The Impact of Cubism:
Influenced by the works of Cézanne, African tribal art, and the art of the Iberian peninsula, Cubism—the most influential style of the early 20th century—offered European artists unfamiliar, nonclassical ways to represent form and space. Gris reveals his independence using spiritual elements and the imagination. He starts with abstraction and ends with the real object in exciting contrasts and interesting juxtapositions. Gris expands his artistic ambition by using the techniques of musical composition to layer elements of sound. He also incorporates collage as a tribute to the austerity of the Spanish tradition. In Duchamp's best known theme, controlled motion is balanced in a fixed setting, which is compared to stop photography. Robert Delaunay combines several points of view, nontraditional laws of perspective, elements of time and memory to reveal the Eiffel Tower as a confused, exciting statement about life. Delaunay explores the inner laws of light and color in an abstract approach. In "circular forms" he uses color as the subject of the painting to guide the spectator's perception of the picture as a whole. Malevich searches for mystical experiences represented in religious icons to order to find the essence of abstraction. "White Cross" is the purest representation of forces, emotions and imagination. Boccioni is inspired by the cinema screen to paint a fractured vision of modern city life synthesized in many moods.
Matisse and Picasso:
By the time both had become renown, Picasso and Matisse had broken with tradition with the establishment. Gertrude Stein is the first to recognize the greatness of Matisse (1905) and Picasso. Matisse is deliberate, rational, and very French in the way he organized his thoughts. Picasso is a worker, impulsive, and immerses himself in his painting. In 1912, Picasso invents the first collage, and is at the forefront of cubism. Paris was the city of inspiration for Matisse. In 1917, he finds the light he wants to paint by in Nice, France. This was an act of cutting loose and leaving everything behind. In Paris in the early 1920s, Picasso's life is turned upside down.
Matisse arrives in New York in 1930. America welcomes him like a star and gives him the Carnegie Prize, the Nobel of the art world. He then crosses the Pacific, seeking the Golden Age of Gauguin. He stays in Tahiti for 3 months. Unlike Matisse, Picasso did not travel, but worked in solitude in his studio. He works at night when he is "as close as possible to the unconscious." He uses neither pallet nor easel and Matisse works by the clock on a regular schedule. Unlike Matisse, three-fourth of the content of Picasso's paintings do not exist outside the paintings. His inspiration comes from life--women are the engine that drives him. Matisse, too, is a painter of the women who model for him. In the 1920s, Picasso's dialog with Matisse becomes more intimate. Picasso seizes on Matisse's arabesque, and incorporates roundness and color as never before in his paintings. In the mid-1930s, a Nordic beauty arrives in Matisse's studio--another "sleeping woman" to awaken an artist's inspiration. One of Matisse's habits was to paint during the day and then, in the evening, and then rub out what he had done. Unlike Matisse, who rubbed out his work every day, Picasso painted over the day's work, until a final painting may have a dozen or more layers. Picasso uses lines borrowed from Matisse, and later, Matisse borrows subjects, color, or lines from Picasso. During the Occupation of Paris during WWII, both Matisse and Picasso stay in the city. Darkness and evil can be found in Picasso's paintings of this period. No such violence exists in Matisse, and Picasso buys one of his paintings. In 1948, both Matisse and Picasso move to the south of France. A living legend, Picasso is offered the Grimaldi Palace to live in and Matisse lives in a villa in Provence. Picasso fathers two children at age 70 with Françoise. Picasso explores a new medium--ceramics. He and his family visit the Matisse household in Nice where Matisse is unable to paint, but creates collages instead. Picasso and Matisse had long discussions about the mystery of opposites and choices. Matisse's high regard for Picasso's work was evident in his reaction to "Winter Landscape." He kept it at the foot of his bed, unwilling to let Picasso have it back. Matisse dies in 1954 and Picasso then moves to Cannes.
By the time both had become renown, Picasso and Matisse had broken with tradition with the establishment. Gertrude Stein is the first to recognize the greatness of Matisse (1905) and Picasso. Matisse is deliberate, rational, and very French in the way he organized his thoughts. Picasso is a worker, impulsive, and immerses himself in his painting. In 1912, Picasso invents the first collage, and is at the forefront of cubism. Paris was the city of inspiration for Matisse. In 1917, he finds the light he wants to paint by in Nice, France. This was an act of cutting loose and leaving everything behind. In Paris in the early 1920s, Picasso's life is turned upside down.
Matisse arrives in New York in 1930. America welcomes him like a star and gives him the Carnegie Prize, the Nobel of the art world. He then crosses the Pacific, seeking the Golden Age of Gauguin. He stays in Tahiti for 3 months. Unlike Matisse, Picasso did not travel, but worked in solitude in his studio. He works at night when he is "as close as possible to the unconscious." He uses neither pallet nor easel and Matisse works by the clock on a regular schedule. Unlike Matisse, three-fourth of the content of Picasso's paintings do not exist outside the paintings. His inspiration comes from life--women are the engine that drives him. Matisse, too, is a painter of the women who model for him. In the 1920s, Picasso's dialog with Matisse becomes more intimate. Picasso seizes on Matisse's arabesque, and incorporates roundness and color as never before in his paintings. In the mid-1930s, a Nordic beauty arrives in Matisse's studio--another "sleeping woman" to awaken an artist's inspiration. One of Matisse's habits was to paint during the day and then, in the evening, and then rub out what he had done. Unlike Matisse, who rubbed out his work every day, Picasso painted over the day's work, until a final painting may have a dozen or more layers. Picasso uses lines borrowed from Matisse, and later, Matisse borrows subjects, color, or lines from Picasso. During the Occupation of Paris during WWII, both Matisse and Picasso stay in the city. Darkness and evil can be found in Picasso's paintings of this period. No such violence exists in Matisse, and Picasso buys one of his paintings. In 1948, both Matisse and Picasso move to the south of France. A living legend, Picasso is offered the Grimaldi Palace to live in and Matisse lives in a villa in Provence. Picasso fathers two children at age 70 with Françoise. Picasso explores a new medium--ceramics. He and his family visit the Matisse household in Nice where Matisse is unable to paint, but creates collages instead. Picasso and Matisse had long discussions about the mystery of opposites and choices. Matisse's high regard for Picasso's work was evident in his reaction to "Winter Landscape." He kept it at the foot of his bed, unwilling to let Picasso have it back. Matisse dies in 1954 and Picasso then moves to Cannes.
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