Cubism
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About Cubism: Sotheby'sCubism describes a revolutionary style of visual art invented by Pablo Picasso and Georges Braque in the early 20th century. Drawing on a diversity of influences, from African tribal masks to the late works of Paul Cézanne, the two painters pioneered a radical departure from European conventions of spatial and figural representation.
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Cubism: TateCubism was a revolutionary new approach to representing reality invented in around 1907–08 by artists Pablo Picasso and Georges Braque. They brought different views of subjects (usually objects or figures) together in the same picture, resulting in paintings that appear fragmented and abstracted.
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Cubism: The Metropolitan Museum of ArtCubism was one of the most influential visual art styles of the early twentieth century. It was created by Pablo Picasso (Spanish, 1881–1973) and Georges Braque (French, 1882–1963) in Paris between 1907 and 1914.
Research & Reference
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Cubism: Credo ReferenceA Credo Reference landing page on cubism. This page includes links to reference works, journal articles, and a mind map.
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All ABout CubismDiscover the radical 20th century art movement. This resource introduces cubist artists, ideas and techniques and provides discussion and activities.
Streaming Media
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Cubism - An Experiment in Formnvestigate the visual elements and the three phases of this hugely influential movement, based in its geometric fracturing of forms and multiple, interlocking meanings of line and shape. Find borrowings and echoes of Braque's and Picasso's Cubism in diverse 20th-century painters and experiments in Cubist-derived sculpture.
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What is Cubism?Cubism is often referred to as one of the most avant-garde and revolutionary art movements of the modern era... but what is Cubist art and who were the Cubists?
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The Impact of CubismInfluenced by the works of Cézanne, African tribal art, and the art of the Iberian peninsula, Cubism—the most influential style of the early 20th century—offered European artists unfamiliar, nonclassical ways to represent form and space.
Perspectives
Shadows of Reality
A pioneering artist continues his visionary inquiry into hyperspace In this insightful book, which is a revisionist math history as well as a revisionist art history, Tony Robbin, well known for his innovative computer visualizations of hyperspace, investigates different models of the fourth dimension and how these are applied in art and physics. Robbin explores the distinction between the slicing, or Flatland, model and the projection, or shadow, model. He compares the history of these two models and their uses and misuses in popular discussions. Robbin breaks new ground with his original argument that Picasso used the projection model to invent cubism, and that Minkowski had four-dimensional projective geometry in mind when he structured special relativity. The discussion is brought to the present with an exposition of the projection model in the most creative ideas about space in contemporary mathematics such as twisters, quasicrystals, and quantum topology. Robbin clarifies these esoteric concepts with understandable drawings and diagrams. Robbin proposes that the powerful role of projective geometry in the development of current mathematical ideas has been long overlooked and that our attachment to the slicing model is essentially a conceptual block that hinders progress in understanding contemporary models of spacetime. He offers a fascinating review of how projective ideas are the source of some of today's most exciting developments in art, math, physics, and computer visualization.]]>
Architecture and Cubism
A fundamental tenet of the historiography of modern architecture holds that cubism forged a vital link between avant-garde practices in early twentieth-century painting and architecture. This collection of essays, commissioned by the Canadian Centre for Architecture, takes a close look at that widely accepted but little scrutinized belief. In the first historically focused examination of the issue, the volume returns to the original site of cubist art in pre-World War I Europe and proceeds to examine the historical, theoretical, and socio-political relationships between avant-garde practices in painting, architecture, and other cultural forms, including poetry, landscape, and the decorative arts. The essays look at works produced in France, Germany, the Netherlands, and Czechoslovakia during the early decades of the twentieth century. Together, the essays show that although there were many points of intersection -- historical, metaphorical, theoretical, and ideological -- between cubism and architecture, there was no simple, direct link between them. Most often the connections between cubist painting and modern architecture were construed analogically, by reference to shared formal qualities such as fragmentation, spatial ambiguity, transparency, and multiplicity; or to techniques used in other media such as film, poetry, and photomontage. Cubist space itself remained two-dimensional; with the exception of Le Cobusiers work, it was never translated into the three dimensions of architecture. Cubism's significance for architecture also remained two-dimensional -- a method of representing modern spatial experience through the ordering impulses of art. Copublished with the Canadian Centre for Architecture/Centre Canadien d'Architecture.
Picasso and the Invention of Cubism
This work seeks to transform our understanding of Cubism, showing in detail how it emerged in Picasso's work of the years 1906-13, and tracing its roots in 19th-century philosophy and linguistics.
The Cubist Epoch
Cubism was one of the most important and influential movements in twentieth-century art. In the eight years between 1906 and 1914, Cubism - Pablo Picasso and Georges Braque in particular - was to change the technique and form of painting, radically and for ever. Originating in Paris, the movement became a truly international force, and one with a profound impact on human visual experience. This book, illustrated with over 300 photographs, presents a vivid personal evocation of Cubism as a historic and aesthetic force.