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Essay / Research Paper Abstract
A 3 pages research paper that describes the development of Cubism, which was developed by Pablo Picasso. Bibliography lists 5 sources.
Page Count:
3 pages (~225 words per page)
File: KL9_khpiccub3.rtf
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Unformatted sample text from the term paper:
revolutionary movements in art" (Pioch). Art experts agree that the twentieth century artistic trends can either trace their origins to Cubism, or to trends that began as opposition to Cubism
(Hughes 9). In creating Cubist works, Picasso and Braque were highly influenced by both African art and the work of Paul Cezanne (Delahunt). In Cubism, the subject of the painting
is "broken up, analyzed and reassembled in abstracted form" (Delahunt). In essence, one might say that Cubism provides a "Gods-eye view of reality," as "every aspect of the whole subject
(is) seem simultaneously in a single direction" (Pioch). The first phase of Cubism, which is known as Analytical Cubism, focuses on geometrical forms that are represented in subdued colors
(Pioch). The second phase, Synthetic Cubism, utilized more "decorative shapes," as well as "stenciling, collage and brighter colors" (Pioch). Many experts feel that during the analytical phase of Cubism, the
works of Picasso and Braque are virtually identical, but that from roughly 1910 onward, "it was Picasso, rather than Braque, who worked more transparently," handling his surfaces with greater subtlety
(Flam 313). The traditional perspective of art is to present a single point of view, wherein using a different perspective necessarily entailed presenting an altogether different picture (Fleming 369).
Cubism presents a totally different theory of vision, as it takes into consideration the haste and fractured nature of the modern perspective (Fleming 369). Cubism represents this reality by portraying
a subject from multiple points of view, which recreates the emotional nature of this fragmentation. For instance, in Picassos Les Demoiselles DAvignon, the faces of second and third nudes from
the left are portrayed form the full front perspective, but their noses are seen in profile. Rather than trying to convey the nature of the three-dimensional world, Picasso, with
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