art cubiste :: l'ecole de paris

Pablo Picasso::
Guitare, 1912

Georges Braque::
Collage, 1913

Gris:Portrait of Josette.1916

Juan Gris::

Fernand Leger::
Fumeurs, 1911

modern avant-garde : "l'ecole de paris" language and meta-language: abstraction and objectivity
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Marcel Duchamp::
La Section d'Or

Robert Delauney :
Blue Nude

A. Metzinger:

Albert Gleizes:


"Negro sculptures provide a striking proof of the possibilities of an anti-idealistic art. Inspired by religious spirit, they offer a varied and precise representation of great principles and universal ideas. How can one deny the name of art to a creative process which produces individualistic representations of universal ideas, each time in a different way. It is the reverse of Greek art, which started from the individual and attempt to suggest an ideal type."
Juan Gris - Cubist Painter in "Action" no 3, April 1920

"The syntax of cubism has revolutionized the pictorial image. Its vocabulary of plastic signs has rshaped the modern vision, changed the focus of modern design, of modern poster art. Cubism became the formative instrument of our way of seeing, just as five hundred years ago the invention of scientific perspective formed the Renaissance way of seeing."
Pierre DAIX - Cubists and Cubism, 1982

"The rise of modernism mirrors the scientific revolution. The trailblazing discoveries of psychoanalysis and the new physics, the effect of technological and industrial progress, and the resulting dynamics are echoed in artistic efforts to visualize and express the invisible foundations of reality. The artist of modernism move farther and farther away from visible appearances; step by step, but inexorably, they push forward fundamentals and universals, to universal being, and thereby evolve two basic forms of representation that reflect the above-mentioned developments : structure and energy. These forms are longer object-found but rather dynamic in nature. Art no longer depicts; it implements."
Sandro Bocola- The art of modernism, 1999

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