El cubismo propiamente dicho empieza en 1907 en París con Picasso: Las señoritas de Avignon
1ª etapa del cubismo: naturaleza muerta. Color restringido.
Georges Braque: otro iniciador del cubismo: Casas en el estanque
"Braque's works from the period 1917-20 are derived compositionally from synthetic cubism, the second phase of cubism, which began about 1914. Much flatter and more variegated in color, they include brightly dotted decorative passages. Around 1930-31, Braque moved to the coast of Normandy in France. As a result, he changed the subjects of his paintings; bathers, beach scenes, and seascapes were now his favorite themes. Stylistically, he became increasingly interested in ornamentation and patterned surfaces. During the late 1930s and early '40s, Braque was drawn to melancholy themes. From 1945, birds were a dominant subject. Braque's canvases done during the 1950s show a return to the brilliant colors of the Fauve period, as in the Louvre ceiling (1952-53) and the decoration for the villa at Saint Paul-de-Vence (1954). Active until the end of his life, Braque produced an oeuvre that includes sculpture, graphics, book illustration, and decorative art.
Georges Braque was the only artist ever to collaborate with Picasso as an equal. He admitted that they were "like climbers roped together, each pulling the other up". From 1907 they worked so closely together, exploring the planes and facets of the same subject matter, that some of their work appears almost identical. Although they developed their own natural autonomy as artists, they carried Cubism to another level that was brighter and more legible.
By 1929 however their innate differences were quite clear, for the two had long since parted ways. They had parted in 1914, for at the outbreak of WWI Braque entered the army as an infantry sergeant and served with distinction, being decorated twice in 1914 for bravery. In 1915 he suffered a serious head wound, which was followed by a trepanation, several months in the hospital, and a long period of convalescence at home at Sorgues. During this period he added to the sayings he had been in the habit of scribbling on the margins of drawings, and in 1917 he published a collection of these sayings called "Thoughts and Reflections on Painting."
New means, new subjects. . . . The aim is not toreconstitute an anecdotal fact, but to constitute apictorial fact. . . . To work from nature is to
improvise. . . .The senses deform, the mind forms. . .I love the rule that corrects emotion..
Picasso: Chica con mandolina Picasso: retrato de Ambroise Vollard
Las investigaciones llevadas a cabo por Picasso y Braque fueron durante la época de 1909 a 1911, paralelas. En bastantes ocasiones estos dos artistas trabajaron juntos y a los dos se les debe uno de los hallazgos más importantes del arte del siglo XX: el collage. El hecho de integrar materiales diferentes en el seno de composicionescubistas determinó, en parte, que tanto Picasso como Braque optaran por cambiar el proceso analítico del cubismo inicial por otro de carácter sintético. CUBISMO SINTÉTICO: las pinturas, a pesar de presentar una composición claramente geométrica, permitiían que el espectador percibiera con facilidad una forma global identificable. El color toma gran importancia en las formas ya que éstas aparecen más grandes y decoradas. Contrastes entre diferentes texturas (a menudo con el collage)
Juan Gris: 1911 desarrolla un lenguaje propio
Fernand Léger- elementos con formas cilíndricas. etapa "mecanicista". Color: gris, blanco, contrastando con primarios. Apariencia metálica.
Cubismo ortodoxo:
Marcel Duchamp
Jacques Villon
Raymond Duchamp-Villon
Albert Gleizes
Jean Metzinger
André Lhote
Cubismo en la escultura:
Alexander Archipenko (técnica del assemblage) madera policromada
Constantin Brancusi - configuraciones de tipo ovoideo
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