Cubism : An Exhibition Of Works Of Pablo Picasso And Georges Braque Essay

Cubism : An Exhibition Of Works Of Pablo Picasso And Georges Braque Essay

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Cubism was a movement that started in 1908 and ended roughly by the end of the 1920’s and is often synonymous with the works of Pablo Picasso and Georges Braque, two of the most influential and important of the cubist painters, each coming up with their own first cubist painting near 1908. They tended toward the structural and architectural form of Cubism that was hinted at by post-impressionist Paul Cézanne, whose death would provoke an exhibition of work for future cubists and other modern painters to admire and learn from. On the other hand, near 1912-14, cubism took a different turn with the help of Picasso’s papier collé, (Golding 120, Green Synthesis 88, Gopnik 81). The collages produced by papier collé managed to change analytical cubism, as it was called, into a synthetic cubism that worked on inventing new items that could not be compared to everyday items instead of describing everyday items in simpler terms of paint. For this new synthetic method, which Juan Gris is noted as taking to its purest form, it wasn’t about the architecture of the already existing. It wasn’t about describing the world that the artist or patron saw. It was about creating its own reality through new structural forms and piecing together old objects and ideas into new concepts that were as visually stimulating as they were abstract in construct.
Closely associated with synthetic cubism, Juan Gris is mentioned as being the Zeppo, of the Marx Brothers, of Cubism, both being talented and brilliant in their own engineering (Gopnik 81). Even though Gris is regarded as the purest of synthetic painters, his career before arriving in Paris, in 1906, is largely unknown. So much so that none of the articles listed ever date before 1906. Instead they usuall...


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...versa, writer Pierre Reverdy writes, “Les poètes qui ont créé d’abord un art non descriptive, ensuite les peintres en créèrent un art non imitation,” which roughly translates into his belief that it was, “the poets who first creative non-descriptive art, then the painters who created a non-imitative art,” (Green Purity 182). While Gris declares that Reverdy himself is one of the best and most influential of the, “Flowering poets,” who left a lasting impression on the youth and painting community, Gris argues that it was the painters that were being followed by the poets. He claims that he was the one to recommend the title Horrizon Carré in order to establish a defense against the damage the term literary cubism would inflict on the cubist painting movement (Green Purity 183). In fact, if it wasn’t for one poet, Juan Gris may have never had his start in illustration.

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