1.1+What+Influenced+Cubism?


 * Name and characterise the artistic movement that contributed to the beginning of Cubism? - Jac
 * Brief explanations as to how the above movements contributed to Cubism? - Ebony
 * Short Description of other artistic cultural circumstances that advanced Cubism as a 'breakthrough'? - Daniel

short decription of other artistic cultrual circumstancers that advanced cubism as a breakthrough.

Cubism** was a 20th century avant-garde art movement, pioneered by Pablo Picasso and Georges Braque, that revolutionized European painting and sculpture, and inspired related movements in music and literature. The first branch of cubism, known as //Analytic Cubism//, was both radical and influential as a short but highly significant art movement between 1907 and 1911 in France. In its second phase, //Synthetic Cubism,// the movement spread and remained vital until around 1919, when the Surrealist movement gained popularity.
 * what influenced cubism

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Jose Castro Mayte Garcia Miguel Massot Mario Rodriguez Pedro Moros Jose Alvarez John Mulroy African art has played an important role in the culture and history of the world. It's distinctive characteristics and inspirations have influenced many artists to adapt their own interpretation of the art in their own time period. Characteristics of African art had made its way into many paintings in the Cubist period, among others. If one examines the European avant-garde artistic movement of cubism, founded mainly by Pablo Picasso, they can find many themes adapted from African art.

Cubism is the most influential movement in the history of modern art. It is a complex movement, including not only painters and sculptors, but also musicians and poets. The Cubists introduced entirely new approaches to interpreting form and space. Cubism began in France, where it flourished as a movement between 1907 and 1914. It was headed by the work of Pablo Picasso and Georges Braque.

[] Cubism was a highly influential visual arts style of the 20th century that was created principally by the painters [|Pablo Picasso] and Georges Braque in Paris between 1907 and 1914. The Cubist style emphasized the flat, two-dimensional surface of the picture plane, rejecting the traditional techniques of perspective, foreshortening, modeling, and chiaroscuro and refuting time-honoured theories of art as the imitation of nature. Cubist painters were not bound to copying form, texture, colour, and space; instead, they presented a new reality in paintings that depicted radically fragmented objects, whose several sides were seen simultaneously. Typical cubist paintings frequently show letters, musical instruments, bottles, pitchers, glasses, newspapers, still lifes, and the human face and figure

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English art historian Douglas Cooper describes three phases of Cubism in his seminal book //The Cubist Epoch//. According to Cooper there was "Early Cubism", (from 1906 to 1908) when the movement was initially developed in the studios of Picasso and Braque; the second phase being called "High Cubism", (from 1909 to 1914) during which time Juan Gris emerged as an important exponent; and finally Cooper referred to "Late Cubism" (from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement.[1] []
 * Cubism** was a 20th century avant-garde art movement, pioneered by Pablo Picasso and Georges Braque, that revolutionized European painting and sculpture, and inspired related movements in music and literature. The first branch of cubism, known as //Analytic Cubism//, was both radical and influential as a short but highly significant art movement between 1907 and 1911 in France. In its second phase, //Synthetic Cubism,// the movement spread and remained vital until around 1919, when the Surrealist movement gained popularity.

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Cézanne's work demonstrates a mastery of design, colour, composition and draftsmanship. His often repetitive, sensitive and exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields, at once both a direct expression of the sensations of the observing eye and an abstraction from observed nature. The paintings convey Cézanne's intense study of his subjects, a searching gaze and a dogged struggle to deal with the complexity of human visual perception.
 * Paul Cézanne** ( French pronunciation: [|[pɔl seˈzan]] ; 19 January 1839 – 22 October 1906) was a French [|artist] and [|Post-Impressionist] [|painter] whose work laid the foundations of the transition from the 19th century conception of artistic endeavor to a new and radically different world of art in the 20th century. Cézanne can be said to form the bridge between late 19th century [|Impressionism] and the early 20th century's new line of artistic enquiry, [|Cubism]. The line attributed to both [|Matisse] and [|Picasso] that Cézanne "is the father of us all" cannot be easily dismissed.

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** Neo-Impressionism ** or ** neo-impressionism ** - A [|movement] in [|painting] which was an outgrowth of and reaction to [|Impressionism]. It was originated by Georges-Pierre Seurat (French, 1859-1891), who employed a [|technique] called [|pointillism] (also called [|divisionism], or confettiism), based on the scientific juxtaposition of touches or [|dots] of pure [|color]. His most famous painting is //A Sunday on La Grande Jatte, 1884//, 1884-1886, [|oil paint] on [|canvas], in the collection of the Art Institute of Chicago). The brain blends the colors automatically in the involuntary [|process] of [|optical mixing]. Other neo-impressionists include Camille Pissaro (French, 1830-1903), Paul Signac (French, 1863-1935), Theodoor van Rysselberghe (Belgian, 1862-1926), and Henry Edmond Cross (French, 1856-1910). []
 * [[image:http://parkwestgallery.files.wordpress.com/2009/12/grande-jatte.jpg caption="http://parkwestgallery.files.wordpress.com/2009/12/grande-jatte.jpg"]] ||
 * http://parkwestgallery.files.wordpress.com/2009/12/grande-jatte.jpg ||

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His nickname refers to the job he held with the Paris Customs Office (1871-93), although he never actually rose to the rank of `Douanier' (Customs Officer). Before this he had served in the army, and he later claimed to have seen service in Mexico, but this story seems to be a product of his imagination. He took up painting as a hobby and accepted early retirement in 1893 so he could devote himself to art. His character was extraordinarily ingenuous and he suffered much ridicule (although he sometimes interpreted sarcastic remarks literally and took them as praise) as well as enduring great poverty. However, his faith in his own abilities never wavered. He tried to paint in the academic manner of such traditionalist artists as [|Bouguereau] and [|Gérôme], but it was the innocence and charm of his work that won him the admiration of the avant-garde: in 1908 Picasso gave a banquet, half serious half burlesque, in his honor. Rousseau is now best known for his jungle scenes, the first of which is Surprised! (Tropical Storm with a Tiger) (National Gallery, London, 1891) and the last The Dream (MOMA, New York, 1910). These two paintings are works of great imaginative power, in which he showed his extraordinary ability to retain the utter freshness of his vision even when working on a large scale and with loving attention to detail. He claimed such scenes were inspired by his experiences in Mexico, but in fact his sources were illustrated books and visits to the zoo and botanical gardens in Paris. His other work ranges from the jaunty humor of The Football Players (Philadelphia Museum of Art, 1908) to the mesmeric, eerie beauty of The Sleeping Gypsy (MOMA, 1897). Rousseau was buried in a pauper's grave, but his greatness began to be widely acknowledged soon after his death. []
 * Rousseau, Henri**, known as Le Douanier Rousseau (1844-1910). French painter, the most celebrated of naïve artists.


 * [[image:http://webpages.math.luc.edu/%7Eajs/courses/263fall2003/review/rousseau.jpeg caption="http://webpages.math.luc.edu/~ajs/courses/263fall2003/review/rousseau.jpeg"]] ||
 * http://webpages.math.luc.edu/~ajs/courses/263fall2003/review/rousseau.jpeg ||

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Modernist artists were drawn to African sculpture because of its sophisticated approach to the abstraction of the human figure, shown, for example, by a sculpted head from a Fang reliquary ensemble ([|1979.206.229]), and a reliquary by an Ambete artist ([|2002.456.17]). The provenance of the Fang work includes the collection of London-based sculptor Jacob Epstein, who had Vorticist associations and was a longtime friend of Picasso and Matisse; the Ambete reliquary was once owned by the pioneering Paris dealer Charles Ratton and then by Pierre Matisse, a son of the artist.
 * The Stylistic Influences of African Sculpture**

The Fang sculpture exemplifies the integration of form with function that had created a centuries-old tradition of abstraction in African art before the European colonial period. Affixed at the top of a bark vessel where remains of the most important individuals of an extended family were preserved, the sculptural element can be considered as the embodiment of the ancestor's spirit. The representational style is therefore abstract rather than naturalistic. The abstract form of the Ambete piece goes even further to serve its function. Because the figure is the actual receptacle for the ancestral relics, the torso is elongated, hollow, and accessible from an opening in the back. The exaggerated flatness of the face in these reliquaries, and its lack of affect, typify elements of African aesthetics that were frequently evoked in modernist painting and sculpture.

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 * [[image:http://www.estateauctionservice.com/African%20sculpture.jpg width="396" height="603" caption="http://www.estateauctionservice.com/African%20sculpture.jpg"]] ||
 * http://www.estateauctionservice.com/African%20sculpture.jpg ||

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