Cubism 野兽主义.ppt

Cubism 1. Introduction What succeeded Expressionism as the next dominant movement in Modernist painting was Cubism. It was founded by Georges Braque (1882-1963) and Pablo Picasso (1881-1973) in the first decade of the twentieth century. In contrast to Expressionism, Cubism no longer tried to analyze humans’ psychology, or to express emotions. What it did was to introduce into Western painting a new understanding of pictorial representation. 2. Prototype Cubism The history of Cubism is usually divided into three phases. These are: Prototype Cubism, Analytical Cubism, and Synthetic Cubism. The first of these stages encompassed approximately the first three years of the movement’s history. Its original principles were formulated by Braque and Picasso in 1907 and 1908, and it lasted until about 1910. The initial, “Prototype” phase of Cubism, was influenced by the art of Paul Cezanne. Inspired by Cezanne, Braque and Picasso began experimenting with geometrical forms. Like Cezanne, they started using them in their paintings. Cubes, especially, became prominent in their works—which led art critics to call Braque and Picasso’s art “Cubism.” Since the Renaissance, a fundamental principle of Western painting had been the idea that paintings should provide representations of their objects from a single perspective. In addition, painters had represented distance and depth by depicting objects that are far from their standpoint as smaller than, and as being located behind, the objects that are closer to that standpoint. In their experiments, Braque and Picasso rejected these traditional rules regarding perspective, distance and depth in Western painting. In their works, for example, they painted views of houses that did not recede into a distance, but were assembled together, and on top of each other. Braque and Picasso also rejected another important convention in Western painting. Traditionally, the composition of a painting would consist of its objects of representation and