been written about it. The art of the 20th century, in which he made his brilliant discoveries, will be measured by Pablo Picasso for a long time to come. The aphoristic words of his contemporary Andre Breton (1898-1966) still retain their meaning and meaning: “Where Picasso went, there is nothing to do.”
CUBISM Cubism is the most complete and radical artistic revolution since the Renaissance J. Golding
Cubism (French cubisme, from cube) is a movement in art of the first quarter of the 20th century. The plastic language of cubism was based on the deformation and decomposition of objects on geometric planes, a plastic shift of shape. Many Russian artists went through a fascination with cubism, often combining its principles with the techniques of other modern artistic trends - futurism and primitivism. Futurism of Primitivism Cubofuturism has become a specific version of the interpretation of Cubism on Russian soil. cubofuturism
The birth of Cubism occurred on the eve of the First World War. The new movement in modernist art caused a natural rage among the townspeople. Behind cubism in the visual arts at one time there was a circle of poets and critics who followed the philosophy of Bergson, also very conventionally called cubists. The undisputed leader of this trend was the poet and publicist G, Apollinaire. G, Apollinaire In 1912, the first book of the cubist theory of the artists Gleizes and Metzinger On Cubism was published. In 1913, a collection of articles by Apollinaire, Cubist Artists, appeared. It was only in 1920 that Kahnweiler's work, The Rise of Cubism, which is considered a classic, was created.
DELAUNAY, ROBERT (Delaunay, Robert) (1885–1941), French artist, creator of the “Orphism” style. Born in Paris on April 12, 1885 into an aristocratic family. Leaving college in 1902, he attended private painting lessons, deciding to become a theater painter. He was influenced by the neo-impressionism of J. Seurat, as well as the color theory developed by the physicist M. Chevreuil. In 1910 he married the artist S. Terk (S. Delaunay), who became his faithful ally in art. In 1911 he took part in the Munich exhibition of the Blue Rider society. He lived mainly in Paris, and during the First World War and in the post-war years (until 1920) - in Spain and Portugal. He moved from early post-impressionism in the early 1910s to a series of generalized and colorful city landscapes, which became evidence of his creative maturity. Since 1910, they have been dominated by the motif of the Eiffel Tower, as if freely floating among the swirling fragments of space. The crystalline nature of the compositional structures makes these paintings similar to cubism, and the spatial dynamics to futurism, but the spirit of pure contemplation, prone to major “musical” harmonies of color, gives Delaunay’s works a very special character. His paintings often took on the character of decorative panels (City of Paris, 1910–1912, National Museum of Modern Art, Paris). The artist outlined his understanding of the decorative and dynamic possibilities of color, the system of its optimal contrasts in the essay On Color (1912), which became the manifesto of Orphism (the new movement owes its name to G. Apollinaire). In the same year, he created non-objective paintings (Simultaneously open windows, Tate Modern Gallery, London; etc.), including the so-called. circular forms, born from observations about the concentrically circular nature of light radiation and the color spectrum. In the 1920s, Delaunay returned to figurative art, continuing, in particular, the series of “Eiffel Towers” and painting many expressive portraits (F. Soupault, 1922, Center J. Pompidou, Paris). Then, at the turn of the next decade, he again turned to abstraction (the cycle of paintings Endless Rhythms - from 1933 - horizontally elongated compositions, much more restrained in color scheme). Together with his wife, he created a number of large panels for the railway and aviation pavilions of the World Exhibition in Paris (1937). With the outbreak of World War II he moved to Auvergne. Delaunay died in Montpellier on October 25, 1941.
LEGER, FERNAND (Léger, Fernand) (1881–1955), French painter, sculptor, graphic artist, ceramist and decorator, advocate of the so-called. “aesthetics of machine forms” and “mechanical art”. Born on February 4, 1881 in Argentan, in the family of a Norman peasant; At the age of 16 he began working in an architectural firm in Caen, and in 1900 he was a draftsman in an architectural workshop in Paris. After serving in the army, he settled in a picturesque and attractive house for artists with workshops “La Ruche” (“The Beehive”), where he met such masters as A. Archipenko, A. Laurent, J. Lipchitz, Delaunay, M. Chagall and H. .Soutine. In 1910 he met P. Picasso and J. Braque. Léger painted his first canvases under the influence of P. Cezanne’s painting, in particular The Wedding (1910), the famous Lady in Blue (1912) and the Geometric Elements series (1913–1914). After World War I, Léger became interested in modern theories of motion and mechanics. This interest was expressed in the creation of works such as The City (1919), Mechanics (1920), The Big Breakfast (also known as Three Women, 1921) and The Station (1923). In them, elements of the human body resemble the shapes of pipes, motors, rods and gears. Léger carried out major decorative projects at the Exhibition of Decorative Arts in Paris (1925), at the Brussels International Exhibition (1935) and at the UN building in New York (1952). From 1931 to 1939 Leger visited the USA several times. During World War II (from 1940) he received asylum there and taught at Yale University. Returning to Paris in December 1945, he completed a series of major compositions: Farewell to New York (1946), Entertainment (1949), Construction Sets (1950), Country Company (1953), Grand Parade (1954). Léger was interested in various areas of art: mosaics, colored glass, book illustration, making cardboard for carpets, theatrical decoration. Everywhere he sought to convey movement. In cinematography, Léger created the first film without a script, Ballet Mechanica (1924). In 1934, A. Korda asked him to make the scenery for the film based on the script by H. Wells, The Shape of Things to Come. Together with A. Calder, M. Duchamp, M. Ernst and M. Ray, he worked on the film Dreams That Money Can Buy (Hans Richter Film, 1948). Leger died in Gif-sur-Yvette (Seine-et-Oise) on August 17, 1955.
Picasso Pablo (Picasso, Pablo) (gg.), French artist, Spanish by birth. Sculptor, graphic artist, painter, ceramist and designer, the most famous, multifaceted and prolific among his contemporaries. Pablo Picasso was born on October 25, 1881 in Malaga (Spain) in the family of the artist José Ruiz Blasco and Maria Picasso Lopez. In his youth, Picasso decided to take his mother's rarer surname instead of the common Ruiz. He was an unusually gifted child and at the age of fourteen he entered the School of Fine Arts in Barcelona, completing an examination paper in one day for which he was given a month. He studied at the Royal Academy of Arts of San Fernando in Madrid. In 1899, Picasso returned to Barcelona, where he became a regular at the famous cafe "Four Cats", where artists and writers gathered. The years from 1901 to 1904 in the master’s creative biography were called the “blue period” due to the predominance of blue tonality in his paintings of that time. During these years he lived alternately in Paris and Barcelona. It was then that his long-term friendship began with the poet Max Jacob and the sculptor Julio Gonzalez. In 1904, Picasso settled in Paris on Rue Ravignon, in the famous house of Bateau Lavoir ("Floating Laundry"), where many artists lived. In 1904 he met Fernanda Olivier, who became his lover and inspiration for his art. In 1905, the “blue period” gave way to the “pink period”; Picasso meets the critic Guillaume Apollinaire and the Americans Leo and Gertrude Stein. Up to this point, the artist’s life had been more of a struggle for existence, but his situation improved markedly when, over the course of several years, the Russian collector Sergei Shchukin acquired about fifty of his works. At that time, Shchukin had the best collection of Picasso paintings in Europe. Such works as Wandering Gymnasts, Girl on a Ball, Portrait of Vollard were acquired for Morozov’s collection. In 1907, Picasso painted Les Demoiselles d'Avignon, which is considered a turning point in the fine arts of the 20th century. In the same year he met J. Braque. Braque and Picasso became the founders and leaders of Cubism. Picasso's first experience as a theater artist dates back to 1917. He created sketches of costumes and scenery for the production of the ballet Parade for Sergei Diaghilev's Russian Seasons. The following year he married one of the ballerinas of Diaghilev’s troupe, Olga Khokhlova.
In the 1920s, Picasso continued to work for the theater, and also painted in a variety of styles, from neoclassical to cubism and surrealism. In Picasso, together with his old friend Gonzalez, he was engaged in creating works from welded metal structures. In the early 1930s, the artist made several graphic series, including 30 etchings for Ovid's Metamorphoses for the Skira publishing house and for Balzac's Unknown Masterpiece commissioned by the collector Ambroise Vollard. Several of the main motifs that are usually associated with Picasso's work - the Minotaur, the artist and the model, etc. - were included in the famous series of etchings Vollard's Suite, which he began working on during these years, Picasso's marriage broke up; Marie-Therese Walter became his new lover. In 1936, when the civil war began in Spain, Picasso sided with the Republican government and, in confirmation of his loyalty, accepted an offer to take the honorary post of director of the Prado Museum. At the end of April 1937, the world learned of the bombing of Guernica, as a result of which the small Basque town was wiped off the face of the earth. Picasso expressed his attitude to what happened in the Guernica panel. It was intended for the Spanish pavilion at the World Exhibition in Paris, and then was kept in the New York Museum of Modern Art. In 1981, six years after Franco's death, the painting was transferred to the Prado. During World War II, Picasso lived in Paris with Françoise Gilot, who bore him two children. In 1946, the master turned to the art of ceramics and, practically on his own, revived the ceramic craft that had once flourished there in the town of Vallauris on the Riviera. Picasso was always interested in new technologies, and developed a special lithography technique. In 1944 the artist joined the French Communist Party. Picasso's political beliefs, reflected in Guernica, reappeared in the painting The Korean War (1951) and two large panels, War and Peace (1952), created to decorate the Temple of Peace in Vallauris. The 1950s saw several Picasso retrospective exhibitions; At the same time, he met Jacqueline Roque, whom he married in the 1960s, and the artist entered into a dialogue with the great masters of the past: he wrote several variations on the theme of Delacroix's painting Women of Algiers, Velazquez's Las Menin, and Manet's Luncheon on the Grass. In the 1960s, Picasso created a monumental 15 m high sculpture for a civic center in Chicago. In 1970, the artist donated more than eight hundred of his works to the Aguilar Palace Museum in Barcelona. Picasso died in Mougins (France) on April 8, 1973.
PICASSO PABLO. VASE WITH DANCERS. Ok National Museum of Modern Art, Paris.
GRIS, JUAN (1887–1927), Spanish artist, one of the founders of Cubism. Born in Madrid on March 23, 1887, real name is José Victoriano Gonzalez. At first he made a living by drawing for humorous publications and at the same time studied painting. In 1906, Gris arrived in Paris and settled in Montmartre, not far from his compatriot Pablo Picasso. During his formative years, at the beginning of the Parisian period (1906–1912), Gris became interested in Cubism. His early works (1911–1912) were executed in an "analytical" manner, going back to both Cézanne and Picasso and Braque. Developing rapidly, Gris already in 1913–1914 developed his own version of “synthetic” cubism. He defines his painting as “a variant of planar, colored architecture,” or rather, its “premonition,” a harmonious arrangement of shapes and colors. He believed that “the essence of painting is the expressive interaction between the artist and the outside world,” and he called paintings devoid of a visual element “a flawed technical exercise.” Gris's version of Cubism was more severe and classical, less spontaneous than Braque or Picasso. In the paintings of 1920–1927, the artist cultivates “the refined and aestheticized side of painting, for which he had previously found no place in his work.” As a result, his style acquired extraordinary freedom, lyricism and at the same time courage and completeness. Gris died in Boulogne-Billancourt (France) on May 11, 1927.
JUAN GRIS. SMOKER Thyssen-Bornemisza Museum, Madrid.
BRACK, GEORGE (Braque, Georges) (1882–1963), French artist, graphic artist, sculptor and decorator; Together with Picasso, he is the creator of Cubism. Born on May 13, 1882 in Argenteuil (Seine-et-Oise department) in the family of a decorative artist. In 1900–1901 he studied at the Technical School in Paris. In 1902–1904 he attended classes at the School of Fine Arts and the Amber Academy, museums and private collections, studied impressionist and post-impressionist painting, Egyptian and Greek sculpture, as well as the works of Corot and Cézanne. Braque painted several series of landscapes in which the influence of Fauvist and Cezanne painting is felt. Picasso's painting Les Demoiselles d'Avignon (1907) made a strong impression on him. The following summer, Braque created a series of innovative landscapes, in which he followed Cezanne's call: "Depict nature in the forms of cylinders, spheres and cones." These landscapes were not accepted by the Autumn Salon. Henri Matisse said that they were made of cubes, hence the word "cubism". In 1908–1914 Braque and Picasso worked closely together, developing the principles of a new artistic movement. At first, they analytically destroyed the usual images of objects, as if “disassembling” them into separate forms and spatial structures. In 1912, they began working in the techniques of collage and appliqué and became interested in the reverse process - synthesizing objects from dissimilar elements. Braque's significant contribution to the creative process was the use of inscriptions and various decorative techniques. The large composition Musician (1917–1918, Basel, Public Art Collection) was the result of the synthetic cubist phase in Braque’s work and marked the starting point in his new creative searches. In the 1920s, elements of cubism gradually disappeared from Braque's works, and he used more pictorial motifs. Public recognition came to him in 1922 after an exhibition at which the artist presented a series of paintings painted in a rich pictorial manner: Fireplaces, Tables and Canephoras (girls carrying baskets with sacrificial utensils). At the end of the 1920s, Braque abandoned bright pictorial effects and continued experiments with form and color; he painted sea views, bathers, neoclassical motifs and heads with double profiles. In the 1930s and 1940s, Braque painted still lifes and interior compositions, sometimes with musicians, sitters and artists, and sometimes completely devoid of human figures. After the war, Braque's work took on a more contemplative, esoteric character, as evidenced by the series of 8 paintings Workshop (1949–1956). In 1952–1953, the artist painted lampshades in the Louvre. The large black birds depicted on them against a background of blue sky became one of the most common motifs in the master’s later works. Braque created many drawings, engravings and sculptures, but painting occupied the main place in his work. Braque died in Paris on August 31, 1963.
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Cubism. Avant-garde is a direction in painting at the beginning of the 20th century. The founders are French artists Pablo Picasso and Georges Braque. Contemporaries saw in Cubism a revolutionary rejection of the “conventions of optical realism” in favor of a new artistic vision of reality through the prism of geometric figures (cube, cone, cylinder). The name “cubism” arose from a negative assessment of the works of this movement, which were called “a bunch of cubes” by critics. Pablo Picasso. Musical instruments.
Slide 15 from the presentation "Foreign art of the 20th century". The size of the archive with the presentation is 8291 KB.MHC 11th grade
summary of other presentations"Demirkhanov" - Reconstruction projects. Hymn to architecture. Big cities. The building of the "Europe" center. A.S. Demirkhanov. Monument to soldiers. The edges of talent. Symbolic gates to Krasnoyarsk. A little about personal things. Areg Sarkisovich Demirkhanov. White City. Happy profession. Panoramic view. Demirkhanov at an evening dedicated to the 50th anniversary of his creative activity. Works of the Krasnoyarsk architect. Demirkhanov in his home workshop.
“Culture 1920-1930” - Development of culture in the 1930s. Anthem of Soviet power. Revolutionary transformations in the field of culture. Development of Soviet culture in the 1920-1930s. Cultural revolution. The development of culture in the 1920s. The fight against religion and the church. Topics of speeches. Features of cultural development. Features of culture.
“Impressionist and Post-Impressionist Painting” - Bread and Eggs. Boulevard Montmantre on a cloudy morning. Lilac in glass. Tahitian women. House in Rueli. Boulevard Montmantre at night. Self-portrait with a bandaged ear. Painting of impressionism and post-impressionism. Symbolism. Shepherdess. Impression. Paul Gauguin. Dance. Impressionism. Vincent's room in Arles. Singer with a glove. Rouen Cathedral in the evening. Artists. Blue dancers. Characteristics of the direction. Folies Bergere.
“The History of Photography” - People have long sought to find a way to produce images. Photo. Camera obscura (general view). French Joseph Nicéphore Niepce (1765 - 1833), Louis-Jacques Mande Daguerre. Camera obscura. When exposed to sunlight, solutions of iron salts change color. Diagram of a camera obscura. It is known that glasses were invented back in the 13th century. Niépce. In 1827 Niepce met with Louis Daguerre. History of photography. Photo before photo.
“Classicism in Russian art” - Classicism of St. Petersburg architecture. Portrait of P.A.Demidov. Classicism in Russia. Classicism in Russian painting of the 18th century. Vladimir and Rogneda. A.N. Voronikhin. Architectural find by A. Zakharov. Andrey Nikiforovich Voronikhin, architect of the cathedral. Portrait of Struyskaya. Classicism in Russian art. A.D. Zakharov Admiralty Building. The works of classicists were clearly presented. Significant changes in the visual arts.
“Features of primitive art” - Samples of ceramics. Mysterious ritual. Neolithic art. Primitive ritual. Stone Age. Primitive man. Ritual of magic. Central to rock art. A Mesolithic settlement was found in the Sverdlovsk region. Practicing magic. Climatic conditions. Hearths of civilizations. Paleotic Venus. Mesolithic settlement. Tools. Artistic works. Generalized image of a woman.
