![]() Their painting is representative of what they see in real life. What’s more, the way Cubism conveys the meaning, is about “the represent of representing.” It is not just simply representing what we could see in real life, which is very different from some former genre.įor example, in Impressionist paintings, artists represent reality in a way that emphasizes the accurate depiction of light, ordinary subject matter, and unusual visual angles. They showed all different planes of a three-dimensional physical item in a single plane. They abandoned the traditional method of aerial perspective. Sometimes it is about color sometimes it is about shape. They create a system of meaning, or, symbols that could present the physical item in a certain way. By means of formative colored equivalents.” (Holzwarth, p.114) The Cubist artists contradicted the former idea of representing nature. ![]() As Cézanne said, “one must not reproduce nature, but represent it. Instead, they reduce the real object to the conceptual ideas, which are represented by shapes and colors.Ĭubism represents a new way of representing nature. They did not show audiences the exact object. In both paintings, Picasso and Braque used some tools to convey the concept of the object they paint. We could also tell that there might be somewhere shown in the painting, since there are some blue in the painting, and some shapes that look like wooden poles and ships. However, to some extent, we could tell there probably be a human figure basing on the shape of the canvas, and a vague feeling that there’s the head part and there’s the body. Instead of drawing a woman, or presenting the scene of a harbor, both of them used geometric shapes and fragmented pieces to represent their objects. In NGA, accompanied by works of Cézanne, Matisse, and other artists whose works are sorted as Cubism, the Nude Woman of Picasso and the Harbor of Georges Braque are exhibited in the Cubism room. Starting from Interpreting the Paintings: Reproduce Nature vs Represent Nature More importantly, there is even a gallery specially dedicated to them two in which visitors can compare their artworks spanning from 1918 to 1941. NGA also pays such a close attention to this history of the development of Cubism as well as their unique friendship that the curators put Picasso’s Nude Woman and Braque’s Harbor, whose palettes and shapes greatly resemble each other, in the same gallery. Even though Picasso and Braque collectively spearheaded this movement stepping away from the traditional art which mimics the reality, they chose different, or even opposite, approaches regarding the notions of balance and harmony – the former intended to break them while the latter desired to maintain them in their respective works. In the early stage of Cubism, there were two isolated styles – one is Analytic Cubism which is highly abstracted and usually monochromatic, and the other one is Synthetic Cubism, a hybrid with Analytic Cubism and papiers collés. The other feature is that Cubism strives to stress the two-dimensionality of the canvas. First, Cubist painters break down objects into planes which are usually rendered in one or more perspectives so as to create a three-dimensional effect without depicting the depth. ![]() No other modern style was the simultaneous invention of two artists in dialogue with each other.” William Rubin (1989), former director of the Department of Painting and Sculpture at the Museum of Modern Art in New York, had an interesting comment on their relationship, “The collaboration between Picasso and Braque is unique in the history of art for its intensity, duration, and generative impact. For that very reason, it could be tricky for people to tell from their artworks created then. They visited each other’s studio every day to critique, encourage, and learn from the special partner during a long period of time. These two artists managed a relationship mixing friendship, rivalry and two-man excursion into the unknown (Masterworks Fine Art Gallery, 2017). Cubism saw a rapid development from 1907 to 1914 which was predominantly contributed by Pablo Picasso and Georges Braque.
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