Cubism - Revision history

Daniari at 21:07, 30 July 2021

2021-07-30T21:07:37Z

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	Cubist painters "rejected the inherited concept that art should ~~imitate~~ nature" (Rewald 2004 <sup>2</sup>). Cubist paintings were abstract and included geometric forms and the painters used “multiple or contrasting vantage points” (Rewald 2004<sup>2</sup>) to show reality from many different perspectives<sup>1</sup>. Cubist painters “reduced and fractured objects into geometric forms, and then realigned these within a shallow, relieflike space” (Rewald 2004<sup>2</sup>).		Cubist painters "rejected the inherited concept that art should copy nature" (Rewald 2004 <sup>2</sup>). Cubist paintings were abstract and included geometric forms and the painters used “multiple or contrasting vantage points” (Rewald 2004<sup>2</sup>) to show reality from many different perspectives<sup>1</sup>. Cubist painters “reduced and fractured objects into geometric forms, and then realigned these within a shallow, relieflike space” (Rewald 2004<sup>2</sup>).

Daniari at 20:57, 30 July 2021

2021-07-30T20:57:59Z

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	Cubist painters rejected the ~~traditional idea~~ that art should "imitate nature" (Rewald 2004 <sup>2</sup>). Cubist paintings were abstract and included geometric forms and the painters used “multiple or contrasting vantage points” (Rewald 2004<sup>2</sup>) to show reality from many different perspectives<sup>1</sup>. Cubist painters “reduced and fractured objects into geometric forms, and then realigned these within a shallow, relieflike space” (Rewald 2004<sup>2</sup>).		Cubist painters "rejected the inherited concept that art should imitate nature" (Rewald 2004 <sup>2</sup>). Cubist paintings were abstract and included geometric forms and the painters used “multiple or contrasting vantage points” (Rewald 2004<sup>2</sup>) to show reality from many different perspectives<sup>1</sup>. Cubist painters “reduced and fractured objects into geometric forms, and then realigned these within a shallow, relieflike space” (Rewald 2004<sup>2</sup>).

Daniari at 07:22, 30 July 2021

2021-07-30T07:22:47Z

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	Cubist painters rejected the traditional idea that art should "imitate nature" (Rewald 2004 <sup>2</sup>. Cubist paintings were abstract and included geometric forms and the painters used “multiple or contrasting vantage points” (Rewald 2004<sup>2</sup>) to show reality from many different perspectives<sup>1</sup>. Cubist painters “reduced and fractured objects into geometric forms, and then realigned these within a shallow, relieflike space” (Rewald 2004<sup>2</sup>).		Cubist painters rejected the traditional idea that art should "imitate nature" (Rewald 2004 <sup>2</sup>). Cubist paintings were abstract and included geometric forms and the painters used “multiple or contrasting vantage points” (Rewald 2004<sup>2</sup>) to show reality from many different perspectives<sup>1</sup>. Cubist painters “reduced and fractured objects into geometric forms, and then realigned these within a shallow, relieflike space” (Rewald 2004<sup>2</sup>).

Daniari at 07:19, 30 July 2021

2021-07-30T07:19:51Z

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	The movement between 1910 and 1912 is often referred to as Analytic Cubism and the period between 1912 and 1914 is often referred to as Synthetic Cubism<sup>4</sup>. While Analytic Cubism includes the early Cubist works of Picasso and Braque who "broke down an object into a fragmentary image"<sup>5</sup>, Synthetic Cubism includes painters who used simpler shapes and more colours and experimented with new techniques such as collage<sup>5</sup>.		The early movement between 1910 and 1912 is often referred to as Analytic Cubism and the period between 1912 and 1914 is often referred to as Synthetic Cubism<sup>4</sup>. While Analytic Cubism includes the early Cubist works of Picasso and Braque who "broke down an object into a fragmentary image"<sup>5</sup>, Synthetic Cubism includes painters who used simpler shapes and more colours and experimented with new techniques such as collage<sup>5</sup>.

Daniari at 07:18, 30 July 2021

2021-07-30T07:18:02Z

← Older revision		Revision as of 07:18, 30 July 2021
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	Cubism was an innovative and influential style and movement in 20th century art that was developed in Paris between 1907 and 1914<sup>1</sup>. In 1907, Pablo Picasso painted the painting ''Demoiselles d’Avignon'', which is one of the first artworks that included elements of cubism<sup>1</sup>. The French painter Georges Braque also played a significant role in the development of the cubist style<sup>1</sup>.		Cubism was an innovative and influential style and movement in 20th century art that was developed in Paris between 1907 and 1914<sup>1</sup>. In 1907, Pablo Picasso painted the painting ''Demoiselles d’Avignon'', which is one of the first artworks that included elements of cubism<sup>1</sup>. The French painter Georges Braque also played a significant role in the development of the cubist style<sup>1</sup>.


	Cubist painters rejected the traditional idea that art should "imitate nature" (Rewald 2004 <sup>2</sup>. Cubist paintings were abstract and included geometric forms and the painters used “multiple or contrasting vantage points” (Rewald 2004<sup>2</sup>) to show reality from many different perspectives<sup>1</sup>. Cubist painters “reduced and fractured objects into geometric forms, and then realigned these within a shallow, relieflike space” (Rewald 2004<sup>2</sup>).		Cubist painters rejected the traditional idea that art should "imitate nature" (Rewald 2004 <sup>2</sup>. Cubist paintings were abstract and included geometric forms and the painters used “multiple or contrasting vantage points” (Rewald 2004<sup>2</sup>) to show reality from many different perspectives<sup>1</sup>. Cubist painters “reduced and fractured objects into geometric forms, and then realigned these within a shallow, relieflike space” (Rewald 2004<sup>2</sup>).


	According to Jean Metzinger, Cubist painters wanted to create a fourth dimension (“a dimension greater than the third”) in order to show an object from several perspectives and in order to represent modern life, which was primarily characterised by mechanisation and fragmentation. The past and the present are fused in Cubist paintings<sup>1</sup> and fragmented objects are depicted.		According to Jean Metzinger, Cubist painters wanted to create a fourth dimension (“a dimension greater than the third”) in order to show an object from several perspectives and in order to represent modern life, which was primarily characterised by mechanisation and fragmentation. The past and the present are fused in Cubist paintings<sup>1</sup> and fragmented objects are depicted.


	Marcel Duchamp’s painting ''Nude Descending a Staircase, No. 2'' combines elements of Cubism and Futurism<sup>3</sup>. It was "rejected by the Cubists for being too futuristic"<sup>3</sup>.		Marcel Duchamp’s painting ''Nude Descending a Staircase, No. 2'' combines elements of Cubism and Futurism<sup>3</sup>. It was "rejected by the Cubists for being too futuristic"<sup>3</sup>.


	The movement between 1910 and 1912 is often referred to as Analytic Cubism and the period between 1912 and 1914 is often referred to as Synthetic Cubism<sup>4</sup>. While Analytic Cubism includes the early Cubist works of Picasso and Braque who "broke down an object into a fragmentary image"<sup>5</sup>, Synthetic Cubism includes painters who used simpler shapes and more colours and experimented with new techniques such as collage<sup>5</sup>.		The movement between 1910 and 1912 is often referred to as Analytic Cubism and the period between 1912 and 1914 is often referred to as Synthetic Cubism<sup>4</sup>. While Analytic Cubism includes the early Cubist works of Picasso and Braque who "broke down an object into a fragmentary image"<sup>5</sup>, Synthetic Cubism includes painters who used simpler shapes and more colours and experimented with new techniques such as collage<sup>5</sup>.


	Guillaume Apollinaire observed that there are four different Cubist tendencies: scientific Cubism, physical Cubism, instinctive Cubism and orphic Cubism (Kolokytha 2019<sup>6</sup>).		Guillaume Apollinaire observed that there are four different Cubist tendencies: scientific Cubism, physical Cubism, instinctive Cubism and orphic Cubism (Kolokytha 2019<sup>6</sup>).

	The influence of Cubism was enormous and many other art forms appeared in the 20th century as a response to Cubism, for example Futurism and Vorticism<sup>1</sup>. As Douglas Cooper puts it, “Cubism has proved to be probably the most potent generative force in twentieth-century art and has transformed our western ideas concerning the purpose and possibilities of pictorial representation” (Cooper 1970: 12<sup>7</sup>).
			The influence of Cubism was enormous and many other art forms appeared in the 20th century as a "response to Cubism", for example Futurism and Vorticism<sup>1</sup>. As Douglas Cooper puts it, “Cubism has proved to be probably the most potent generative force in twentieth-century art and has transformed our western ideas concerning the purpose and possibilities of pictorial representation” (Cooper 1970: 12<sup>7</sup>).

Daniari at 07:16, 30 July 2021

2021-07-30T07:16:52Z

← Older revision		Revision as of 07:16, 30 July 2021
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	Cubism was an innovative and influential style and movement in 20th century art that was developed in Paris between 1907 and 1914<sup>1</sup>. In 1907, Pablo Picasso painted the painting ''Demoiselles d’Avignon'', which is one of the first ~~work of art~~ that included elements of cubism<sup>1</sup>. The French painter Georges Braque also played a significant role in the development of the cubist style<sup>1</sup>.		Cubism was an innovative and influential style and movement in 20th century art that was developed in Paris between 1907 and 1914<sup>1</sup>. In 1907, Pablo Picasso painted the painting ''Demoiselles d’Avignon'', which is one of the first artworks that included elements of cubism<sup>1</sup>. The French painter Georges Braque also played a significant role in the development of the cubist style<sup>1</sup>.

	Cubist painters rejected the traditional idea that art should "imitate nature" (Rewald 2004 <sup>2</sup>. Cubist paintings were abstract and included geometric forms and the painters used “multiple or contrasting vantage points” (Rewald 2004<sup>2</sup>) to show reality from many different perspectives<sup>1</sup>. Cubist painters “reduced and fractured objects into geometric forms, and then realigned these within a shallow, relieflike space” (Rewald 2004<sup>2</sup>).		Cubist painters rejected the traditional idea that art should "imitate nature" (Rewald 2004 <sup>2</sup>. Cubist paintings were abstract and included geometric forms and the painters used “multiple or contrasting vantage points” (Rewald 2004<sup>2</sup>) to show reality from many different perspectives<sup>1</sup>. Cubist painters “reduced and fractured objects into geometric forms, and then realigned these within a shallow, relieflike space” (Rewald 2004<sup>2</sup>).
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	Guillaume Apollinaire observed that there are four different Cubist tendencies: scientific Cubism, physical Cubism, instinctive Cubism and orphic Cubism (Kolokytha 2019<sup>6</sup>).		Guillaume Apollinaire observed that there are four different Cubist tendencies: scientific Cubism, physical Cubism, instinctive Cubism and orphic Cubism (Kolokytha 2019<sup>6</sup>).

	The influence of Cubism was enormous and many other art forms appeared in the 20th century as a response to Cubism, for example Futurism and Vorticism. As Douglas Cooper puts it, “Cubism has proved to be probably the most potent generative force in twentieth-century art and has transformed our western ideas concerning the purpose and possibilities of pictorial representation” (Cooper 1970: 12<sup>7</sup>).		The influence of Cubism was enormous and many other art forms appeared in the 20th century as a response to Cubism, for example Futurism and Vorticism<sup>1</sup>. As Douglas Cooper puts it, “Cubism has proved to be probably the most potent generative force in twentieth-century art and has transformed our western ideas concerning the purpose and possibilities of pictorial representation” (Cooper 1970: 12<sup>7</sup>).

Daniari at 07:12, 30 July 2021

2021-07-30T07:12:37Z

← Older revision		Revision as of 07:12, 30 July 2021
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	Marcel Duchamp’s painting ''Nude Descending a Staircase, No. 2'' combines elements of Cubism and Futurism<sup>3</sup>. It was "rejected by the Cubists for being too futuristic"<sup>3</sup>.		Marcel Duchamp’s painting ''Nude Descending a Staircase, No. 2'' combines elements of Cubism and Futurism<sup>3</sup>. It was "rejected by the Cubists for being too futuristic"<sup>3</sup>.

	The movement between 1910 and 1912 is often referred to as Analytic Cubism and the period between 1912 and 1914 is often referred to as Synthetic Cubism<sup>4</sup>. While Analytic Cubism includes the early Cubist works of Picasso and Braque who broke down an object into a fragmentary image<sup>5</sup>, Synthetic Cubism includes painters who used simpler shapes and more colours and experimented with new techniques such as collage.		The movement between 1910 and 1912 is often referred to as Analytic Cubism and the period between 1912 and 1914 is often referred to as Synthetic Cubism<sup>4</sup>. While Analytic Cubism includes the early Cubist works of Picasso and Braque who "broke down an object into a fragmentary image"<sup>5</sup>, Synthetic Cubism includes painters who used simpler shapes and more colours and experimented with new techniques such as collage<sup>5</sup>.

	Guillaume Apollinaire observed that there are four different Cubist tendencies: scientific Cubism, physical Cubism, instinctive Cubism and orphic Cubism (Kolokytha 2019<sup>6</sup>).		Guillaume Apollinaire observed that there are four different Cubist tendencies: scientific Cubism, physical Cubism, instinctive Cubism and orphic Cubism (Kolokytha 2019<sup>6</sup>).

Daniari at 07:09, 30 July 2021

2021-07-30T07:09:22Z

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	Cubist painters rejected the traditional idea that art should "imitate nature" (Rewald 2004 <sup>2</sup>. Cubist paintings were abstract and included geometric forms and the painters used “multiple or contrasting vantage points” (Rewald 2004<sup>2</sup>) to show reality from many different perspectives<sup>1</sup>. Cubist painters “reduced and fractured objects into geometric forms, and then realigned these within a shallow, relieflike space” (Rewald 2004<sup>2</sup>).		Cubist painters rejected the traditional idea that art should "imitate nature" (Rewald 2004 <sup>2</sup>. Cubist paintings were abstract and included geometric forms and the painters used “multiple or contrasting vantage points” (Rewald 2004<sup>2</sup>) to show reality from many different perspectives<sup>1</sup>. Cubist painters “reduced and fractured objects into geometric forms, and then realigned these within a shallow, relieflike space” (Rewald 2004<sup>2</sup>).

	According to Jean Metzinger, Cubist painters wanted to create a fourth dimension (“a dimension greater than the third”) in order to show an object from several perspectives and in order to represent modern life, which was primarily characterised by mechanisation and fragmentation. The past and the present are fused in Cubist paintings and fragmented objects are depicted.		According to Jean Metzinger, Cubist painters wanted to create a fourth dimension (“a dimension greater than the third”) in order to show an object from several perspectives and in order to represent modern life, which was primarily characterised by mechanisation and fragmentation. The past and the present are fused in Cubist paintings<sup>1</sup> and fragmented objects are depicted.

	Marcel Duchamp’s painting ''Nude Descending a Staircase, No. 2'' combines elements of Cubism and Futurism<sup>3</sup>. It was "rejected by the Cubists for being too futuristic"<sup>3</sup>.		Marcel Duchamp’s painting ''Nude Descending a Staircase, No. 2'' combines elements of Cubism and Futurism<sup>3</sup>. It was "rejected by the Cubists for being too futuristic"<sup>3</sup>.

Daniari at 07:07, 30 July 2021

2021-07-30T07:07:31Z

← Older revision		Revision as of 07:07, 30 July 2021
Line 1:		Line 1:
	Cubism was an innovative and influential style and movement in 20th century art that was developed in Paris between 1907 and 1914<sup>1</sup>. In 1907, Pablo Picasso painted the painting ''Demoiselles d’Avignon'', which is one of the first work of art that included elements of cubism<sup>1</sup>. The French painter Georges Braque also played a significant role in the development of the cubist style<sup>1</sup>.		Cubism was an innovative and influential style and movement in 20th century art that was developed in Paris between 1907 and 1914<sup>1</sup>. In 1907, Pablo Picasso painted the painting ''Demoiselles d’Avignon'', which is one of the first work of art that included elements of cubism<sup>1</sup>. The French painter Georges Braque also played a significant role in the development of the cubist style<sup>1</sup>.

	Cubist painters rejected the traditional idea that art should "imitate nature" (Rewald 2004 <sup>2</sup>. Cubist paintings were abstract and included geometric forms and the painters used “multiple or contrasting vantage points” (Rewald 2004<sup>2</sup>) to show reality from many different perspectives. Cubist painters “reduced and fractured objects into geometric forms, and then realigned these within a shallow, relieflike space” (Rewald 2004<sup>2</sup>).		Cubist painters rejected the traditional idea that art should "imitate nature" (Rewald 2004 <sup>2</sup>. Cubist paintings were abstract and included geometric forms and the painters used “multiple or contrasting vantage points” (Rewald 2004<sup>2</sup>) to show reality from many different perspectives<sup>1</sup>. Cubist painters “reduced and fractured objects into geometric forms, and then realigned these within a shallow, relieflike space” (Rewald 2004<sup>2</sup>).

	According to Jean Metzinger, Cubist painters wanted to create a fourth dimension (“a dimension greater than the third”) in order to show an object from several perspectives and in order to represent modern life, which was primarily characterised by mechanisation and fragmentation. The past and the present are fused in Cubist paintings and fragmented objects are depicted.		According to Jean Metzinger, Cubist painters wanted to create a fourth dimension (“a dimension greater than the third”) in order to show an object from several perspectives and in order to represent modern life, which was primarily characterised by mechanisation and fragmentation. The past and the present are fused in Cubist paintings and fragmented objects are depicted.

Daniari at 07:01, 30 July 2021

2021-07-30T07:01:31Z

← Older revision		Revision as of 07:01, 30 July 2021
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	Cubist painters rejected the traditional idea that art should "imitate nature" (Rewald 2004 <sup>2</sup>. Cubist paintings were abstract and included geometric forms and the painters used “multiple or contrasting vantage points” (Rewald 2004<sup>2</sup>) to show reality from many different perspectives. Cubist painters “reduced and fractured objects into geometric forms, and then realigned these within a shallow, relieflike space” (Rewald 2004<sup>2</sup>).		Cubist painters rejected the traditional idea that art should "imitate nature" (Rewald 2004 <sup>2</sup>. Cubist paintings were abstract and included geometric forms and the painters used “multiple or contrasting vantage points” (Rewald 2004<sup>2</sup>) to show reality from many different perspectives. Cubist painters “reduced and fractured objects into geometric forms, and then realigned these within a shallow, relieflike space” (Rewald 2004<sup>2</sup>).

	According to Jean Metzinger, Cubist painters wanted to create a fourth dimension (“a dimension greater than the third”) in order to show an object from several perspectives~~. They wanted~~ to represent modern life, which was primarily characterised by mechanisation and fragmentation. The past and the present are fused in Cubist paintings and fragmented objects are depicted.		According to Jean Metzinger, Cubist painters wanted to create a fourth dimension (“a dimension greater than the third”) in order to show an object from several perspectives and in order to represent modern life, which was primarily characterised by mechanisation and fragmentation. The past and the present are fused in Cubist paintings and fragmented objects are depicted.

	Marcel Duchamp’s painting ''Nude Descending a Staircase, No. 2'' combines elements of Cubism and Futurism<sup>3</sup>. It was "rejected by the Cubists for being too futuristic"<sup>3</sup>.		Marcel Duchamp’s painting ''Nude Descending a Staircase, No. 2'' combines elements of Cubism and Futurism<sup>3</sup>. It was "rejected by the Cubists for being too futuristic"<sup>3</sup>.