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RELAZIONE MODULO CLIL
STORIA DELLrsquoARTE IN LINGUA INGLESE
La classe Vsez Q ha seguito un modulo di lezione attraverso il metodo CLIL in lingua inglese in accordo con quanto previsto dai programmi ministeriali e a seguito del fatto che la nostra scuola ha vinto il finanziamento europeo per realizzare le attivitagrave del progetto ldquoIn Europe and beyondrdquo presentato nellrsquoas 20132014 allrsquoAgenzia Erasmus+14 In questo ambito la sottoscritta docente di Storia dellrsquoArte del corso Q ha partecipato ad un corso di formazione di due settimane di ldquoArt amp Design for European Teachersrdquo a Colchester (UK) durante lrsquoanno scolastico 20142015 Il modulo proposto egrave stato organizzato integrando lrsquoapprendimento della storia dellrsquoarte e della lingua inglese attraverso una unitagrave didattica autonoma riguardante il Cubismo e lrsquoanalisi di alcune opere di Pablo Picasso prevista nel Programma della materia Introduzione Lrsquoargomento del modulo egrave stato scelto a seguito del fatto che al Palazzo Ducale di Genova egrave stata organizzata la mostra ldquo Dagli Impressionisti a Picasso I capolavori del Detroit Institute of Artrdquo dal 25 settembre 2015 al 10 aprile 2016 Mi egrave sembrato quindi un ottima occasione poter coinvolgere gli studenti direttamente nellappartamento del Doge dove sono state esposte tra le altre tele di Van Gogh Ceacutezanne Gauguin Matisse e Degas Monet Modigliani Courbet Otto Dix Kandinskij Renoir per un excursus di cinquanta anni circa accompagnato da supporti didattici secondo un ordine cronologico Presentazione della Mostra ( tempo impiegato n 2 moduli da 55 min )
Representative of the prestigious collection of the Detroit Institute of Arts fifty-two masterpieces of
European art are making for the first time the journey from the United States back to the old
continent
About thirty years separate the birth of Impressionism from Picassorsquos first Cubist works ndash the crucial years in
which everything changed in Europe art history society It was an extraordinary era which experienced
new modes of expression and new cultural impulses that were to become the foundations of our own
modernity The fifty-two masterpieces from the Detroit
Institute of Arts exhibited here for the first time in Italy belong to that period and constitute a magnificent
summary of it The exhibition allows visitors to trace the history of European
art at the end of the nineteenth century and the beginning of the twentieth from Impressionism Van Gogh
Ceacutezanne and the Ecole de Paris to the historical avant-gardes Kandinskyrsquos thrusts towards abstraction and
the exceptional artistic parabola of Picasso providing a rare opportunity to observe up close the great
masters who revolutionize the culture of the entire world
At the same time the exhibition highlights the amazing adventure of American art collecting which went
hand in hand with the rapid growth of capitalism in the industrialized West In effect the great entrepreneurs
created a kind of patronage that enabled the birth of a new cultural imagination nourished by stimuli from the
European avant-gardes whose works were being acquired and exhibited by the Detroit Institute of Arts in
those very same years
This great exhibition in the magnificent rooms of Palazzo Ducale presents to the public an extraordinary
collection which will not be displayed anywhere else in Europe Curated by Salvador Salort-Pons and
Stefano Zuffi the exhibition is organized by the Detroit Institute of Arts produced by Palazzo Ducale
Fondazione per la Cultura in cooperation with MondoMostre Skira and promoted by the Municipality of
Genoa with the patronage of the Ministero dei Beni e delle Attivitagrave Culturali e del Turismo the Diplomatic
Mission of the United States of America in Italy and the American Chamber of Commerce in Italy
httpsyoutubeny-7CZO1uV4
httpsyoutube2wKDrmafPKg
Attivitagrave sul campo visita alla Mostra ( tempo impiegato n 2 moduli da 55 min ) La visita egrave stata presentata in lingua inglese da una Guida della mostra Ho preso spunto dalle metodologie che ho sperimentato di persona in occasione della visita a Londra alla Tate Gallery e al Courthald Institute of Art e suggerite al gruppo di Docenti Erasmus + dal Personale Specializzato nella presentazione di eventi drsquoArte agli Insegnanti appartenenti alle due Istituzioni Artistiche londinesi Sono state coinvolte anche la profssa di Inglese Eufrosina Garrone e la studentessa della Facoltagrave di Tecnologia dellUniversitagrave di Kaunas ( Lituania ) Ginta Mickunaiteacute che ha effettuato un periodo di praticantato nellambito del ERASMUS TRAINER-SHIP PROJECT presso la nostra scuola Gli studenti sono stati invitati 1- a scegliere un opera da dedicare a un compagnoa per poi spiegarne successivamente la motivazione
2 - a effettuare qualche schizzo 3 - a individuare e appuntare qualche particolare curioso
Attivitagrave in classe condivisione ( tempo impiegato n 2 moduli da 55 min ) La classe formata da 24 studenti egrave stata suddivisa in sei gruppi da quattro componenti
- Ogni studente nel suo gruppo ha mostrato ai compagni il materiale raccolto ha discusso ( in lingua inglese ) le proprie scelte con il supporto della studentessa lituana per le terminologie linguistiche mio per quelle tecnico artistiche ( 30 min circa )
- Gli studenti dei sei gruppi a turno ( in inglese ) hanno 1 ndash dedicato lrsquoopera scelta a un compagno spiegando il percheacute e suscitando sorpresa interesse perplessitagrave condivisione
2 ndash gli schizzi effettuati hanno focalizzato lrsquoattenzione su elementi delle opere molto particolari e originali valorizzato lrsquoimmediatezza del tratto la molteplicitagrave e le differenze delle scelte fatte 3 ndash I particolari emersi dai singoli sono stati con stupore ed interesse ricercati nelle opere analizzati e apprezzati o no a seconda della loro tipicitagrave e originalitagrave
Analisi dei risultati La classe ha convenuto che lrsquoapproccio seguito ha coinvolto in maniera veramente particolare tutti Qualcuno piugrave abile con lrsquouso dellrsquoinglese egrave stato di supporto per chi ha manifestato incertezze che in questo modo sono sembrate meno invalicabili La metodologia proposta pur con suggerimenti tesi al suo perfezionamento ha contribuito a creare un rapporto nuovo con lrsquoopera drsquoarte
ldquo Cubism and Pablo Picassordquo I fase La classe egrave stata suddivisa in sei gruppi da quattro componenti ed egrave stato fornito - un testo in lingua inglese introduzione generale sul periodo storico-artistico ldquo Cubism and Pablo Picassordquo e ldquo The Guidelines of European Cubism according to Apollinairerdquo ( 1 )
- una serie di immagini di alcune delle opere piugrave significative dellrsquoarte del periodo in
esame
Cubism was a revolutionary new approach to representing reality invented in around
190708 by artists Pablo Picasso and Georges Braque who aimed to bring different views
of subjects (usually objects or figures) together in the same picture resulting in paintings
that appear fragmented and abstracted
Pablo Picasso
Bowl of Fruit Violin and Bottle 1914
Oil on canvas
unconfirmed 920 x 730 mm
frame 1279 x 1093 x 63 mm
Lent by the National Gallery
Introduction to the cubist movement
Cubism was one of the most influential styles of the twentieth century It is generally
agreed to have begun around 1907 withPicassorsquos celebrated painting Demoiselles
DrsquoAvignon which included elements of cubist style The name lsquocubismrsquo seems to have
derived from a comment made by the critic Louis Vauxcelles who on seeing some
of Georges Braquersquos paintings exhibited in Paris in 1908 described them as reducing
everything to lsquogeometric outlines to cubesrsquo
Cubism opened up almost infinite new possibilities for the treatment of visual reality in art
and was the starting point for many later abstract styles including constructivism and neo-
plasticism
How does it work
By breaking objects and figures down into distinct areas or planes the artists aimed to
show different viewpoints at the same time and within the same space and so suggest
their three dimensional form In doing so they also emphasized the two-dimensional
flatness of the canvas instead of creating the illusion of depth This marked a
revolutionary break with the European tradition which had dominated representation from
the Renaissance onwards of creating the illusion of real space from a fixed viewpoint
using devices such as linear perspective
What inspired cubist style
Cubism was partly influenced by the late work of Paul Ceacutezanne in which he can be seen to
be painting things from slightly different points of view Pablo Picasso was also inspired by
African tribal masks which are highly stylised or non-naturalistic but nevertheless present
a vivid human image lsquoA headrsquo said Picasso lsquois a matter of eyes nose mouth which can
be distributed in any way you likersquo
Types of cubism Analytical vs synthetic
Cubism can be seen to have developed in two distinct phases the initial and more
austere analytical cubism and later phase of cubism known as synthetic cubism
Georges Braque
Mandola 1909-10
Oil on canvas
Pablo Picasso
Bottle of Vieux Marc Glass Guitar and Newspaper 1913
Collage and pen and ink on blue paper
Analytical cubism ran from 1908ndash12 Its artworks look more severe and are made up of an
interweaving of planes and lines in muted tones of blacks greys and ochres
Synthetic cubism is the later phase of cubism generally considered to date from about
1912 to 1914 and characterised by simpler shapes and brighter colours Synthetic cubist
works also often include collaged real elements such as newspapers The inclusion of
real objects directly in art was the start of one of the most important ideas in modern art
II fase Sono stati individuati da ciascun gruppo i principali caratteri del Cubism partendo da alcune considerazioni di base e sono stati evidenziati in lingua inglese dai ragazzi allrsquointerno dei gruppi e poi alla classe Si egrave chiesto poi di raggruppare le immagini proposte in base alla tipologia ai materiali ai formati delle opere
Introduction Revolutionary Abstract Art
In fine art the term Cubism describes the revolutionary style of painting invented by Pablo Picasso (1881-1973) and Georges Braque (1882-1963) in Paris during the period 1907-12 Their Cubist methods - initially influenced by the geometric motifs in the landscape compositions of the Post-Impressionist painter Paul Cezanne - radically redefined the nature and scope of fine art painting and to a lesser extent sculpture as previously practiced and heralded entirely new ways of representing reality To this extent Cubism marks the end of the Renaissance-dominated era and the beginning of modern art
Largely a type of semi abstract art - although at times it approaches full-blown non-objective art - Cubism is traditionally classified into three stages
(1) Early Cubist Painting (1907-9) (2) Analytical Cubism (1909-12) (3) Synthetic Cubism (1912-14)
In addition to Braque and Picasso other famous artists who were closely associated with the movement include the painters Juan Gris (1887-1927) Fernand Leger (1881-1955) Robert Delaunay (1885-1941) Francis Picabia (1879-1953) the versatile artist Marcel Duchamp (1887-1968) and the sculptors Jacques Lipchitz (1891-1973) Alexander Archipenko (1887-1964) Cubism was the starting point for or an essential element in a number of other modern art movements including Futurism (1909-14) Orphism (1910-13) Vorticism (1914-15) Russian Constructivism (c1919-1932) and Dada (1916-1924)
Portrait of Ambroise Vollard (1909) by Pablo Picasso Pushkin Museum
Violin and Candlestick (1910) San Francisco Museum of Modern Art By Georges Braque
What Were the Origins of Cubist Art
After three decades of Impressionist-inspired art culminating in the Fauvist colourist movement (of which incidentally Braque had been a member) Picasso began to worry that this type of painting was a dead-end with less and less potential for intellectual exploration In this frame of mind and recently exposed to African tribal art whilst in Spain he began painting Les Demoiselles DAvignon (1907 MoMA New York) his ground-breaking masterpiece whose flat splintered planes replaced traditional linear perspective and rounded volumes thereby signalling his break with the naturalistic traditions of Western art At the same time Georges Braque a former student at the prestigious Ecole des Beaux-Arts in Paris had just been overwhelmed by the 1907 Exhibition of Cezannes paintings at the ParisianSalon dAutomne and the Bernheim-Jeune Gallery - notably Cezannes masterpiece The Large Bathers (Les Grandes Baigneuses) (1894-1905) The pair then met in October 1907 and over the next two years developed what became known as Cubism - a completely new method of depicting the visual world
The Origin of the Term Cubism
In the summer of 1908 while staying at LEstaque near Marseilles Braque painted a series of landscapes which were shown later that year at a Gallery in Paris owned by the art dealer Daniel-Henri Kahnweiler When
reviewing this exhibition the famous art critic Louis Vauxcelles commented on Braques way of reducing everything - sights figures and houses - to geometric outlines to cubes The following year Vauxcelles used the expression bizarreries cubiques (cubic excentricities) - a phrase allegedly first used by Henri Matisse - and by 1911 the term Cubism had entered the English language The description is quite apt for the blocklike forms in some of Braques early landscapes and in a few similiar works by Picasso painted at Horta del Ebro in Spain though not for their later Cubist pictures in which the forms are broken down into facets rather than cubes The term was taken up by two practising Cubists Gleizes and Metzinger in their influential 1912 bookDu Cubisme
How to Understand Cubism
First off itrsquos very difficult to appreciate Cubism without examining its paintings A good start is to compare early Cubist still-lifes with traditional still life from (say) the Baroque or Dutch Realist schools If nothing else you will appreciate the radical nature of Cubism compared to traditional Western art Note also that Cubism was not a single style of painting analytical Cubism is completely different from the later synthetic Cubism The former is all about structure - how the picture should depict the object being painted the latter is exclusively concerned with the surface of the picture and what may be incorporated within it One final word of advice dont be put off by its strangeness Cubism is symbolic challenging and full of ideas but its not a terribly pretty form of visual art
What Are the Characteristics of Cubism
Ever since the Renaissance if not before artists painted pictures from a single fixed viewpoint as if they were taking a photograph The illusion of background depth was created using standard conventions of linear perspective (eg objects were shown smaller as they receded) and by painting figures and objects with rounded shaded surfaces to convey a 3-D effect In addition the scene or object was painted at a particular moment in time
In contrast Braque and Picasso thought that the full significance of an object could only be captured by showing it from multiple points of view and at different times So they abandoned the idea of a single fixed viewpoint and instead used a multiplicity of viewpoints The object was then reassembled out of fragments of these different views rather like a complex jigsaw puzzle In this way many different views of an object were simultanously depicted in the same picture In a sense its like taking 5 different photographs (at different times) of the same object then cutting them up and reassembling them in an overlapping manner on a flat surface
Such fragmentation and rearrangement of form meant that a painting could now be regarded less as a kind of window on the world and more as a physical object on which a subjective response to the world is created
As far as artistic technique was concerned Cubism showed how a sense of solidity and pictorial structure could be created without traditional perspective or modelling
Thus the Cubist style focused on the flat two-dimensional surface of the picture plane and rejected the traditional conventions and techniques of linear perspective chiaroscuro (use of shading to show light and shadow) and the traditional idea of imitating nature Instead of creating natural-looking 3-D objects Cubist painters offered a brand new set of images reassembled from 2-D fragments which showed the objects from several sides simultaneously If Fauvists and Impressionists strove to express their personal sensation of a particular object or scene Cubists sought to depict the intellectual idea or form of an object and its relationship to others
Cubist Exhibitions
Cubism had two identities a public and a private The style was jointly evolved by Pablo Picasso and Georges Braque on the basis of observations derived from Cezanne and also to some extent from ethnographical primitivism such as that investigated by Picasso during his African art period It made its public debut with Braques one-man exhibition organized by Kahnweiler in November 1908 But after this both he and Picasso more or less went to ground and the Cubist banner was upheld by others - the so-called salon-Cubists - including Robert Delaunay Albert Gleizes Fernand Leger Henri Le Fauconnier and Jean Metzinger at the Salon des Independeants in 1911
The year 1913 also witnessed the famous Armory Show held in FebMarch on Lexington Avenue Manhattan New York in which Marcel Duchamps Nude Descending a Staircase (no 2) (1912) was the controversial even scandalous attraction Around the beginning of 1912 Picasso and Braque switched from the Analytic Cubism with which they started to Synthetic Cubism - a new more decorative and surface-oriented style created using new techniques such as collage and papier colles The incorporation of everyday detritus into their paintings can be seen as the beginning of Junk Art At this point they were joined in their explorations by Juan Gris
Symbol of Artistic amp Intellectual Fashion
Cubism was an art-style with attitude It was iconoclastic challenging intellectual It focused on ideas rather than pretty pictures But it captured the spirit of the age - the age of challenging French musicians Claude Debussy (1862-1918) Erik Satie (1866-1925) and Maurice Ravel (1875-1937) and analytical Cubism in particular corresponded with the ideas of the French philosopher Henri Bergson (1859-1941) whose concept of simultaneity stated that the past overlaps with the present which itself flows into the future Meanwhile fine art was at something of a crossroads Impressionism was yesterdays fashion the Belle Epoque of
Parisian poster art was over Toulouse-Lautrec was dead Art Nouveau was in decline and even colourfull Fauvism was running out of steam At the same time the political temperature was rising across Europe exposing horrific possibilities of war and chaos In its assault on the old certainties of Renaissance art Cubism mirrored the calls for change in many other disciplines as well as the world at large Note For an explanation of some of the great Cubist
III fase Sono seguiti quindi i commenti e le riflessioni sulle scelte effettuate seguendo sempre la condivisione a gruppi e collegiale come in precedenza Si egrave cercato in tal modo di favorire la collaborazione tra studente e studente di facilitare la comunicazione interpersonale e di rendere coinvolgente lrsquoapproccio Ersquo stato privilegiato perciograve un lavoro sia individuale sia drsquoinsieme stimolando lrsquoapprendimento la creativitagrave e la riflessione critica La presenza in classe di Ginta si egrave rivelata molto utile per i ragazzi per lrsquoappoggio linguistico mentre la mia dal punto di vista storico-artistico e lessicale Un gruppo di studenti era giagrave abituato a lavorare con questa metodologia con risultati brillanti Infatti durante lrsquoultima parte dello scorso anno scolastico ( 201415 ) e la prima di quello in corso ( 201516 ) avevano partecipato al PROGETTO EXPO 2015 In questa occasione la nostra scuola era stata scelta dal MIUR come Partner del Palazzo Reale di Genova dove i visitatori erano accompagnati nelle sale con la spiegazione ( sia in italiano sia in inglese ) delle opere drsquoarte esposte dagli stessi ragazzi che avevano effettuato un periodo di training organizzato a tal fine
IV fase Si egrave passati allrsquoapprofondimento della figura e dellrsquoopera di Picasso utilizzando - un testo in lingua inglese
Art Analysis Pablo Picasso Les demoiselles drsquoAvignon (1 )
e una serie di immagini dellrsquoopera
Le prove di verifica e di rinforzo sono state suddivise in
- Read and recognise verifica della comprensione e dei contenuti del testo - Art and language verifica e potenziamento del lessico e dei campi semantici - Key Art concept verifica della comprensione di uno o piugrave concetti chiave emersi nel
modulo
Le attivitagrave degli studenti sono state indirizzate a rafforzare e verificare lrsquoapprendimento dei concetti artistici e linguistici e di attivazione didattica anche attraverso ricerche internet mirate per favorire un utilizzo consapevole ed esperto delle risorse digitali e multimediali nel campo dellrsquoarte I tempi hanno previsto due periodi orari da 55 minuti utilizzati in sequenza nella stessa mattinata e da altri due periodi situati in differenti giornate Docente
Rosa Maria Malerba
( 1 ) da Vettese Princi Contemporary ART ATLAS
European avant-gardes whose works were being acquired and exhibited by the Detroit Institute of Arts in
those very same years
This great exhibition in the magnificent rooms of Palazzo Ducale presents to the public an extraordinary
collection which will not be displayed anywhere else in Europe Curated by Salvador Salort-Pons and
Stefano Zuffi the exhibition is organized by the Detroit Institute of Arts produced by Palazzo Ducale
Fondazione per la Cultura in cooperation with MondoMostre Skira and promoted by the Municipality of
Genoa with the patronage of the Ministero dei Beni e delle Attivitagrave Culturali e del Turismo the Diplomatic
Mission of the United States of America in Italy and the American Chamber of Commerce in Italy
httpsyoutubeny-7CZO1uV4
httpsyoutube2wKDrmafPKg
Attivitagrave sul campo visita alla Mostra ( tempo impiegato n 2 moduli da 55 min ) La visita egrave stata presentata in lingua inglese da una Guida della mostra Ho preso spunto dalle metodologie che ho sperimentato di persona in occasione della visita a Londra alla Tate Gallery e al Courthald Institute of Art e suggerite al gruppo di Docenti Erasmus + dal Personale Specializzato nella presentazione di eventi drsquoArte agli Insegnanti appartenenti alle due Istituzioni Artistiche londinesi Sono state coinvolte anche la profssa di Inglese Eufrosina Garrone e la studentessa della Facoltagrave di Tecnologia dellUniversitagrave di Kaunas ( Lituania ) Ginta Mickunaiteacute che ha effettuato un periodo di praticantato nellambito del ERASMUS TRAINER-SHIP PROJECT presso la nostra scuola Gli studenti sono stati invitati 1- a scegliere un opera da dedicare a un compagnoa per poi spiegarne successivamente la motivazione
2 - a effettuare qualche schizzo 3 - a individuare e appuntare qualche particolare curioso
Attivitagrave in classe condivisione ( tempo impiegato n 2 moduli da 55 min ) La classe formata da 24 studenti egrave stata suddivisa in sei gruppi da quattro componenti
- Ogni studente nel suo gruppo ha mostrato ai compagni il materiale raccolto ha discusso ( in lingua inglese ) le proprie scelte con il supporto della studentessa lituana per le terminologie linguistiche mio per quelle tecnico artistiche ( 30 min circa )
- Gli studenti dei sei gruppi a turno ( in inglese ) hanno 1 ndash dedicato lrsquoopera scelta a un compagno spiegando il percheacute e suscitando sorpresa interesse perplessitagrave condivisione
2 ndash gli schizzi effettuati hanno focalizzato lrsquoattenzione su elementi delle opere molto particolari e originali valorizzato lrsquoimmediatezza del tratto la molteplicitagrave e le differenze delle scelte fatte 3 ndash I particolari emersi dai singoli sono stati con stupore ed interesse ricercati nelle opere analizzati e apprezzati o no a seconda della loro tipicitagrave e originalitagrave
Analisi dei risultati La classe ha convenuto che lrsquoapproccio seguito ha coinvolto in maniera veramente particolare tutti Qualcuno piugrave abile con lrsquouso dellrsquoinglese egrave stato di supporto per chi ha manifestato incertezze che in questo modo sono sembrate meno invalicabili La metodologia proposta pur con suggerimenti tesi al suo perfezionamento ha contribuito a creare un rapporto nuovo con lrsquoopera drsquoarte
ldquo Cubism and Pablo Picassordquo I fase La classe egrave stata suddivisa in sei gruppi da quattro componenti ed egrave stato fornito - un testo in lingua inglese introduzione generale sul periodo storico-artistico ldquo Cubism and Pablo Picassordquo e ldquo The Guidelines of European Cubism according to Apollinairerdquo ( 1 )
- una serie di immagini di alcune delle opere piugrave significative dellrsquoarte del periodo in
esame
Cubism was a revolutionary new approach to representing reality invented in around
190708 by artists Pablo Picasso and Georges Braque who aimed to bring different views
of subjects (usually objects or figures) together in the same picture resulting in paintings
that appear fragmented and abstracted
Pablo Picasso
Bowl of Fruit Violin and Bottle 1914
Oil on canvas
unconfirmed 920 x 730 mm
frame 1279 x 1093 x 63 mm
Lent by the National Gallery
Introduction to the cubist movement
Cubism was one of the most influential styles of the twentieth century It is generally
agreed to have begun around 1907 withPicassorsquos celebrated painting Demoiselles
DrsquoAvignon which included elements of cubist style The name lsquocubismrsquo seems to have
derived from a comment made by the critic Louis Vauxcelles who on seeing some
of Georges Braquersquos paintings exhibited in Paris in 1908 described them as reducing
everything to lsquogeometric outlines to cubesrsquo
Cubism opened up almost infinite new possibilities for the treatment of visual reality in art
and was the starting point for many later abstract styles including constructivism and neo-
plasticism
How does it work
By breaking objects and figures down into distinct areas or planes the artists aimed to
show different viewpoints at the same time and within the same space and so suggest
their three dimensional form In doing so they also emphasized the two-dimensional
flatness of the canvas instead of creating the illusion of depth This marked a
revolutionary break with the European tradition which had dominated representation from
the Renaissance onwards of creating the illusion of real space from a fixed viewpoint
using devices such as linear perspective
What inspired cubist style
Cubism was partly influenced by the late work of Paul Ceacutezanne in which he can be seen to
be painting things from slightly different points of view Pablo Picasso was also inspired by
African tribal masks which are highly stylised or non-naturalistic but nevertheless present
a vivid human image lsquoA headrsquo said Picasso lsquois a matter of eyes nose mouth which can
be distributed in any way you likersquo
Types of cubism Analytical vs synthetic
Cubism can be seen to have developed in two distinct phases the initial and more
austere analytical cubism and later phase of cubism known as synthetic cubism
Georges Braque
Mandola 1909-10
Oil on canvas
Pablo Picasso
Bottle of Vieux Marc Glass Guitar and Newspaper 1913
Collage and pen and ink on blue paper
Analytical cubism ran from 1908ndash12 Its artworks look more severe and are made up of an
interweaving of planes and lines in muted tones of blacks greys and ochres
Synthetic cubism is the later phase of cubism generally considered to date from about
1912 to 1914 and characterised by simpler shapes and brighter colours Synthetic cubist
works also often include collaged real elements such as newspapers The inclusion of
real objects directly in art was the start of one of the most important ideas in modern art
II fase Sono stati individuati da ciascun gruppo i principali caratteri del Cubism partendo da alcune considerazioni di base e sono stati evidenziati in lingua inglese dai ragazzi allrsquointerno dei gruppi e poi alla classe Si egrave chiesto poi di raggruppare le immagini proposte in base alla tipologia ai materiali ai formati delle opere
Introduction Revolutionary Abstract Art
In fine art the term Cubism describes the revolutionary style of painting invented by Pablo Picasso (1881-1973) and Georges Braque (1882-1963) in Paris during the period 1907-12 Their Cubist methods - initially influenced by the geometric motifs in the landscape compositions of the Post-Impressionist painter Paul Cezanne - radically redefined the nature and scope of fine art painting and to a lesser extent sculpture as previously practiced and heralded entirely new ways of representing reality To this extent Cubism marks the end of the Renaissance-dominated era and the beginning of modern art
Largely a type of semi abstract art - although at times it approaches full-blown non-objective art - Cubism is traditionally classified into three stages
(1) Early Cubist Painting (1907-9) (2) Analytical Cubism (1909-12) (3) Synthetic Cubism (1912-14)
In addition to Braque and Picasso other famous artists who were closely associated with the movement include the painters Juan Gris (1887-1927) Fernand Leger (1881-1955) Robert Delaunay (1885-1941) Francis Picabia (1879-1953) the versatile artist Marcel Duchamp (1887-1968) and the sculptors Jacques Lipchitz (1891-1973) Alexander Archipenko (1887-1964) Cubism was the starting point for or an essential element in a number of other modern art movements including Futurism (1909-14) Orphism (1910-13) Vorticism (1914-15) Russian Constructivism (c1919-1932) and Dada (1916-1924)
Portrait of Ambroise Vollard (1909) by Pablo Picasso Pushkin Museum
Violin and Candlestick (1910) San Francisco Museum of Modern Art By Georges Braque
What Were the Origins of Cubist Art
After three decades of Impressionist-inspired art culminating in the Fauvist colourist movement (of which incidentally Braque had been a member) Picasso began to worry that this type of painting was a dead-end with less and less potential for intellectual exploration In this frame of mind and recently exposed to African tribal art whilst in Spain he began painting Les Demoiselles DAvignon (1907 MoMA New York) his ground-breaking masterpiece whose flat splintered planes replaced traditional linear perspective and rounded volumes thereby signalling his break with the naturalistic traditions of Western art At the same time Georges Braque a former student at the prestigious Ecole des Beaux-Arts in Paris had just been overwhelmed by the 1907 Exhibition of Cezannes paintings at the ParisianSalon dAutomne and the Bernheim-Jeune Gallery - notably Cezannes masterpiece The Large Bathers (Les Grandes Baigneuses) (1894-1905) The pair then met in October 1907 and over the next two years developed what became known as Cubism - a completely new method of depicting the visual world
The Origin of the Term Cubism
In the summer of 1908 while staying at LEstaque near Marseilles Braque painted a series of landscapes which were shown later that year at a Gallery in Paris owned by the art dealer Daniel-Henri Kahnweiler When
reviewing this exhibition the famous art critic Louis Vauxcelles commented on Braques way of reducing everything - sights figures and houses - to geometric outlines to cubes The following year Vauxcelles used the expression bizarreries cubiques (cubic excentricities) - a phrase allegedly first used by Henri Matisse - and by 1911 the term Cubism had entered the English language The description is quite apt for the blocklike forms in some of Braques early landscapes and in a few similiar works by Picasso painted at Horta del Ebro in Spain though not for their later Cubist pictures in which the forms are broken down into facets rather than cubes The term was taken up by two practising Cubists Gleizes and Metzinger in their influential 1912 bookDu Cubisme
How to Understand Cubism
First off itrsquos very difficult to appreciate Cubism without examining its paintings A good start is to compare early Cubist still-lifes with traditional still life from (say) the Baroque or Dutch Realist schools If nothing else you will appreciate the radical nature of Cubism compared to traditional Western art Note also that Cubism was not a single style of painting analytical Cubism is completely different from the later synthetic Cubism The former is all about structure - how the picture should depict the object being painted the latter is exclusively concerned with the surface of the picture and what may be incorporated within it One final word of advice dont be put off by its strangeness Cubism is symbolic challenging and full of ideas but its not a terribly pretty form of visual art
What Are the Characteristics of Cubism
Ever since the Renaissance if not before artists painted pictures from a single fixed viewpoint as if they were taking a photograph The illusion of background depth was created using standard conventions of linear perspective (eg objects were shown smaller as they receded) and by painting figures and objects with rounded shaded surfaces to convey a 3-D effect In addition the scene or object was painted at a particular moment in time
In contrast Braque and Picasso thought that the full significance of an object could only be captured by showing it from multiple points of view and at different times So they abandoned the idea of a single fixed viewpoint and instead used a multiplicity of viewpoints The object was then reassembled out of fragments of these different views rather like a complex jigsaw puzzle In this way many different views of an object were simultanously depicted in the same picture In a sense its like taking 5 different photographs (at different times) of the same object then cutting them up and reassembling them in an overlapping manner on a flat surface
Such fragmentation and rearrangement of form meant that a painting could now be regarded less as a kind of window on the world and more as a physical object on which a subjective response to the world is created
As far as artistic technique was concerned Cubism showed how a sense of solidity and pictorial structure could be created without traditional perspective or modelling
Thus the Cubist style focused on the flat two-dimensional surface of the picture plane and rejected the traditional conventions and techniques of linear perspective chiaroscuro (use of shading to show light and shadow) and the traditional idea of imitating nature Instead of creating natural-looking 3-D objects Cubist painters offered a brand new set of images reassembled from 2-D fragments which showed the objects from several sides simultaneously If Fauvists and Impressionists strove to express their personal sensation of a particular object or scene Cubists sought to depict the intellectual idea or form of an object and its relationship to others
Cubist Exhibitions
Cubism had two identities a public and a private The style was jointly evolved by Pablo Picasso and Georges Braque on the basis of observations derived from Cezanne and also to some extent from ethnographical primitivism such as that investigated by Picasso during his African art period It made its public debut with Braques one-man exhibition organized by Kahnweiler in November 1908 But after this both he and Picasso more or less went to ground and the Cubist banner was upheld by others - the so-called salon-Cubists - including Robert Delaunay Albert Gleizes Fernand Leger Henri Le Fauconnier and Jean Metzinger at the Salon des Independeants in 1911
The year 1913 also witnessed the famous Armory Show held in FebMarch on Lexington Avenue Manhattan New York in which Marcel Duchamps Nude Descending a Staircase (no 2) (1912) was the controversial even scandalous attraction Around the beginning of 1912 Picasso and Braque switched from the Analytic Cubism with which they started to Synthetic Cubism - a new more decorative and surface-oriented style created using new techniques such as collage and papier colles The incorporation of everyday detritus into their paintings can be seen as the beginning of Junk Art At this point they were joined in their explorations by Juan Gris
Symbol of Artistic amp Intellectual Fashion
Cubism was an art-style with attitude It was iconoclastic challenging intellectual It focused on ideas rather than pretty pictures But it captured the spirit of the age - the age of challenging French musicians Claude Debussy (1862-1918) Erik Satie (1866-1925) and Maurice Ravel (1875-1937) and analytical Cubism in particular corresponded with the ideas of the French philosopher Henri Bergson (1859-1941) whose concept of simultaneity stated that the past overlaps with the present which itself flows into the future Meanwhile fine art was at something of a crossroads Impressionism was yesterdays fashion the Belle Epoque of
Parisian poster art was over Toulouse-Lautrec was dead Art Nouveau was in decline and even colourfull Fauvism was running out of steam At the same time the political temperature was rising across Europe exposing horrific possibilities of war and chaos In its assault on the old certainties of Renaissance art Cubism mirrored the calls for change in many other disciplines as well as the world at large Note For an explanation of some of the great Cubist
III fase Sono seguiti quindi i commenti e le riflessioni sulle scelte effettuate seguendo sempre la condivisione a gruppi e collegiale come in precedenza Si egrave cercato in tal modo di favorire la collaborazione tra studente e studente di facilitare la comunicazione interpersonale e di rendere coinvolgente lrsquoapproccio Ersquo stato privilegiato perciograve un lavoro sia individuale sia drsquoinsieme stimolando lrsquoapprendimento la creativitagrave e la riflessione critica La presenza in classe di Ginta si egrave rivelata molto utile per i ragazzi per lrsquoappoggio linguistico mentre la mia dal punto di vista storico-artistico e lessicale Un gruppo di studenti era giagrave abituato a lavorare con questa metodologia con risultati brillanti Infatti durante lrsquoultima parte dello scorso anno scolastico ( 201415 ) e la prima di quello in corso ( 201516 ) avevano partecipato al PROGETTO EXPO 2015 In questa occasione la nostra scuola era stata scelta dal MIUR come Partner del Palazzo Reale di Genova dove i visitatori erano accompagnati nelle sale con la spiegazione ( sia in italiano sia in inglese ) delle opere drsquoarte esposte dagli stessi ragazzi che avevano effettuato un periodo di training organizzato a tal fine
IV fase Si egrave passati allrsquoapprofondimento della figura e dellrsquoopera di Picasso utilizzando - un testo in lingua inglese
Art Analysis Pablo Picasso Les demoiselles drsquoAvignon (1 )
e una serie di immagini dellrsquoopera
Le prove di verifica e di rinforzo sono state suddivise in
- Read and recognise verifica della comprensione e dei contenuti del testo - Art and language verifica e potenziamento del lessico e dei campi semantici - Key Art concept verifica della comprensione di uno o piugrave concetti chiave emersi nel
modulo
Le attivitagrave degli studenti sono state indirizzate a rafforzare e verificare lrsquoapprendimento dei concetti artistici e linguistici e di attivazione didattica anche attraverso ricerche internet mirate per favorire un utilizzo consapevole ed esperto delle risorse digitali e multimediali nel campo dellrsquoarte I tempi hanno previsto due periodi orari da 55 minuti utilizzati in sequenza nella stessa mattinata e da altri due periodi situati in differenti giornate Docente
Rosa Maria Malerba
( 1 ) da Vettese Princi Contemporary ART ATLAS
2 ndash gli schizzi effettuati hanno focalizzato lrsquoattenzione su elementi delle opere molto particolari e originali valorizzato lrsquoimmediatezza del tratto la molteplicitagrave e le differenze delle scelte fatte 3 ndash I particolari emersi dai singoli sono stati con stupore ed interesse ricercati nelle opere analizzati e apprezzati o no a seconda della loro tipicitagrave e originalitagrave
Analisi dei risultati La classe ha convenuto che lrsquoapproccio seguito ha coinvolto in maniera veramente particolare tutti Qualcuno piugrave abile con lrsquouso dellrsquoinglese egrave stato di supporto per chi ha manifestato incertezze che in questo modo sono sembrate meno invalicabili La metodologia proposta pur con suggerimenti tesi al suo perfezionamento ha contribuito a creare un rapporto nuovo con lrsquoopera drsquoarte
ldquo Cubism and Pablo Picassordquo I fase La classe egrave stata suddivisa in sei gruppi da quattro componenti ed egrave stato fornito - un testo in lingua inglese introduzione generale sul periodo storico-artistico ldquo Cubism and Pablo Picassordquo e ldquo The Guidelines of European Cubism according to Apollinairerdquo ( 1 )
- una serie di immagini di alcune delle opere piugrave significative dellrsquoarte del periodo in
esame
Cubism was a revolutionary new approach to representing reality invented in around
190708 by artists Pablo Picasso and Georges Braque who aimed to bring different views
of subjects (usually objects or figures) together in the same picture resulting in paintings
that appear fragmented and abstracted
Pablo Picasso
Bowl of Fruit Violin and Bottle 1914
Oil on canvas
unconfirmed 920 x 730 mm
frame 1279 x 1093 x 63 mm
Lent by the National Gallery
Introduction to the cubist movement
Cubism was one of the most influential styles of the twentieth century It is generally
agreed to have begun around 1907 withPicassorsquos celebrated painting Demoiselles
DrsquoAvignon which included elements of cubist style The name lsquocubismrsquo seems to have
derived from a comment made by the critic Louis Vauxcelles who on seeing some
of Georges Braquersquos paintings exhibited in Paris in 1908 described them as reducing
everything to lsquogeometric outlines to cubesrsquo
Cubism opened up almost infinite new possibilities for the treatment of visual reality in art
and was the starting point for many later abstract styles including constructivism and neo-
plasticism
How does it work
By breaking objects and figures down into distinct areas or planes the artists aimed to
show different viewpoints at the same time and within the same space and so suggest
their three dimensional form In doing so they also emphasized the two-dimensional
flatness of the canvas instead of creating the illusion of depth This marked a
revolutionary break with the European tradition which had dominated representation from
the Renaissance onwards of creating the illusion of real space from a fixed viewpoint
using devices such as linear perspective
What inspired cubist style
Cubism was partly influenced by the late work of Paul Ceacutezanne in which he can be seen to
be painting things from slightly different points of view Pablo Picasso was also inspired by
African tribal masks which are highly stylised or non-naturalistic but nevertheless present
a vivid human image lsquoA headrsquo said Picasso lsquois a matter of eyes nose mouth which can
be distributed in any way you likersquo
Types of cubism Analytical vs synthetic
Cubism can be seen to have developed in two distinct phases the initial and more
austere analytical cubism and later phase of cubism known as synthetic cubism
Georges Braque
Mandola 1909-10
Oil on canvas
Pablo Picasso
Bottle of Vieux Marc Glass Guitar and Newspaper 1913
Collage and pen and ink on blue paper
Analytical cubism ran from 1908ndash12 Its artworks look more severe and are made up of an
interweaving of planes and lines in muted tones of blacks greys and ochres
Synthetic cubism is the later phase of cubism generally considered to date from about
1912 to 1914 and characterised by simpler shapes and brighter colours Synthetic cubist
works also often include collaged real elements such as newspapers The inclusion of
real objects directly in art was the start of one of the most important ideas in modern art
II fase Sono stati individuati da ciascun gruppo i principali caratteri del Cubism partendo da alcune considerazioni di base e sono stati evidenziati in lingua inglese dai ragazzi allrsquointerno dei gruppi e poi alla classe Si egrave chiesto poi di raggruppare le immagini proposte in base alla tipologia ai materiali ai formati delle opere
Introduction Revolutionary Abstract Art
In fine art the term Cubism describes the revolutionary style of painting invented by Pablo Picasso (1881-1973) and Georges Braque (1882-1963) in Paris during the period 1907-12 Their Cubist methods - initially influenced by the geometric motifs in the landscape compositions of the Post-Impressionist painter Paul Cezanne - radically redefined the nature and scope of fine art painting and to a lesser extent sculpture as previously practiced and heralded entirely new ways of representing reality To this extent Cubism marks the end of the Renaissance-dominated era and the beginning of modern art
Largely a type of semi abstract art - although at times it approaches full-blown non-objective art - Cubism is traditionally classified into three stages
(1) Early Cubist Painting (1907-9) (2) Analytical Cubism (1909-12) (3) Synthetic Cubism (1912-14)
In addition to Braque and Picasso other famous artists who were closely associated with the movement include the painters Juan Gris (1887-1927) Fernand Leger (1881-1955) Robert Delaunay (1885-1941) Francis Picabia (1879-1953) the versatile artist Marcel Duchamp (1887-1968) and the sculptors Jacques Lipchitz (1891-1973) Alexander Archipenko (1887-1964) Cubism was the starting point for or an essential element in a number of other modern art movements including Futurism (1909-14) Orphism (1910-13) Vorticism (1914-15) Russian Constructivism (c1919-1932) and Dada (1916-1924)
Portrait of Ambroise Vollard (1909) by Pablo Picasso Pushkin Museum
Violin and Candlestick (1910) San Francisco Museum of Modern Art By Georges Braque
What Were the Origins of Cubist Art
After three decades of Impressionist-inspired art culminating in the Fauvist colourist movement (of which incidentally Braque had been a member) Picasso began to worry that this type of painting was a dead-end with less and less potential for intellectual exploration In this frame of mind and recently exposed to African tribal art whilst in Spain he began painting Les Demoiselles DAvignon (1907 MoMA New York) his ground-breaking masterpiece whose flat splintered planes replaced traditional linear perspective and rounded volumes thereby signalling his break with the naturalistic traditions of Western art At the same time Georges Braque a former student at the prestigious Ecole des Beaux-Arts in Paris had just been overwhelmed by the 1907 Exhibition of Cezannes paintings at the ParisianSalon dAutomne and the Bernheim-Jeune Gallery - notably Cezannes masterpiece The Large Bathers (Les Grandes Baigneuses) (1894-1905) The pair then met in October 1907 and over the next two years developed what became known as Cubism - a completely new method of depicting the visual world
The Origin of the Term Cubism
In the summer of 1908 while staying at LEstaque near Marseilles Braque painted a series of landscapes which were shown later that year at a Gallery in Paris owned by the art dealer Daniel-Henri Kahnweiler When
reviewing this exhibition the famous art critic Louis Vauxcelles commented on Braques way of reducing everything - sights figures and houses - to geometric outlines to cubes The following year Vauxcelles used the expression bizarreries cubiques (cubic excentricities) - a phrase allegedly first used by Henri Matisse - and by 1911 the term Cubism had entered the English language The description is quite apt for the blocklike forms in some of Braques early landscapes and in a few similiar works by Picasso painted at Horta del Ebro in Spain though not for their later Cubist pictures in which the forms are broken down into facets rather than cubes The term was taken up by two practising Cubists Gleizes and Metzinger in their influential 1912 bookDu Cubisme
How to Understand Cubism
First off itrsquos very difficult to appreciate Cubism without examining its paintings A good start is to compare early Cubist still-lifes with traditional still life from (say) the Baroque or Dutch Realist schools If nothing else you will appreciate the radical nature of Cubism compared to traditional Western art Note also that Cubism was not a single style of painting analytical Cubism is completely different from the later synthetic Cubism The former is all about structure - how the picture should depict the object being painted the latter is exclusively concerned with the surface of the picture and what may be incorporated within it One final word of advice dont be put off by its strangeness Cubism is symbolic challenging and full of ideas but its not a terribly pretty form of visual art
What Are the Characteristics of Cubism
Ever since the Renaissance if not before artists painted pictures from a single fixed viewpoint as if they were taking a photograph The illusion of background depth was created using standard conventions of linear perspective (eg objects were shown smaller as they receded) and by painting figures and objects with rounded shaded surfaces to convey a 3-D effect In addition the scene or object was painted at a particular moment in time
In contrast Braque and Picasso thought that the full significance of an object could only be captured by showing it from multiple points of view and at different times So they abandoned the idea of a single fixed viewpoint and instead used a multiplicity of viewpoints The object was then reassembled out of fragments of these different views rather like a complex jigsaw puzzle In this way many different views of an object were simultanously depicted in the same picture In a sense its like taking 5 different photographs (at different times) of the same object then cutting them up and reassembling them in an overlapping manner on a flat surface
Such fragmentation and rearrangement of form meant that a painting could now be regarded less as a kind of window on the world and more as a physical object on which a subjective response to the world is created
As far as artistic technique was concerned Cubism showed how a sense of solidity and pictorial structure could be created without traditional perspective or modelling
Thus the Cubist style focused on the flat two-dimensional surface of the picture plane and rejected the traditional conventions and techniques of linear perspective chiaroscuro (use of shading to show light and shadow) and the traditional idea of imitating nature Instead of creating natural-looking 3-D objects Cubist painters offered a brand new set of images reassembled from 2-D fragments which showed the objects from several sides simultaneously If Fauvists and Impressionists strove to express their personal sensation of a particular object or scene Cubists sought to depict the intellectual idea or form of an object and its relationship to others
Cubist Exhibitions
Cubism had two identities a public and a private The style was jointly evolved by Pablo Picasso and Georges Braque on the basis of observations derived from Cezanne and also to some extent from ethnographical primitivism such as that investigated by Picasso during his African art period It made its public debut with Braques one-man exhibition organized by Kahnweiler in November 1908 But after this both he and Picasso more or less went to ground and the Cubist banner was upheld by others - the so-called salon-Cubists - including Robert Delaunay Albert Gleizes Fernand Leger Henri Le Fauconnier and Jean Metzinger at the Salon des Independeants in 1911
The year 1913 also witnessed the famous Armory Show held in FebMarch on Lexington Avenue Manhattan New York in which Marcel Duchamps Nude Descending a Staircase (no 2) (1912) was the controversial even scandalous attraction Around the beginning of 1912 Picasso and Braque switched from the Analytic Cubism with which they started to Synthetic Cubism - a new more decorative and surface-oriented style created using new techniques such as collage and papier colles The incorporation of everyday detritus into their paintings can be seen as the beginning of Junk Art At this point they were joined in their explorations by Juan Gris
Symbol of Artistic amp Intellectual Fashion
Cubism was an art-style with attitude It was iconoclastic challenging intellectual It focused on ideas rather than pretty pictures But it captured the spirit of the age - the age of challenging French musicians Claude Debussy (1862-1918) Erik Satie (1866-1925) and Maurice Ravel (1875-1937) and analytical Cubism in particular corresponded with the ideas of the French philosopher Henri Bergson (1859-1941) whose concept of simultaneity stated that the past overlaps with the present which itself flows into the future Meanwhile fine art was at something of a crossroads Impressionism was yesterdays fashion the Belle Epoque of
Parisian poster art was over Toulouse-Lautrec was dead Art Nouveau was in decline and even colourfull Fauvism was running out of steam At the same time the political temperature was rising across Europe exposing horrific possibilities of war and chaos In its assault on the old certainties of Renaissance art Cubism mirrored the calls for change in many other disciplines as well as the world at large Note For an explanation of some of the great Cubist
III fase Sono seguiti quindi i commenti e le riflessioni sulle scelte effettuate seguendo sempre la condivisione a gruppi e collegiale come in precedenza Si egrave cercato in tal modo di favorire la collaborazione tra studente e studente di facilitare la comunicazione interpersonale e di rendere coinvolgente lrsquoapproccio Ersquo stato privilegiato perciograve un lavoro sia individuale sia drsquoinsieme stimolando lrsquoapprendimento la creativitagrave e la riflessione critica La presenza in classe di Ginta si egrave rivelata molto utile per i ragazzi per lrsquoappoggio linguistico mentre la mia dal punto di vista storico-artistico e lessicale Un gruppo di studenti era giagrave abituato a lavorare con questa metodologia con risultati brillanti Infatti durante lrsquoultima parte dello scorso anno scolastico ( 201415 ) e la prima di quello in corso ( 201516 ) avevano partecipato al PROGETTO EXPO 2015 In questa occasione la nostra scuola era stata scelta dal MIUR come Partner del Palazzo Reale di Genova dove i visitatori erano accompagnati nelle sale con la spiegazione ( sia in italiano sia in inglese ) delle opere drsquoarte esposte dagli stessi ragazzi che avevano effettuato un periodo di training organizzato a tal fine
IV fase Si egrave passati allrsquoapprofondimento della figura e dellrsquoopera di Picasso utilizzando - un testo in lingua inglese
Art Analysis Pablo Picasso Les demoiselles drsquoAvignon (1 )
e una serie di immagini dellrsquoopera
Le prove di verifica e di rinforzo sono state suddivise in
- Read and recognise verifica della comprensione e dei contenuti del testo - Art and language verifica e potenziamento del lessico e dei campi semantici - Key Art concept verifica della comprensione di uno o piugrave concetti chiave emersi nel
modulo
Le attivitagrave degli studenti sono state indirizzate a rafforzare e verificare lrsquoapprendimento dei concetti artistici e linguistici e di attivazione didattica anche attraverso ricerche internet mirate per favorire un utilizzo consapevole ed esperto delle risorse digitali e multimediali nel campo dellrsquoarte I tempi hanno previsto due periodi orari da 55 minuti utilizzati in sequenza nella stessa mattinata e da altri due periodi situati in differenti giornate Docente
Rosa Maria Malerba
( 1 ) da Vettese Princi Contemporary ART ATLAS
Pablo Picasso
Bowl of Fruit Violin and Bottle 1914
Oil on canvas
unconfirmed 920 x 730 mm
frame 1279 x 1093 x 63 mm
Lent by the National Gallery
Introduction to the cubist movement
Cubism was one of the most influential styles of the twentieth century It is generally
agreed to have begun around 1907 withPicassorsquos celebrated painting Demoiselles
DrsquoAvignon which included elements of cubist style The name lsquocubismrsquo seems to have
derived from a comment made by the critic Louis Vauxcelles who on seeing some
of Georges Braquersquos paintings exhibited in Paris in 1908 described them as reducing
everything to lsquogeometric outlines to cubesrsquo
Cubism opened up almost infinite new possibilities for the treatment of visual reality in art
and was the starting point for many later abstract styles including constructivism and neo-
plasticism
How does it work
By breaking objects and figures down into distinct areas or planes the artists aimed to
show different viewpoints at the same time and within the same space and so suggest
their three dimensional form In doing so they also emphasized the two-dimensional
flatness of the canvas instead of creating the illusion of depth This marked a
revolutionary break with the European tradition which had dominated representation from
the Renaissance onwards of creating the illusion of real space from a fixed viewpoint
using devices such as linear perspective
What inspired cubist style
Cubism was partly influenced by the late work of Paul Ceacutezanne in which he can be seen to
be painting things from slightly different points of view Pablo Picasso was also inspired by
African tribal masks which are highly stylised or non-naturalistic but nevertheless present
a vivid human image lsquoA headrsquo said Picasso lsquois a matter of eyes nose mouth which can
be distributed in any way you likersquo
Types of cubism Analytical vs synthetic
Cubism can be seen to have developed in two distinct phases the initial and more
austere analytical cubism and later phase of cubism known as synthetic cubism
Georges Braque
Mandola 1909-10
Oil on canvas
Pablo Picasso
Bottle of Vieux Marc Glass Guitar and Newspaper 1913
Collage and pen and ink on blue paper
Analytical cubism ran from 1908ndash12 Its artworks look more severe and are made up of an
interweaving of planes and lines in muted tones of blacks greys and ochres
Synthetic cubism is the later phase of cubism generally considered to date from about
1912 to 1914 and characterised by simpler shapes and brighter colours Synthetic cubist
works also often include collaged real elements such as newspapers The inclusion of
real objects directly in art was the start of one of the most important ideas in modern art
II fase Sono stati individuati da ciascun gruppo i principali caratteri del Cubism partendo da alcune considerazioni di base e sono stati evidenziati in lingua inglese dai ragazzi allrsquointerno dei gruppi e poi alla classe Si egrave chiesto poi di raggruppare le immagini proposte in base alla tipologia ai materiali ai formati delle opere
Introduction Revolutionary Abstract Art
In fine art the term Cubism describes the revolutionary style of painting invented by Pablo Picasso (1881-1973) and Georges Braque (1882-1963) in Paris during the period 1907-12 Their Cubist methods - initially influenced by the geometric motifs in the landscape compositions of the Post-Impressionist painter Paul Cezanne - radically redefined the nature and scope of fine art painting and to a lesser extent sculpture as previously practiced and heralded entirely new ways of representing reality To this extent Cubism marks the end of the Renaissance-dominated era and the beginning of modern art
Largely a type of semi abstract art - although at times it approaches full-blown non-objective art - Cubism is traditionally classified into three stages
(1) Early Cubist Painting (1907-9) (2) Analytical Cubism (1909-12) (3) Synthetic Cubism (1912-14)
In addition to Braque and Picasso other famous artists who were closely associated with the movement include the painters Juan Gris (1887-1927) Fernand Leger (1881-1955) Robert Delaunay (1885-1941) Francis Picabia (1879-1953) the versatile artist Marcel Duchamp (1887-1968) and the sculptors Jacques Lipchitz (1891-1973) Alexander Archipenko (1887-1964) Cubism was the starting point for or an essential element in a number of other modern art movements including Futurism (1909-14) Orphism (1910-13) Vorticism (1914-15) Russian Constructivism (c1919-1932) and Dada (1916-1924)
Portrait of Ambroise Vollard (1909) by Pablo Picasso Pushkin Museum
Violin and Candlestick (1910) San Francisco Museum of Modern Art By Georges Braque
What Were the Origins of Cubist Art
After three decades of Impressionist-inspired art culminating in the Fauvist colourist movement (of which incidentally Braque had been a member) Picasso began to worry that this type of painting was a dead-end with less and less potential for intellectual exploration In this frame of mind and recently exposed to African tribal art whilst in Spain he began painting Les Demoiselles DAvignon (1907 MoMA New York) his ground-breaking masterpiece whose flat splintered planes replaced traditional linear perspective and rounded volumes thereby signalling his break with the naturalistic traditions of Western art At the same time Georges Braque a former student at the prestigious Ecole des Beaux-Arts in Paris had just been overwhelmed by the 1907 Exhibition of Cezannes paintings at the ParisianSalon dAutomne and the Bernheim-Jeune Gallery - notably Cezannes masterpiece The Large Bathers (Les Grandes Baigneuses) (1894-1905) The pair then met in October 1907 and over the next two years developed what became known as Cubism - a completely new method of depicting the visual world
The Origin of the Term Cubism
In the summer of 1908 while staying at LEstaque near Marseilles Braque painted a series of landscapes which were shown later that year at a Gallery in Paris owned by the art dealer Daniel-Henri Kahnweiler When
reviewing this exhibition the famous art critic Louis Vauxcelles commented on Braques way of reducing everything - sights figures and houses - to geometric outlines to cubes The following year Vauxcelles used the expression bizarreries cubiques (cubic excentricities) - a phrase allegedly first used by Henri Matisse - and by 1911 the term Cubism had entered the English language The description is quite apt for the blocklike forms in some of Braques early landscapes and in a few similiar works by Picasso painted at Horta del Ebro in Spain though not for their later Cubist pictures in which the forms are broken down into facets rather than cubes The term was taken up by two practising Cubists Gleizes and Metzinger in their influential 1912 bookDu Cubisme
How to Understand Cubism
First off itrsquos very difficult to appreciate Cubism without examining its paintings A good start is to compare early Cubist still-lifes with traditional still life from (say) the Baroque or Dutch Realist schools If nothing else you will appreciate the radical nature of Cubism compared to traditional Western art Note also that Cubism was not a single style of painting analytical Cubism is completely different from the later synthetic Cubism The former is all about structure - how the picture should depict the object being painted the latter is exclusively concerned with the surface of the picture and what may be incorporated within it One final word of advice dont be put off by its strangeness Cubism is symbolic challenging and full of ideas but its not a terribly pretty form of visual art
What Are the Characteristics of Cubism
Ever since the Renaissance if not before artists painted pictures from a single fixed viewpoint as if they were taking a photograph The illusion of background depth was created using standard conventions of linear perspective (eg objects were shown smaller as they receded) and by painting figures and objects with rounded shaded surfaces to convey a 3-D effect In addition the scene or object was painted at a particular moment in time
In contrast Braque and Picasso thought that the full significance of an object could only be captured by showing it from multiple points of view and at different times So they abandoned the idea of a single fixed viewpoint and instead used a multiplicity of viewpoints The object was then reassembled out of fragments of these different views rather like a complex jigsaw puzzle In this way many different views of an object were simultanously depicted in the same picture In a sense its like taking 5 different photographs (at different times) of the same object then cutting them up and reassembling them in an overlapping manner on a flat surface
Such fragmentation and rearrangement of form meant that a painting could now be regarded less as a kind of window on the world and more as a physical object on which a subjective response to the world is created
As far as artistic technique was concerned Cubism showed how a sense of solidity and pictorial structure could be created without traditional perspective or modelling
Thus the Cubist style focused on the flat two-dimensional surface of the picture plane and rejected the traditional conventions and techniques of linear perspective chiaroscuro (use of shading to show light and shadow) and the traditional idea of imitating nature Instead of creating natural-looking 3-D objects Cubist painters offered a brand new set of images reassembled from 2-D fragments which showed the objects from several sides simultaneously If Fauvists and Impressionists strove to express their personal sensation of a particular object or scene Cubists sought to depict the intellectual idea or form of an object and its relationship to others
Cubist Exhibitions
Cubism had two identities a public and a private The style was jointly evolved by Pablo Picasso and Georges Braque on the basis of observations derived from Cezanne and also to some extent from ethnographical primitivism such as that investigated by Picasso during his African art period It made its public debut with Braques one-man exhibition organized by Kahnweiler in November 1908 But after this both he and Picasso more or less went to ground and the Cubist banner was upheld by others - the so-called salon-Cubists - including Robert Delaunay Albert Gleizes Fernand Leger Henri Le Fauconnier and Jean Metzinger at the Salon des Independeants in 1911
The year 1913 also witnessed the famous Armory Show held in FebMarch on Lexington Avenue Manhattan New York in which Marcel Duchamps Nude Descending a Staircase (no 2) (1912) was the controversial even scandalous attraction Around the beginning of 1912 Picasso and Braque switched from the Analytic Cubism with which they started to Synthetic Cubism - a new more decorative and surface-oriented style created using new techniques such as collage and papier colles The incorporation of everyday detritus into their paintings can be seen as the beginning of Junk Art At this point they were joined in their explorations by Juan Gris
Symbol of Artistic amp Intellectual Fashion
Cubism was an art-style with attitude It was iconoclastic challenging intellectual It focused on ideas rather than pretty pictures But it captured the spirit of the age - the age of challenging French musicians Claude Debussy (1862-1918) Erik Satie (1866-1925) and Maurice Ravel (1875-1937) and analytical Cubism in particular corresponded with the ideas of the French philosopher Henri Bergson (1859-1941) whose concept of simultaneity stated that the past overlaps with the present which itself flows into the future Meanwhile fine art was at something of a crossroads Impressionism was yesterdays fashion the Belle Epoque of
Parisian poster art was over Toulouse-Lautrec was dead Art Nouveau was in decline and even colourfull Fauvism was running out of steam At the same time the political temperature was rising across Europe exposing horrific possibilities of war and chaos In its assault on the old certainties of Renaissance art Cubism mirrored the calls for change in many other disciplines as well as the world at large Note For an explanation of some of the great Cubist
III fase Sono seguiti quindi i commenti e le riflessioni sulle scelte effettuate seguendo sempre la condivisione a gruppi e collegiale come in precedenza Si egrave cercato in tal modo di favorire la collaborazione tra studente e studente di facilitare la comunicazione interpersonale e di rendere coinvolgente lrsquoapproccio Ersquo stato privilegiato perciograve un lavoro sia individuale sia drsquoinsieme stimolando lrsquoapprendimento la creativitagrave e la riflessione critica La presenza in classe di Ginta si egrave rivelata molto utile per i ragazzi per lrsquoappoggio linguistico mentre la mia dal punto di vista storico-artistico e lessicale Un gruppo di studenti era giagrave abituato a lavorare con questa metodologia con risultati brillanti Infatti durante lrsquoultima parte dello scorso anno scolastico ( 201415 ) e la prima di quello in corso ( 201516 ) avevano partecipato al PROGETTO EXPO 2015 In questa occasione la nostra scuola era stata scelta dal MIUR come Partner del Palazzo Reale di Genova dove i visitatori erano accompagnati nelle sale con la spiegazione ( sia in italiano sia in inglese ) delle opere drsquoarte esposte dagli stessi ragazzi che avevano effettuato un periodo di training organizzato a tal fine
IV fase Si egrave passati allrsquoapprofondimento della figura e dellrsquoopera di Picasso utilizzando - un testo in lingua inglese
Art Analysis Pablo Picasso Les demoiselles drsquoAvignon (1 )
e una serie di immagini dellrsquoopera
Le prove di verifica e di rinforzo sono state suddivise in
- Read and recognise verifica della comprensione e dei contenuti del testo - Art and language verifica e potenziamento del lessico e dei campi semantici - Key Art concept verifica della comprensione di uno o piugrave concetti chiave emersi nel
modulo
Le attivitagrave degli studenti sono state indirizzate a rafforzare e verificare lrsquoapprendimento dei concetti artistici e linguistici e di attivazione didattica anche attraverso ricerche internet mirate per favorire un utilizzo consapevole ed esperto delle risorse digitali e multimediali nel campo dellrsquoarte I tempi hanno previsto due periodi orari da 55 minuti utilizzati in sequenza nella stessa mattinata e da altri due periodi situati in differenti giornate Docente
Rosa Maria Malerba
( 1 ) da Vettese Princi Contemporary ART ATLAS
Introduction to the cubist movement
Cubism was one of the most influential styles of the twentieth century It is generally
agreed to have begun around 1907 withPicassorsquos celebrated painting Demoiselles
DrsquoAvignon which included elements of cubist style The name lsquocubismrsquo seems to have
derived from a comment made by the critic Louis Vauxcelles who on seeing some
of Georges Braquersquos paintings exhibited in Paris in 1908 described them as reducing
everything to lsquogeometric outlines to cubesrsquo
Cubism opened up almost infinite new possibilities for the treatment of visual reality in art
and was the starting point for many later abstract styles including constructivism and neo-
plasticism
How does it work
By breaking objects and figures down into distinct areas or planes the artists aimed to
show different viewpoints at the same time and within the same space and so suggest
their three dimensional form In doing so they also emphasized the two-dimensional
flatness of the canvas instead of creating the illusion of depth This marked a
revolutionary break with the European tradition which had dominated representation from
the Renaissance onwards of creating the illusion of real space from a fixed viewpoint
using devices such as linear perspective
What inspired cubist style
Cubism was partly influenced by the late work of Paul Ceacutezanne in which he can be seen to
be painting things from slightly different points of view Pablo Picasso was also inspired by
African tribal masks which are highly stylised or non-naturalistic but nevertheless present
a vivid human image lsquoA headrsquo said Picasso lsquois a matter of eyes nose mouth which can
be distributed in any way you likersquo
Types of cubism Analytical vs synthetic
Cubism can be seen to have developed in two distinct phases the initial and more
austere analytical cubism and later phase of cubism known as synthetic cubism
Georges Braque
Mandola 1909-10
Oil on canvas
Pablo Picasso
Bottle of Vieux Marc Glass Guitar and Newspaper 1913
Collage and pen and ink on blue paper
Analytical cubism ran from 1908ndash12 Its artworks look more severe and are made up of an
interweaving of planes and lines in muted tones of blacks greys and ochres
Synthetic cubism is the later phase of cubism generally considered to date from about
1912 to 1914 and characterised by simpler shapes and brighter colours Synthetic cubist
works also often include collaged real elements such as newspapers The inclusion of
real objects directly in art was the start of one of the most important ideas in modern art
II fase Sono stati individuati da ciascun gruppo i principali caratteri del Cubism partendo da alcune considerazioni di base e sono stati evidenziati in lingua inglese dai ragazzi allrsquointerno dei gruppi e poi alla classe Si egrave chiesto poi di raggruppare le immagini proposte in base alla tipologia ai materiali ai formati delle opere
Introduction Revolutionary Abstract Art
In fine art the term Cubism describes the revolutionary style of painting invented by Pablo Picasso (1881-1973) and Georges Braque (1882-1963) in Paris during the period 1907-12 Their Cubist methods - initially influenced by the geometric motifs in the landscape compositions of the Post-Impressionist painter Paul Cezanne - radically redefined the nature and scope of fine art painting and to a lesser extent sculpture as previously practiced and heralded entirely new ways of representing reality To this extent Cubism marks the end of the Renaissance-dominated era and the beginning of modern art
Largely a type of semi abstract art - although at times it approaches full-blown non-objective art - Cubism is traditionally classified into three stages
(1) Early Cubist Painting (1907-9) (2) Analytical Cubism (1909-12) (3) Synthetic Cubism (1912-14)
In addition to Braque and Picasso other famous artists who were closely associated with the movement include the painters Juan Gris (1887-1927) Fernand Leger (1881-1955) Robert Delaunay (1885-1941) Francis Picabia (1879-1953) the versatile artist Marcel Duchamp (1887-1968) and the sculptors Jacques Lipchitz (1891-1973) Alexander Archipenko (1887-1964) Cubism was the starting point for or an essential element in a number of other modern art movements including Futurism (1909-14) Orphism (1910-13) Vorticism (1914-15) Russian Constructivism (c1919-1932) and Dada (1916-1924)
Portrait of Ambroise Vollard (1909) by Pablo Picasso Pushkin Museum
Violin and Candlestick (1910) San Francisco Museum of Modern Art By Georges Braque
What Were the Origins of Cubist Art
After three decades of Impressionist-inspired art culminating in the Fauvist colourist movement (of which incidentally Braque had been a member) Picasso began to worry that this type of painting was a dead-end with less and less potential for intellectual exploration In this frame of mind and recently exposed to African tribal art whilst in Spain he began painting Les Demoiselles DAvignon (1907 MoMA New York) his ground-breaking masterpiece whose flat splintered planes replaced traditional linear perspective and rounded volumes thereby signalling his break with the naturalistic traditions of Western art At the same time Georges Braque a former student at the prestigious Ecole des Beaux-Arts in Paris had just been overwhelmed by the 1907 Exhibition of Cezannes paintings at the ParisianSalon dAutomne and the Bernheim-Jeune Gallery - notably Cezannes masterpiece The Large Bathers (Les Grandes Baigneuses) (1894-1905) The pair then met in October 1907 and over the next two years developed what became known as Cubism - a completely new method of depicting the visual world
The Origin of the Term Cubism
In the summer of 1908 while staying at LEstaque near Marseilles Braque painted a series of landscapes which were shown later that year at a Gallery in Paris owned by the art dealer Daniel-Henri Kahnweiler When
reviewing this exhibition the famous art critic Louis Vauxcelles commented on Braques way of reducing everything - sights figures and houses - to geometric outlines to cubes The following year Vauxcelles used the expression bizarreries cubiques (cubic excentricities) - a phrase allegedly first used by Henri Matisse - and by 1911 the term Cubism had entered the English language The description is quite apt for the blocklike forms in some of Braques early landscapes and in a few similiar works by Picasso painted at Horta del Ebro in Spain though not for their later Cubist pictures in which the forms are broken down into facets rather than cubes The term was taken up by two practising Cubists Gleizes and Metzinger in their influential 1912 bookDu Cubisme
How to Understand Cubism
First off itrsquos very difficult to appreciate Cubism without examining its paintings A good start is to compare early Cubist still-lifes with traditional still life from (say) the Baroque or Dutch Realist schools If nothing else you will appreciate the radical nature of Cubism compared to traditional Western art Note also that Cubism was not a single style of painting analytical Cubism is completely different from the later synthetic Cubism The former is all about structure - how the picture should depict the object being painted the latter is exclusively concerned with the surface of the picture and what may be incorporated within it One final word of advice dont be put off by its strangeness Cubism is symbolic challenging and full of ideas but its not a terribly pretty form of visual art
What Are the Characteristics of Cubism
Ever since the Renaissance if not before artists painted pictures from a single fixed viewpoint as if they were taking a photograph The illusion of background depth was created using standard conventions of linear perspective (eg objects were shown smaller as they receded) and by painting figures and objects with rounded shaded surfaces to convey a 3-D effect In addition the scene or object was painted at a particular moment in time
In contrast Braque and Picasso thought that the full significance of an object could only be captured by showing it from multiple points of view and at different times So they abandoned the idea of a single fixed viewpoint and instead used a multiplicity of viewpoints The object was then reassembled out of fragments of these different views rather like a complex jigsaw puzzle In this way many different views of an object were simultanously depicted in the same picture In a sense its like taking 5 different photographs (at different times) of the same object then cutting them up and reassembling them in an overlapping manner on a flat surface
Such fragmentation and rearrangement of form meant that a painting could now be regarded less as a kind of window on the world and more as a physical object on which a subjective response to the world is created
As far as artistic technique was concerned Cubism showed how a sense of solidity and pictorial structure could be created without traditional perspective or modelling
Thus the Cubist style focused on the flat two-dimensional surface of the picture plane and rejected the traditional conventions and techniques of linear perspective chiaroscuro (use of shading to show light and shadow) and the traditional idea of imitating nature Instead of creating natural-looking 3-D objects Cubist painters offered a brand new set of images reassembled from 2-D fragments which showed the objects from several sides simultaneously If Fauvists and Impressionists strove to express their personal sensation of a particular object or scene Cubists sought to depict the intellectual idea or form of an object and its relationship to others
Cubist Exhibitions
Cubism had two identities a public and a private The style was jointly evolved by Pablo Picasso and Georges Braque on the basis of observations derived from Cezanne and also to some extent from ethnographical primitivism such as that investigated by Picasso during his African art period It made its public debut with Braques one-man exhibition organized by Kahnweiler in November 1908 But after this both he and Picasso more or less went to ground and the Cubist banner was upheld by others - the so-called salon-Cubists - including Robert Delaunay Albert Gleizes Fernand Leger Henri Le Fauconnier and Jean Metzinger at the Salon des Independeants in 1911
The year 1913 also witnessed the famous Armory Show held in FebMarch on Lexington Avenue Manhattan New York in which Marcel Duchamps Nude Descending a Staircase (no 2) (1912) was the controversial even scandalous attraction Around the beginning of 1912 Picasso and Braque switched from the Analytic Cubism with which they started to Synthetic Cubism - a new more decorative and surface-oriented style created using new techniques such as collage and papier colles The incorporation of everyday detritus into their paintings can be seen as the beginning of Junk Art At this point they were joined in their explorations by Juan Gris
Symbol of Artistic amp Intellectual Fashion
Cubism was an art-style with attitude It was iconoclastic challenging intellectual It focused on ideas rather than pretty pictures But it captured the spirit of the age - the age of challenging French musicians Claude Debussy (1862-1918) Erik Satie (1866-1925) and Maurice Ravel (1875-1937) and analytical Cubism in particular corresponded with the ideas of the French philosopher Henri Bergson (1859-1941) whose concept of simultaneity stated that the past overlaps with the present which itself flows into the future Meanwhile fine art was at something of a crossroads Impressionism was yesterdays fashion the Belle Epoque of
Parisian poster art was over Toulouse-Lautrec was dead Art Nouveau was in decline and even colourfull Fauvism was running out of steam At the same time the political temperature was rising across Europe exposing horrific possibilities of war and chaos In its assault on the old certainties of Renaissance art Cubism mirrored the calls for change in many other disciplines as well as the world at large Note For an explanation of some of the great Cubist
III fase Sono seguiti quindi i commenti e le riflessioni sulle scelte effettuate seguendo sempre la condivisione a gruppi e collegiale come in precedenza Si egrave cercato in tal modo di favorire la collaborazione tra studente e studente di facilitare la comunicazione interpersonale e di rendere coinvolgente lrsquoapproccio Ersquo stato privilegiato perciograve un lavoro sia individuale sia drsquoinsieme stimolando lrsquoapprendimento la creativitagrave e la riflessione critica La presenza in classe di Ginta si egrave rivelata molto utile per i ragazzi per lrsquoappoggio linguistico mentre la mia dal punto di vista storico-artistico e lessicale Un gruppo di studenti era giagrave abituato a lavorare con questa metodologia con risultati brillanti Infatti durante lrsquoultima parte dello scorso anno scolastico ( 201415 ) e la prima di quello in corso ( 201516 ) avevano partecipato al PROGETTO EXPO 2015 In questa occasione la nostra scuola era stata scelta dal MIUR come Partner del Palazzo Reale di Genova dove i visitatori erano accompagnati nelle sale con la spiegazione ( sia in italiano sia in inglese ) delle opere drsquoarte esposte dagli stessi ragazzi che avevano effettuato un periodo di training organizzato a tal fine
IV fase Si egrave passati allrsquoapprofondimento della figura e dellrsquoopera di Picasso utilizzando - un testo in lingua inglese
Art Analysis Pablo Picasso Les demoiselles drsquoAvignon (1 )
e una serie di immagini dellrsquoopera
Le prove di verifica e di rinforzo sono state suddivise in
- Read and recognise verifica della comprensione e dei contenuti del testo - Art and language verifica e potenziamento del lessico e dei campi semantici - Key Art concept verifica della comprensione di uno o piugrave concetti chiave emersi nel
modulo
Le attivitagrave degli studenti sono state indirizzate a rafforzare e verificare lrsquoapprendimento dei concetti artistici e linguistici e di attivazione didattica anche attraverso ricerche internet mirate per favorire un utilizzo consapevole ed esperto delle risorse digitali e multimediali nel campo dellrsquoarte I tempi hanno previsto due periodi orari da 55 minuti utilizzati in sequenza nella stessa mattinata e da altri due periodi situati in differenti giornate Docente
Rosa Maria Malerba
( 1 ) da Vettese Princi Contemporary ART ATLAS
Georges Braque
Mandola 1909-10
Oil on canvas
Pablo Picasso
Bottle of Vieux Marc Glass Guitar and Newspaper 1913
Collage and pen and ink on blue paper
Analytical cubism ran from 1908ndash12 Its artworks look more severe and are made up of an
interweaving of planes and lines in muted tones of blacks greys and ochres
Synthetic cubism is the later phase of cubism generally considered to date from about
1912 to 1914 and characterised by simpler shapes and brighter colours Synthetic cubist
works also often include collaged real elements such as newspapers The inclusion of
real objects directly in art was the start of one of the most important ideas in modern art
II fase Sono stati individuati da ciascun gruppo i principali caratteri del Cubism partendo da alcune considerazioni di base e sono stati evidenziati in lingua inglese dai ragazzi allrsquointerno dei gruppi e poi alla classe Si egrave chiesto poi di raggruppare le immagini proposte in base alla tipologia ai materiali ai formati delle opere
Introduction Revolutionary Abstract Art
In fine art the term Cubism describes the revolutionary style of painting invented by Pablo Picasso (1881-1973) and Georges Braque (1882-1963) in Paris during the period 1907-12 Their Cubist methods - initially influenced by the geometric motifs in the landscape compositions of the Post-Impressionist painter Paul Cezanne - radically redefined the nature and scope of fine art painting and to a lesser extent sculpture as previously practiced and heralded entirely new ways of representing reality To this extent Cubism marks the end of the Renaissance-dominated era and the beginning of modern art
Largely a type of semi abstract art - although at times it approaches full-blown non-objective art - Cubism is traditionally classified into three stages
(1) Early Cubist Painting (1907-9) (2) Analytical Cubism (1909-12) (3) Synthetic Cubism (1912-14)
In addition to Braque and Picasso other famous artists who were closely associated with the movement include the painters Juan Gris (1887-1927) Fernand Leger (1881-1955) Robert Delaunay (1885-1941) Francis Picabia (1879-1953) the versatile artist Marcel Duchamp (1887-1968) and the sculptors Jacques Lipchitz (1891-1973) Alexander Archipenko (1887-1964) Cubism was the starting point for or an essential element in a number of other modern art movements including Futurism (1909-14) Orphism (1910-13) Vorticism (1914-15) Russian Constructivism (c1919-1932) and Dada (1916-1924)
Portrait of Ambroise Vollard (1909) by Pablo Picasso Pushkin Museum
Violin and Candlestick (1910) San Francisco Museum of Modern Art By Georges Braque
What Were the Origins of Cubist Art
After three decades of Impressionist-inspired art culminating in the Fauvist colourist movement (of which incidentally Braque had been a member) Picasso began to worry that this type of painting was a dead-end with less and less potential for intellectual exploration In this frame of mind and recently exposed to African tribal art whilst in Spain he began painting Les Demoiselles DAvignon (1907 MoMA New York) his ground-breaking masterpiece whose flat splintered planes replaced traditional linear perspective and rounded volumes thereby signalling his break with the naturalistic traditions of Western art At the same time Georges Braque a former student at the prestigious Ecole des Beaux-Arts in Paris had just been overwhelmed by the 1907 Exhibition of Cezannes paintings at the ParisianSalon dAutomne and the Bernheim-Jeune Gallery - notably Cezannes masterpiece The Large Bathers (Les Grandes Baigneuses) (1894-1905) The pair then met in October 1907 and over the next two years developed what became known as Cubism - a completely new method of depicting the visual world
The Origin of the Term Cubism
In the summer of 1908 while staying at LEstaque near Marseilles Braque painted a series of landscapes which were shown later that year at a Gallery in Paris owned by the art dealer Daniel-Henri Kahnweiler When
reviewing this exhibition the famous art critic Louis Vauxcelles commented on Braques way of reducing everything - sights figures and houses - to geometric outlines to cubes The following year Vauxcelles used the expression bizarreries cubiques (cubic excentricities) - a phrase allegedly first used by Henri Matisse - and by 1911 the term Cubism had entered the English language The description is quite apt for the blocklike forms in some of Braques early landscapes and in a few similiar works by Picasso painted at Horta del Ebro in Spain though not for their later Cubist pictures in which the forms are broken down into facets rather than cubes The term was taken up by two practising Cubists Gleizes and Metzinger in their influential 1912 bookDu Cubisme
How to Understand Cubism
First off itrsquos very difficult to appreciate Cubism without examining its paintings A good start is to compare early Cubist still-lifes with traditional still life from (say) the Baroque or Dutch Realist schools If nothing else you will appreciate the radical nature of Cubism compared to traditional Western art Note also that Cubism was not a single style of painting analytical Cubism is completely different from the later synthetic Cubism The former is all about structure - how the picture should depict the object being painted the latter is exclusively concerned with the surface of the picture and what may be incorporated within it One final word of advice dont be put off by its strangeness Cubism is symbolic challenging and full of ideas but its not a terribly pretty form of visual art
What Are the Characteristics of Cubism
Ever since the Renaissance if not before artists painted pictures from a single fixed viewpoint as if they were taking a photograph The illusion of background depth was created using standard conventions of linear perspective (eg objects were shown smaller as they receded) and by painting figures and objects with rounded shaded surfaces to convey a 3-D effect In addition the scene or object was painted at a particular moment in time
In contrast Braque and Picasso thought that the full significance of an object could only be captured by showing it from multiple points of view and at different times So they abandoned the idea of a single fixed viewpoint and instead used a multiplicity of viewpoints The object was then reassembled out of fragments of these different views rather like a complex jigsaw puzzle In this way many different views of an object were simultanously depicted in the same picture In a sense its like taking 5 different photographs (at different times) of the same object then cutting them up and reassembling them in an overlapping manner on a flat surface
Such fragmentation and rearrangement of form meant that a painting could now be regarded less as a kind of window on the world and more as a physical object on which a subjective response to the world is created
As far as artistic technique was concerned Cubism showed how a sense of solidity and pictorial structure could be created without traditional perspective or modelling
Thus the Cubist style focused on the flat two-dimensional surface of the picture plane and rejected the traditional conventions and techniques of linear perspective chiaroscuro (use of shading to show light and shadow) and the traditional idea of imitating nature Instead of creating natural-looking 3-D objects Cubist painters offered a brand new set of images reassembled from 2-D fragments which showed the objects from several sides simultaneously If Fauvists and Impressionists strove to express their personal sensation of a particular object or scene Cubists sought to depict the intellectual idea or form of an object and its relationship to others
Cubist Exhibitions
Cubism had two identities a public and a private The style was jointly evolved by Pablo Picasso and Georges Braque on the basis of observations derived from Cezanne and also to some extent from ethnographical primitivism such as that investigated by Picasso during his African art period It made its public debut with Braques one-man exhibition organized by Kahnweiler in November 1908 But after this both he and Picasso more or less went to ground and the Cubist banner was upheld by others - the so-called salon-Cubists - including Robert Delaunay Albert Gleizes Fernand Leger Henri Le Fauconnier and Jean Metzinger at the Salon des Independeants in 1911
The year 1913 also witnessed the famous Armory Show held in FebMarch on Lexington Avenue Manhattan New York in which Marcel Duchamps Nude Descending a Staircase (no 2) (1912) was the controversial even scandalous attraction Around the beginning of 1912 Picasso and Braque switched from the Analytic Cubism with which they started to Synthetic Cubism - a new more decorative and surface-oriented style created using new techniques such as collage and papier colles The incorporation of everyday detritus into their paintings can be seen as the beginning of Junk Art At this point they were joined in their explorations by Juan Gris
Symbol of Artistic amp Intellectual Fashion
Cubism was an art-style with attitude It was iconoclastic challenging intellectual It focused on ideas rather than pretty pictures But it captured the spirit of the age - the age of challenging French musicians Claude Debussy (1862-1918) Erik Satie (1866-1925) and Maurice Ravel (1875-1937) and analytical Cubism in particular corresponded with the ideas of the French philosopher Henri Bergson (1859-1941) whose concept of simultaneity stated that the past overlaps with the present which itself flows into the future Meanwhile fine art was at something of a crossroads Impressionism was yesterdays fashion the Belle Epoque of
Parisian poster art was over Toulouse-Lautrec was dead Art Nouveau was in decline and even colourfull Fauvism was running out of steam At the same time the political temperature was rising across Europe exposing horrific possibilities of war and chaos In its assault on the old certainties of Renaissance art Cubism mirrored the calls for change in many other disciplines as well as the world at large Note For an explanation of some of the great Cubist
III fase Sono seguiti quindi i commenti e le riflessioni sulle scelte effettuate seguendo sempre la condivisione a gruppi e collegiale come in precedenza Si egrave cercato in tal modo di favorire la collaborazione tra studente e studente di facilitare la comunicazione interpersonale e di rendere coinvolgente lrsquoapproccio Ersquo stato privilegiato perciograve un lavoro sia individuale sia drsquoinsieme stimolando lrsquoapprendimento la creativitagrave e la riflessione critica La presenza in classe di Ginta si egrave rivelata molto utile per i ragazzi per lrsquoappoggio linguistico mentre la mia dal punto di vista storico-artistico e lessicale Un gruppo di studenti era giagrave abituato a lavorare con questa metodologia con risultati brillanti Infatti durante lrsquoultima parte dello scorso anno scolastico ( 201415 ) e la prima di quello in corso ( 201516 ) avevano partecipato al PROGETTO EXPO 2015 In questa occasione la nostra scuola era stata scelta dal MIUR come Partner del Palazzo Reale di Genova dove i visitatori erano accompagnati nelle sale con la spiegazione ( sia in italiano sia in inglese ) delle opere drsquoarte esposte dagli stessi ragazzi che avevano effettuato un periodo di training organizzato a tal fine
IV fase Si egrave passati allrsquoapprofondimento della figura e dellrsquoopera di Picasso utilizzando - un testo in lingua inglese
Art Analysis Pablo Picasso Les demoiselles drsquoAvignon (1 )
e una serie di immagini dellrsquoopera
Le prove di verifica e di rinforzo sono state suddivise in
- Read and recognise verifica della comprensione e dei contenuti del testo - Art and language verifica e potenziamento del lessico e dei campi semantici - Key Art concept verifica della comprensione di uno o piugrave concetti chiave emersi nel
modulo
Le attivitagrave degli studenti sono state indirizzate a rafforzare e verificare lrsquoapprendimento dei concetti artistici e linguistici e di attivazione didattica anche attraverso ricerche internet mirate per favorire un utilizzo consapevole ed esperto delle risorse digitali e multimediali nel campo dellrsquoarte I tempi hanno previsto due periodi orari da 55 minuti utilizzati in sequenza nella stessa mattinata e da altri due periodi situati in differenti giornate Docente
Rosa Maria Malerba
( 1 ) da Vettese Princi Contemporary ART ATLAS
Synthetic cubism is the later phase of cubism generally considered to date from about
1912 to 1914 and characterised by simpler shapes and brighter colours Synthetic cubist
works also often include collaged real elements such as newspapers The inclusion of
real objects directly in art was the start of one of the most important ideas in modern art
II fase Sono stati individuati da ciascun gruppo i principali caratteri del Cubism partendo da alcune considerazioni di base e sono stati evidenziati in lingua inglese dai ragazzi allrsquointerno dei gruppi e poi alla classe Si egrave chiesto poi di raggruppare le immagini proposte in base alla tipologia ai materiali ai formati delle opere
Introduction Revolutionary Abstract Art
In fine art the term Cubism describes the revolutionary style of painting invented by Pablo Picasso (1881-1973) and Georges Braque (1882-1963) in Paris during the period 1907-12 Their Cubist methods - initially influenced by the geometric motifs in the landscape compositions of the Post-Impressionist painter Paul Cezanne - radically redefined the nature and scope of fine art painting and to a lesser extent sculpture as previously practiced and heralded entirely new ways of representing reality To this extent Cubism marks the end of the Renaissance-dominated era and the beginning of modern art
Largely a type of semi abstract art - although at times it approaches full-blown non-objective art - Cubism is traditionally classified into three stages
(1) Early Cubist Painting (1907-9) (2) Analytical Cubism (1909-12) (3) Synthetic Cubism (1912-14)
In addition to Braque and Picasso other famous artists who were closely associated with the movement include the painters Juan Gris (1887-1927) Fernand Leger (1881-1955) Robert Delaunay (1885-1941) Francis Picabia (1879-1953) the versatile artist Marcel Duchamp (1887-1968) and the sculptors Jacques Lipchitz (1891-1973) Alexander Archipenko (1887-1964) Cubism was the starting point for or an essential element in a number of other modern art movements including Futurism (1909-14) Orphism (1910-13) Vorticism (1914-15) Russian Constructivism (c1919-1932) and Dada (1916-1924)
Portrait of Ambroise Vollard (1909) by Pablo Picasso Pushkin Museum
Violin and Candlestick (1910) San Francisco Museum of Modern Art By Georges Braque
What Were the Origins of Cubist Art
After three decades of Impressionist-inspired art culminating in the Fauvist colourist movement (of which incidentally Braque had been a member) Picasso began to worry that this type of painting was a dead-end with less and less potential for intellectual exploration In this frame of mind and recently exposed to African tribal art whilst in Spain he began painting Les Demoiselles DAvignon (1907 MoMA New York) his ground-breaking masterpiece whose flat splintered planes replaced traditional linear perspective and rounded volumes thereby signalling his break with the naturalistic traditions of Western art At the same time Georges Braque a former student at the prestigious Ecole des Beaux-Arts in Paris had just been overwhelmed by the 1907 Exhibition of Cezannes paintings at the ParisianSalon dAutomne and the Bernheim-Jeune Gallery - notably Cezannes masterpiece The Large Bathers (Les Grandes Baigneuses) (1894-1905) The pair then met in October 1907 and over the next two years developed what became known as Cubism - a completely new method of depicting the visual world
The Origin of the Term Cubism
In the summer of 1908 while staying at LEstaque near Marseilles Braque painted a series of landscapes which were shown later that year at a Gallery in Paris owned by the art dealer Daniel-Henri Kahnweiler When
reviewing this exhibition the famous art critic Louis Vauxcelles commented on Braques way of reducing everything - sights figures and houses - to geometric outlines to cubes The following year Vauxcelles used the expression bizarreries cubiques (cubic excentricities) - a phrase allegedly first used by Henri Matisse - and by 1911 the term Cubism had entered the English language The description is quite apt for the blocklike forms in some of Braques early landscapes and in a few similiar works by Picasso painted at Horta del Ebro in Spain though not for their later Cubist pictures in which the forms are broken down into facets rather than cubes The term was taken up by two practising Cubists Gleizes and Metzinger in their influential 1912 bookDu Cubisme
How to Understand Cubism
First off itrsquos very difficult to appreciate Cubism without examining its paintings A good start is to compare early Cubist still-lifes with traditional still life from (say) the Baroque or Dutch Realist schools If nothing else you will appreciate the radical nature of Cubism compared to traditional Western art Note also that Cubism was not a single style of painting analytical Cubism is completely different from the later synthetic Cubism The former is all about structure - how the picture should depict the object being painted the latter is exclusively concerned with the surface of the picture and what may be incorporated within it One final word of advice dont be put off by its strangeness Cubism is symbolic challenging and full of ideas but its not a terribly pretty form of visual art
What Are the Characteristics of Cubism
Ever since the Renaissance if not before artists painted pictures from a single fixed viewpoint as if they were taking a photograph The illusion of background depth was created using standard conventions of linear perspective (eg objects were shown smaller as they receded) and by painting figures and objects with rounded shaded surfaces to convey a 3-D effect In addition the scene or object was painted at a particular moment in time
In contrast Braque and Picasso thought that the full significance of an object could only be captured by showing it from multiple points of view and at different times So they abandoned the idea of a single fixed viewpoint and instead used a multiplicity of viewpoints The object was then reassembled out of fragments of these different views rather like a complex jigsaw puzzle In this way many different views of an object were simultanously depicted in the same picture In a sense its like taking 5 different photographs (at different times) of the same object then cutting them up and reassembling them in an overlapping manner on a flat surface
Such fragmentation and rearrangement of form meant that a painting could now be regarded less as a kind of window on the world and more as a physical object on which a subjective response to the world is created
As far as artistic technique was concerned Cubism showed how a sense of solidity and pictorial structure could be created without traditional perspective or modelling
Thus the Cubist style focused on the flat two-dimensional surface of the picture plane and rejected the traditional conventions and techniques of linear perspective chiaroscuro (use of shading to show light and shadow) and the traditional idea of imitating nature Instead of creating natural-looking 3-D objects Cubist painters offered a brand new set of images reassembled from 2-D fragments which showed the objects from several sides simultaneously If Fauvists and Impressionists strove to express their personal sensation of a particular object or scene Cubists sought to depict the intellectual idea or form of an object and its relationship to others
Cubist Exhibitions
Cubism had two identities a public and a private The style was jointly evolved by Pablo Picasso and Georges Braque on the basis of observations derived from Cezanne and also to some extent from ethnographical primitivism such as that investigated by Picasso during his African art period It made its public debut with Braques one-man exhibition organized by Kahnweiler in November 1908 But after this both he and Picasso more or less went to ground and the Cubist banner was upheld by others - the so-called salon-Cubists - including Robert Delaunay Albert Gleizes Fernand Leger Henri Le Fauconnier and Jean Metzinger at the Salon des Independeants in 1911
The year 1913 also witnessed the famous Armory Show held in FebMarch on Lexington Avenue Manhattan New York in which Marcel Duchamps Nude Descending a Staircase (no 2) (1912) was the controversial even scandalous attraction Around the beginning of 1912 Picasso and Braque switched from the Analytic Cubism with which they started to Synthetic Cubism - a new more decorative and surface-oriented style created using new techniques such as collage and papier colles The incorporation of everyday detritus into their paintings can be seen as the beginning of Junk Art At this point they were joined in their explorations by Juan Gris
Symbol of Artistic amp Intellectual Fashion
Cubism was an art-style with attitude It was iconoclastic challenging intellectual It focused on ideas rather than pretty pictures But it captured the spirit of the age - the age of challenging French musicians Claude Debussy (1862-1918) Erik Satie (1866-1925) and Maurice Ravel (1875-1937) and analytical Cubism in particular corresponded with the ideas of the French philosopher Henri Bergson (1859-1941) whose concept of simultaneity stated that the past overlaps with the present which itself flows into the future Meanwhile fine art was at something of a crossroads Impressionism was yesterdays fashion the Belle Epoque of
Parisian poster art was over Toulouse-Lautrec was dead Art Nouveau was in decline and even colourfull Fauvism was running out of steam At the same time the political temperature was rising across Europe exposing horrific possibilities of war and chaos In its assault on the old certainties of Renaissance art Cubism mirrored the calls for change in many other disciplines as well as the world at large Note For an explanation of some of the great Cubist
III fase Sono seguiti quindi i commenti e le riflessioni sulle scelte effettuate seguendo sempre la condivisione a gruppi e collegiale come in precedenza Si egrave cercato in tal modo di favorire la collaborazione tra studente e studente di facilitare la comunicazione interpersonale e di rendere coinvolgente lrsquoapproccio Ersquo stato privilegiato perciograve un lavoro sia individuale sia drsquoinsieme stimolando lrsquoapprendimento la creativitagrave e la riflessione critica La presenza in classe di Ginta si egrave rivelata molto utile per i ragazzi per lrsquoappoggio linguistico mentre la mia dal punto di vista storico-artistico e lessicale Un gruppo di studenti era giagrave abituato a lavorare con questa metodologia con risultati brillanti Infatti durante lrsquoultima parte dello scorso anno scolastico ( 201415 ) e la prima di quello in corso ( 201516 ) avevano partecipato al PROGETTO EXPO 2015 In questa occasione la nostra scuola era stata scelta dal MIUR come Partner del Palazzo Reale di Genova dove i visitatori erano accompagnati nelle sale con la spiegazione ( sia in italiano sia in inglese ) delle opere drsquoarte esposte dagli stessi ragazzi che avevano effettuato un periodo di training organizzato a tal fine
IV fase Si egrave passati allrsquoapprofondimento della figura e dellrsquoopera di Picasso utilizzando - un testo in lingua inglese
Art Analysis Pablo Picasso Les demoiselles drsquoAvignon (1 )
e una serie di immagini dellrsquoopera
Le prove di verifica e di rinforzo sono state suddivise in
- Read and recognise verifica della comprensione e dei contenuti del testo - Art and language verifica e potenziamento del lessico e dei campi semantici - Key Art concept verifica della comprensione di uno o piugrave concetti chiave emersi nel
modulo
Le attivitagrave degli studenti sono state indirizzate a rafforzare e verificare lrsquoapprendimento dei concetti artistici e linguistici e di attivazione didattica anche attraverso ricerche internet mirate per favorire un utilizzo consapevole ed esperto delle risorse digitali e multimediali nel campo dellrsquoarte I tempi hanno previsto due periodi orari da 55 minuti utilizzati in sequenza nella stessa mattinata e da altri due periodi situati in differenti giornate Docente
Rosa Maria Malerba
( 1 ) da Vettese Princi Contemporary ART ATLAS
Portrait of Ambroise Vollard (1909) by Pablo Picasso Pushkin Museum
Violin and Candlestick (1910) San Francisco Museum of Modern Art By Georges Braque
What Were the Origins of Cubist Art
After three decades of Impressionist-inspired art culminating in the Fauvist colourist movement (of which incidentally Braque had been a member) Picasso began to worry that this type of painting was a dead-end with less and less potential for intellectual exploration In this frame of mind and recently exposed to African tribal art whilst in Spain he began painting Les Demoiselles DAvignon (1907 MoMA New York) his ground-breaking masterpiece whose flat splintered planes replaced traditional linear perspective and rounded volumes thereby signalling his break with the naturalistic traditions of Western art At the same time Georges Braque a former student at the prestigious Ecole des Beaux-Arts in Paris had just been overwhelmed by the 1907 Exhibition of Cezannes paintings at the ParisianSalon dAutomne and the Bernheim-Jeune Gallery - notably Cezannes masterpiece The Large Bathers (Les Grandes Baigneuses) (1894-1905) The pair then met in October 1907 and over the next two years developed what became known as Cubism - a completely new method of depicting the visual world
The Origin of the Term Cubism
In the summer of 1908 while staying at LEstaque near Marseilles Braque painted a series of landscapes which were shown later that year at a Gallery in Paris owned by the art dealer Daniel-Henri Kahnweiler When
reviewing this exhibition the famous art critic Louis Vauxcelles commented on Braques way of reducing everything - sights figures and houses - to geometric outlines to cubes The following year Vauxcelles used the expression bizarreries cubiques (cubic excentricities) - a phrase allegedly first used by Henri Matisse - and by 1911 the term Cubism had entered the English language The description is quite apt for the blocklike forms in some of Braques early landscapes and in a few similiar works by Picasso painted at Horta del Ebro in Spain though not for their later Cubist pictures in which the forms are broken down into facets rather than cubes The term was taken up by two practising Cubists Gleizes and Metzinger in their influential 1912 bookDu Cubisme
How to Understand Cubism
First off itrsquos very difficult to appreciate Cubism without examining its paintings A good start is to compare early Cubist still-lifes with traditional still life from (say) the Baroque or Dutch Realist schools If nothing else you will appreciate the radical nature of Cubism compared to traditional Western art Note also that Cubism was not a single style of painting analytical Cubism is completely different from the later synthetic Cubism The former is all about structure - how the picture should depict the object being painted the latter is exclusively concerned with the surface of the picture and what may be incorporated within it One final word of advice dont be put off by its strangeness Cubism is symbolic challenging and full of ideas but its not a terribly pretty form of visual art
What Are the Characteristics of Cubism
Ever since the Renaissance if not before artists painted pictures from a single fixed viewpoint as if they were taking a photograph The illusion of background depth was created using standard conventions of linear perspective (eg objects were shown smaller as they receded) and by painting figures and objects with rounded shaded surfaces to convey a 3-D effect In addition the scene or object was painted at a particular moment in time
In contrast Braque and Picasso thought that the full significance of an object could only be captured by showing it from multiple points of view and at different times So they abandoned the idea of a single fixed viewpoint and instead used a multiplicity of viewpoints The object was then reassembled out of fragments of these different views rather like a complex jigsaw puzzle In this way many different views of an object were simultanously depicted in the same picture In a sense its like taking 5 different photographs (at different times) of the same object then cutting them up and reassembling them in an overlapping manner on a flat surface
Such fragmentation and rearrangement of form meant that a painting could now be regarded less as a kind of window on the world and more as a physical object on which a subjective response to the world is created
As far as artistic technique was concerned Cubism showed how a sense of solidity and pictorial structure could be created without traditional perspective or modelling
Thus the Cubist style focused on the flat two-dimensional surface of the picture plane and rejected the traditional conventions and techniques of linear perspective chiaroscuro (use of shading to show light and shadow) and the traditional idea of imitating nature Instead of creating natural-looking 3-D objects Cubist painters offered a brand new set of images reassembled from 2-D fragments which showed the objects from several sides simultaneously If Fauvists and Impressionists strove to express their personal sensation of a particular object or scene Cubists sought to depict the intellectual idea or form of an object and its relationship to others
Cubist Exhibitions
Cubism had two identities a public and a private The style was jointly evolved by Pablo Picasso and Georges Braque on the basis of observations derived from Cezanne and also to some extent from ethnographical primitivism such as that investigated by Picasso during his African art period It made its public debut with Braques one-man exhibition organized by Kahnweiler in November 1908 But after this both he and Picasso more or less went to ground and the Cubist banner was upheld by others - the so-called salon-Cubists - including Robert Delaunay Albert Gleizes Fernand Leger Henri Le Fauconnier and Jean Metzinger at the Salon des Independeants in 1911
The year 1913 also witnessed the famous Armory Show held in FebMarch on Lexington Avenue Manhattan New York in which Marcel Duchamps Nude Descending a Staircase (no 2) (1912) was the controversial even scandalous attraction Around the beginning of 1912 Picasso and Braque switched from the Analytic Cubism with which they started to Synthetic Cubism - a new more decorative and surface-oriented style created using new techniques such as collage and papier colles The incorporation of everyday detritus into their paintings can be seen as the beginning of Junk Art At this point they were joined in their explorations by Juan Gris
Symbol of Artistic amp Intellectual Fashion
Cubism was an art-style with attitude It was iconoclastic challenging intellectual It focused on ideas rather than pretty pictures But it captured the spirit of the age - the age of challenging French musicians Claude Debussy (1862-1918) Erik Satie (1866-1925) and Maurice Ravel (1875-1937) and analytical Cubism in particular corresponded with the ideas of the French philosopher Henri Bergson (1859-1941) whose concept of simultaneity stated that the past overlaps with the present which itself flows into the future Meanwhile fine art was at something of a crossroads Impressionism was yesterdays fashion the Belle Epoque of
Parisian poster art was over Toulouse-Lautrec was dead Art Nouveau was in decline and even colourfull Fauvism was running out of steam At the same time the political temperature was rising across Europe exposing horrific possibilities of war and chaos In its assault on the old certainties of Renaissance art Cubism mirrored the calls for change in many other disciplines as well as the world at large Note For an explanation of some of the great Cubist
III fase Sono seguiti quindi i commenti e le riflessioni sulle scelte effettuate seguendo sempre la condivisione a gruppi e collegiale come in precedenza Si egrave cercato in tal modo di favorire la collaborazione tra studente e studente di facilitare la comunicazione interpersonale e di rendere coinvolgente lrsquoapproccio Ersquo stato privilegiato perciograve un lavoro sia individuale sia drsquoinsieme stimolando lrsquoapprendimento la creativitagrave e la riflessione critica La presenza in classe di Ginta si egrave rivelata molto utile per i ragazzi per lrsquoappoggio linguistico mentre la mia dal punto di vista storico-artistico e lessicale Un gruppo di studenti era giagrave abituato a lavorare con questa metodologia con risultati brillanti Infatti durante lrsquoultima parte dello scorso anno scolastico ( 201415 ) e la prima di quello in corso ( 201516 ) avevano partecipato al PROGETTO EXPO 2015 In questa occasione la nostra scuola era stata scelta dal MIUR come Partner del Palazzo Reale di Genova dove i visitatori erano accompagnati nelle sale con la spiegazione ( sia in italiano sia in inglese ) delle opere drsquoarte esposte dagli stessi ragazzi che avevano effettuato un periodo di training organizzato a tal fine
IV fase Si egrave passati allrsquoapprofondimento della figura e dellrsquoopera di Picasso utilizzando - un testo in lingua inglese
Art Analysis Pablo Picasso Les demoiselles drsquoAvignon (1 )
e una serie di immagini dellrsquoopera
Le prove di verifica e di rinforzo sono state suddivise in
- Read and recognise verifica della comprensione e dei contenuti del testo - Art and language verifica e potenziamento del lessico e dei campi semantici - Key Art concept verifica della comprensione di uno o piugrave concetti chiave emersi nel
modulo
Le attivitagrave degli studenti sono state indirizzate a rafforzare e verificare lrsquoapprendimento dei concetti artistici e linguistici e di attivazione didattica anche attraverso ricerche internet mirate per favorire un utilizzo consapevole ed esperto delle risorse digitali e multimediali nel campo dellrsquoarte I tempi hanno previsto due periodi orari da 55 minuti utilizzati in sequenza nella stessa mattinata e da altri due periodi situati in differenti giornate Docente
Rosa Maria Malerba
( 1 ) da Vettese Princi Contemporary ART ATLAS
reviewing this exhibition the famous art critic Louis Vauxcelles commented on Braques way of reducing everything - sights figures and houses - to geometric outlines to cubes The following year Vauxcelles used the expression bizarreries cubiques (cubic excentricities) - a phrase allegedly first used by Henri Matisse - and by 1911 the term Cubism had entered the English language The description is quite apt for the blocklike forms in some of Braques early landscapes and in a few similiar works by Picasso painted at Horta del Ebro in Spain though not for their later Cubist pictures in which the forms are broken down into facets rather than cubes The term was taken up by two practising Cubists Gleizes and Metzinger in their influential 1912 bookDu Cubisme
How to Understand Cubism
First off itrsquos very difficult to appreciate Cubism without examining its paintings A good start is to compare early Cubist still-lifes with traditional still life from (say) the Baroque or Dutch Realist schools If nothing else you will appreciate the radical nature of Cubism compared to traditional Western art Note also that Cubism was not a single style of painting analytical Cubism is completely different from the later synthetic Cubism The former is all about structure - how the picture should depict the object being painted the latter is exclusively concerned with the surface of the picture and what may be incorporated within it One final word of advice dont be put off by its strangeness Cubism is symbolic challenging and full of ideas but its not a terribly pretty form of visual art
What Are the Characteristics of Cubism
Ever since the Renaissance if not before artists painted pictures from a single fixed viewpoint as if they were taking a photograph The illusion of background depth was created using standard conventions of linear perspective (eg objects were shown smaller as they receded) and by painting figures and objects with rounded shaded surfaces to convey a 3-D effect In addition the scene or object was painted at a particular moment in time
In contrast Braque and Picasso thought that the full significance of an object could only be captured by showing it from multiple points of view and at different times So they abandoned the idea of a single fixed viewpoint and instead used a multiplicity of viewpoints The object was then reassembled out of fragments of these different views rather like a complex jigsaw puzzle In this way many different views of an object were simultanously depicted in the same picture In a sense its like taking 5 different photographs (at different times) of the same object then cutting them up and reassembling them in an overlapping manner on a flat surface
Such fragmentation and rearrangement of form meant that a painting could now be regarded less as a kind of window on the world and more as a physical object on which a subjective response to the world is created
As far as artistic technique was concerned Cubism showed how a sense of solidity and pictorial structure could be created without traditional perspective or modelling
Thus the Cubist style focused on the flat two-dimensional surface of the picture plane and rejected the traditional conventions and techniques of linear perspective chiaroscuro (use of shading to show light and shadow) and the traditional idea of imitating nature Instead of creating natural-looking 3-D objects Cubist painters offered a brand new set of images reassembled from 2-D fragments which showed the objects from several sides simultaneously If Fauvists and Impressionists strove to express their personal sensation of a particular object or scene Cubists sought to depict the intellectual idea or form of an object and its relationship to others
Cubist Exhibitions
Cubism had two identities a public and a private The style was jointly evolved by Pablo Picasso and Georges Braque on the basis of observations derived from Cezanne and also to some extent from ethnographical primitivism such as that investigated by Picasso during his African art period It made its public debut with Braques one-man exhibition organized by Kahnweiler in November 1908 But after this both he and Picasso more or less went to ground and the Cubist banner was upheld by others - the so-called salon-Cubists - including Robert Delaunay Albert Gleizes Fernand Leger Henri Le Fauconnier and Jean Metzinger at the Salon des Independeants in 1911
The year 1913 also witnessed the famous Armory Show held in FebMarch on Lexington Avenue Manhattan New York in which Marcel Duchamps Nude Descending a Staircase (no 2) (1912) was the controversial even scandalous attraction Around the beginning of 1912 Picasso and Braque switched from the Analytic Cubism with which they started to Synthetic Cubism - a new more decorative and surface-oriented style created using new techniques such as collage and papier colles The incorporation of everyday detritus into their paintings can be seen as the beginning of Junk Art At this point they were joined in their explorations by Juan Gris
Symbol of Artistic amp Intellectual Fashion
Cubism was an art-style with attitude It was iconoclastic challenging intellectual It focused on ideas rather than pretty pictures But it captured the spirit of the age - the age of challenging French musicians Claude Debussy (1862-1918) Erik Satie (1866-1925) and Maurice Ravel (1875-1937) and analytical Cubism in particular corresponded with the ideas of the French philosopher Henri Bergson (1859-1941) whose concept of simultaneity stated that the past overlaps with the present which itself flows into the future Meanwhile fine art was at something of a crossroads Impressionism was yesterdays fashion the Belle Epoque of
Parisian poster art was over Toulouse-Lautrec was dead Art Nouveau was in decline and even colourfull Fauvism was running out of steam At the same time the political temperature was rising across Europe exposing horrific possibilities of war and chaos In its assault on the old certainties of Renaissance art Cubism mirrored the calls for change in many other disciplines as well as the world at large Note For an explanation of some of the great Cubist
III fase Sono seguiti quindi i commenti e le riflessioni sulle scelte effettuate seguendo sempre la condivisione a gruppi e collegiale come in precedenza Si egrave cercato in tal modo di favorire la collaborazione tra studente e studente di facilitare la comunicazione interpersonale e di rendere coinvolgente lrsquoapproccio Ersquo stato privilegiato perciograve un lavoro sia individuale sia drsquoinsieme stimolando lrsquoapprendimento la creativitagrave e la riflessione critica La presenza in classe di Ginta si egrave rivelata molto utile per i ragazzi per lrsquoappoggio linguistico mentre la mia dal punto di vista storico-artistico e lessicale Un gruppo di studenti era giagrave abituato a lavorare con questa metodologia con risultati brillanti Infatti durante lrsquoultima parte dello scorso anno scolastico ( 201415 ) e la prima di quello in corso ( 201516 ) avevano partecipato al PROGETTO EXPO 2015 In questa occasione la nostra scuola era stata scelta dal MIUR come Partner del Palazzo Reale di Genova dove i visitatori erano accompagnati nelle sale con la spiegazione ( sia in italiano sia in inglese ) delle opere drsquoarte esposte dagli stessi ragazzi che avevano effettuato un periodo di training organizzato a tal fine
IV fase Si egrave passati allrsquoapprofondimento della figura e dellrsquoopera di Picasso utilizzando - un testo in lingua inglese
Art Analysis Pablo Picasso Les demoiselles drsquoAvignon (1 )
e una serie di immagini dellrsquoopera
Le prove di verifica e di rinforzo sono state suddivise in
- Read and recognise verifica della comprensione e dei contenuti del testo - Art and language verifica e potenziamento del lessico e dei campi semantici - Key Art concept verifica della comprensione di uno o piugrave concetti chiave emersi nel
modulo
Le attivitagrave degli studenti sono state indirizzate a rafforzare e verificare lrsquoapprendimento dei concetti artistici e linguistici e di attivazione didattica anche attraverso ricerche internet mirate per favorire un utilizzo consapevole ed esperto delle risorse digitali e multimediali nel campo dellrsquoarte I tempi hanno previsto due periodi orari da 55 minuti utilizzati in sequenza nella stessa mattinata e da altri due periodi situati in differenti giornate Docente
Rosa Maria Malerba
( 1 ) da Vettese Princi Contemporary ART ATLAS
As far as artistic technique was concerned Cubism showed how a sense of solidity and pictorial structure could be created without traditional perspective or modelling
Thus the Cubist style focused on the flat two-dimensional surface of the picture plane and rejected the traditional conventions and techniques of linear perspective chiaroscuro (use of shading to show light and shadow) and the traditional idea of imitating nature Instead of creating natural-looking 3-D objects Cubist painters offered a brand new set of images reassembled from 2-D fragments which showed the objects from several sides simultaneously If Fauvists and Impressionists strove to express their personal sensation of a particular object or scene Cubists sought to depict the intellectual idea or form of an object and its relationship to others
Cubist Exhibitions
Cubism had two identities a public and a private The style was jointly evolved by Pablo Picasso and Georges Braque on the basis of observations derived from Cezanne and also to some extent from ethnographical primitivism such as that investigated by Picasso during his African art period It made its public debut with Braques one-man exhibition organized by Kahnweiler in November 1908 But after this both he and Picasso more or less went to ground and the Cubist banner was upheld by others - the so-called salon-Cubists - including Robert Delaunay Albert Gleizes Fernand Leger Henri Le Fauconnier and Jean Metzinger at the Salon des Independeants in 1911
The year 1913 also witnessed the famous Armory Show held in FebMarch on Lexington Avenue Manhattan New York in which Marcel Duchamps Nude Descending a Staircase (no 2) (1912) was the controversial even scandalous attraction Around the beginning of 1912 Picasso and Braque switched from the Analytic Cubism with which they started to Synthetic Cubism - a new more decorative and surface-oriented style created using new techniques such as collage and papier colles The incorporation of everyday detritus into their paintings can be seen as the beginning of Junk Art At this point they were joined in their explorations by Juan Gris
Symbol of Artistic amp Intellectual Fashion
Cubism was an art-style with attitude It was iconoclastic challenging intellectual It focused on ideas rather than pretty pictures But it captured the spirit of the age - the age of challenging French musicians Claude Debussy (1862-1918) Erik Satie (1866-1925) and Maurice Ravel (1875-1937) and analytical Cubism in particular corresponded with the ideas of the French philosopher Henri Bergson (1859-1941) whose concept of simultaneity stated that the past overlaps with the present which itself flows into the future Meanwhile fine art was at something of a crossroads Impressionism was yesterdays fashion the Belle Epoque of
Parisian poster art was over Toulouse-Lautrec was dead Art Nouveau was in decline and even colourfull Fauvism was running out of steam At the same time the political temperature was rising across Europe exposing horrific possibilities of war and chaos In its assault on the old certainties of Renaissance art Cubism mirrored the calls for change in many other disciplines as well as the world at large Note For an explanation of some of the great Cubist
III fase Sono seguiti quindi i commenti e le riflessioni sulle scelte effettuate seguendo sempre la condivisione a gruppi e collegiale come in precedenza Si egrave cercato in tal modo di favorire la collaborazione tra studente e studente di facilitare la comunicazione interpersonale e di rendere coinvolgente lrsquoapproccio Ersquo stato privilegiato perciograve un lavoro sia individuale sia drsquoinsieme stimolando lrsquoapprendimento la creativitagrave e la riflessione critica La presenza in classe di Ginta si egrave rivelata molto utile per i ragazzi per lrsquoappoggio linguistico mentre la mia dal punto di vista storico-artistico e lessicale Un gruppo di studenti era giagrave abituato a lavorare con questa metodologia con risultati brillanti Infatti durante lrsquoultima parte dello scorso anno scolastico ( 201415 ) e la prima di quello in corso ( 201516 ) avevano partecipato al PROGETTO EXPO 2015 In questa occasione la nostra scuola era stata scelta dal MIUR come Partner del Palazzo Reale di Genova dove i visitatori erano accompagnati nelle sale con la spiegazione ( sia in italiano sia in inglese ) delle opere drsquoarte esposte dagli stessi ragazzi che avevano effettuato un periodo di training organizzato a tal fine
IV fase Si egrave passati allrsquoapprofondimento della figura e dellrsquoopera di Picasso utilizzando - un testo in lingua inglese
Art Analysis Pablo Picasso Les demoiselles drsquoAvignon (1 )
e una serie di immagini dellrsquoopera
Le prove di verifica e di rinforzo sono state suddivise in
- Read and recognise verifica della comprensione e dei contenuti del testo - Art and language verifica e potenziamento del lessico e dei campi semantici - Key Art concept verifica della comprensione di uno o piugrave concetti chiave emersi nel
modulo
Le attivitagrave degli studenti sono state indirizzate a rafforzare e verificare lrsquoapprendimento dei concetti artistici e linguistici e di attivazione didattica anche attraverso ricerche internet mirate per favorire un utilizzo consapevole ed esperto delle risorse digitali e multimediali nel campo dellrsquoarte I tempi hanno previsto due periodi orari da 55 minuti utilizzati in sequenza nella stessa mattinata e da altri due periodi situati in differenti giornate Docente
Rosa Maria Malerba
( 1 ) da Vettese Princi Contemporary ART ATLAS
Parisian poster art was over Toulouse-Lautrec was dead Art Nouveau was in decline and even colourfull Fauvism was running out of steam At the same time the political temperature was rising across Europe exposing horrific possibilities of war and chaos In its assault on the old certainties of Renaissance art Cubism mirrored the calls for change in many other disciplines as well as the world at large Note For an explanation of some of the great Cubist
III fase Sono seguiti quindi i commenti e le riflessioni sulle scelte effettuate seguendo sempre la condivisione a gruppi e collegiale come in precedenza Si egrave cercato in tal modo di favorire la collaborazione tra studente e studente di facilitare la comunicazione interpersonale e di rendere coinvolgente lrsquoapproccio Ersquo stato privilegiato perciograve un lavoro sia individuale sia drsquoinsieme stimolando lrsquoapprendimento la creativitagrave e la riflessione critica La presenza in classe di Ginta si egrave rivelata molto utile per i ragazzi per lrsquoappoggio linguistico mentre la mia dal punto di vista storico-artistico e lessicale Un gruppo di studenti era giagrave abituato a lavorare con questa metodologia con risultati brillanti Infatti durante lrsquoultima parte dello scorso anno scolastico ( 201415 ) e la prima di quello in corso ( 201516 ) avevano partecipato al PROGETTO EXPO 2015 In questa occasione la nostra scuola era stata scelta dal MIUR come Partner del Palazzo Reale di Genova dove i visitatori erano accompagnati nelle sale con la spiegazione ( sia in italiano sia in inglese ) delle opere drsquoarte esposte dagli stessi ragazzi che avevano effettuato un periodo di training organizzato a tal fine
IV fase Si egrave passati allrsquoapprofondimento della figura e dellrsquoopera di Picasso utilizzando - un testo in lingua inglese
Art Analysis Pablo Picasso Les demoiselles drsquoAvignon (1 )
e una serie di immagini dellrsquoopera
Le prove di verifica e di rinforzo sono state suddivise in
- Read and recognise verifica della comprensione e dei contenuti del testo - Art and language verifica e potenziamento del lessico e dei campi semantici - Key Art concept verifica della comprensione di uno o piugrave concetti chiave emersi nel
modulo
Le attivitagrave degli studenti sono state indirizzate a rafforzare e verificare lrsquoapprendimento dei concetti artistici e linguistici e di attivazione didattica anche attraverso ricerche internet mirate per favorire un utilizzo consapevole ed esperto delle risorse digitali e multimediali nel campo dellrsquoarte I tempi hanno previsto due periodi orari da 55 minuti utilizzati in sequenza nella stessa mattinata e da altri due periodi situati in differenti giornate Docente
Rosa Maria Malerba
( 1 ) da Vettese Princi Contemporary ART ATLAS
IV fase Si egrave passati allrsquoapprofondimento della figura e dellrsquoopera di Picasso utilizzando - un testo in lingua inglese
Art Analysis Pablo Picasso Les demoiselles drsquoAvignon (1 )
e una serie di immagini dellrsquoopera
Le prove di verifica e di rinforzo sono state suddivise in
- Read and recognise verifica della comprensione e dei contenuti del testo - Art and language verifica e potenziamento del lessico e dei campi semantici - Key Art concept verifica della comprensione di uno o piugrave concetti chiave emersi nel
modulo
Le attivitagrave degli studenti sono state indirizzate a rafforzare e verificare lrsquoapprendimento dei concetti artistici e linguistici e di attivazione didattica anche attraverso ricerche internet mirate per favorire un utilizzo consapevole ed esperto delle risorse digitali e multimediali nel campo dellrsquoarte I tempi hanno previsto due periodi orari da 55 minuti utilizzati in sequenza nella stessa mattinata e da altri due periodi situati in differenti giornate Docente
Rosa Maria Malerba
( 1 ) da Vettese Princi Contemporary ART ATLAS
Le prove di verifica e di rinforzo sono state suddivise in
- Read and recognise verifica della comprensione e dei contenuti del testo - Art and language verifica e potenziamento del lessico e dei campi semantici - Key Art concept verifica della comprensione di uno o piugrave concetti chiave emersi nel
modulo
Le attivitagrave degli studenti sono state indirizzate a rafforzare e verificare lrsquoapprendimento dei concetti artistici e linguistici e di attivazione didattica anche attraverso ricerche internet mirate per favorire un utilizzo consapevole ed esperto delle risorse digitali e multimediali nel campo dellrsquoarte I tempi hanno previsto due periodi orari da 55 minuti utilizzati in sequenza nella stessa mattinata e da altri due periodi situati in differenti giornate Docente
Rosa Maria Malerba
( 1 ) da Vettese Princi Contemporary ART ATLAS
Le attivitagrave degli studenti sono state indirizzate a rafforzare e verificare lrsquoapprendimento dei concetti artistici e linguistici e di attivazione didattica anche attraverso ricerche internet mirate per favorire un utilizzo consapevole ed esperto delle risorse digitali e multimediali nel campo dellrsquoarte I tempi hanno previsto due periodi orari da 55 minuti utilizzati in sequenza nella stessa mattinata e da altri due periodi situati in differenti giornate Docente
Rosa Maria Malerba
( 1 ) da Vettese Princi Contemporary ART ATLAS
