Cubism. Development of cubism

CUBISM Cubism is the most complete and radical artistic revolution since the Renaissance J.Golding

Cubism (French cubisme, from cube - cube) is a direction in the art of the first quarter of the 20th century. The plastic language of cubism was based on the deformation and decomposition of objects into geometric planes, the plastic shift of form. Many Russian artists have gone through a passion for Cubism, often combining its principles with the techniques of other modern artistic trends - futurism and primitivism. futurism of primitivism Cubo-futurism became a specific variant of the interpretation of cubism on Russian soil. kybofutypism

The birth of cubism falls on the year - the eve of the First World War. The new trend in modernist art caused a natural frenzy among the philistines. Beyond Cubism fine arts at one time there was a circle of poets and critics who followed the philosophy of Bergson, also very conditionally called cubists. The undisputed leader of this direction was the poet and publicist G, Apollinaire. G, Apollinaire. In 1912, the first book of the cubist theory of the artists Gleizes and Metzinger On Cubism was published. In 1913, a collection of articles by Apollinaire, The Cubist Artists, appeared. It was only in 1920 that Kahnweiler's classic work, The Rise of Cubism, was created.

Delaunay, Robert (Delaunay, Robert) (1885-1941), French artist, creator of the Orphism style. Born in Paris on April 12, 1885 in an aristocratic family. Leaving college in 1902, he attended private painting lessons, deciding to become a theater painter. He was influenced by the neo-impressionism of J. Seurat, as well as the theory of color developed by the physicist M. Chevreil. In 1910 he married the artist S. Turk (S. Delone), who became his faithful companion in art. In 1911 he took part in the Munich exhibition of the Blue Rider Society. He lived mainly in Paris, and in the First world war and in the postwar years (until 1920) - in Spain and Portugal. From early post-impressionism, he moved in the early 1910s to a series of generalized and colorful urban landscapes that became evidence of his artistic maturity. Since 1910, they have been dominated by the motif of the Eiffel Tower, as if freely floating among the swirling fragments of space. The crystallinity of compositional structures makes these canvases related to cubism, and spatial dynamics to futurism, but the spirit of pure contemplation, prone to major “musical” harmonies of color, gives Delaunay’s works a very special character. His paintings often took on the character of decorative panels (City of Paris, 1910–1912, National Museum contemporary art, Paris). The artist outlined his understanding of the decorative and dynamic possibilities of color, the system of its optimal contrasts in the essay On Color (1912), which became the manifesto of Orphism (the new trend owes its name to G. Apollinaire). In the same year he created non-objective paintings (Simultaneously Open Windows, Tate Modern Gallery, London; etc.), including the so-called. circular shapes, born from observations about the concentric-circular nature of light radiation and the color spectrum. In the 1920s, Delaunay returned to figurative art, continuing, in particular, a series of "Eiffel towers" and writing many expressive portraits (F. Soupault, 1922, Center J. Pompidou, Paris). Then, at the turn of the next decade, he again turned to abstraction (the cycle of paintings Infinite Rhythms - from 1933 - horizontally elongated compositions, much more restrained in color). Together with his wife, he created a number of large panels for the railway and aviation pavilions of the World Exhibition in Paris (1937). With the outbreak of World War II, he moved to Auvergne. Delaunay died in Montpellier on October 25, 1941.

LEGER, Fernand (Léger, Fernand) (1881-1955), french painter, sculptor, graphic artist, ceramist and decorator, champion of the so-called. "aesthetics of machine forms" and "mechanical art". Born February 4, 1881 in Argentan, in the family of a Norman peasant; at the age of 16 he began working in an architectural firm in Caen, and in 1900 he was a draftsman in an architectural studio in Paris. After serving in the army, he settled in a picturesque and attractive house for artists with the workshops "La Ruche" ("Beehive"), where he met with such masters as A. Archipenko, A. Laurent, J. Lipchitz, Delaunay, M. Chagall and X .Sutin. In 1910 he met P. Picasso and J. Braque. Leger painted his first canvases under the influence of P. Cezanne's painting, in particular the Wedding (1910), the famous Lady in Blue (1912) and the series Geometric Elements (1913-1914). After World War I, Léger became interested modern theories movement and mechanics. This interest was expressed in the creation of such works as the City (1919), Mechanics (1920), Big Breakfast (another name Three Women, 1921) and Station (1923). In them, the elements of the human body resemble the shapes of pipes, motors, rods and gears. Léger carried out major decorative projects at the Exhibition decorative arts in Paris (1925), on the Brussels international exhibition(1935) and at the UN building in New York (1952). From 1931 to 1939 Léger visited the USA several times. During World War II (from 1940) he received asylum there and taught at Yale University. Returning to Paris in December 1945, he completed a series of major compositions Goodbye New York (1946), Entertainment (1949), Constructors (1950), Country Company (1953), Grand Parade (1954). Leger was interested in different areas of art: mosaic, colored glass, book illustration, production of cardboards for carpets, theatrical scenery. Everywhere he sought to convey movement. In cinema, Léger created the first film without a script, Mechanical Ballet (1924). In 1934 A. Korda asked him to make scenery for a film based on the script by H. Wells The Form of the Future. Together with A. Calder, M. Duchamp, M. Ernst and M. Ray, he worked on the film Dreams that money can buy ("Hans Richter Film", 1948). Léger died in Giff-sur-Yvette (Seine-et-Oise) on August 17, 1955.

Picasso Pablo (Picasso, Pablo) (gg.), French artist, Spaniard by origin. Sculptor, graphic artist, painter, ceramist and designer, the most famous, versatile and prolific among his contemporaries. Pablo Picasso was born October 25, 1881 in Malaga (Spain) in the family of the artist Jose Ruiz Blasco and Maria Picasso Lopez. In his youth, Picasso decided to take more rare surname mother instead of the common Ruiz. He was an unusually gifted child and at the age of fourteen he entered the School fine arts in Barcelona, ​​completing in one day examination paper for which a month was given. Studied at the Royal Academy of Arts of San Fernando in Madrid. In 1899, Picasso returned to Barcelona, ​​where he became a regular at the famous Four Cats cafe, which gathered artists and writers. The years from 1901 to 1904 in the creative biography of the master were called " blue period"due to the predominance of the blue tone in his paintings of that time. During these years, he lived either in Paris or in Barcelona. It was then that his long-term friendship with the poet Max Jacob and the sculptor Julio Gonzalez began. In 1904, Picasso settled in Paris on Rue Ravignon , in the famous house of Bato Lavoir ("Floating Laundry"), where many artists lived. In 1904 he met Fernanda Olivier, who became his lover and inspirer of his art. In 1905, the "blue period" is replaced by "pink"; Picasso meets a critic Guillaume Apollinaire and the Americans Leo and Gertrude Stein.Up to this point, the life of the artist was more of a struggle for existence, but his situation improved markedly when, within a few years, the Russian collector Sergei Shchukin acquired about fifty of his works.At that time, Shchukin had the best collection of Picasso's paintings In 1907, Picasso painted l picture of the Avignon Maidens, which is considered a turning point in the fine arts of the 20th century. In the same year he met J. Braque. Braque and Picasso became the founders and leaders of cubism. By 1917 is the first experience of Picasso as a theater artist. He created sketches of costumes and scenery for the production of the ballet Parade for "Russian Seasons" by Sergei Diaghilev. IN next year married one of the ballerinas of the Diaghilev troupe, Olga Khokhlova.

In the 1920s, Picasso continued to work for the theater, and also painted in a variety of styles, from neoclassical to cubist and surrealism. In Picasso, together with his old friend Gonzalez, he created works from welded metal structures. In the early 1930s, the artist made several graphic series, including 30 etchings for Ovid's Metamorphoses for the Skira publishing house and for Balzac's Unknown Masterpiece commissioned by the collector Ambroise Vollard. Several of the main motifs that are usually associated with the work of Picasso - the Minotaur, the artist and the model, etc. - were included in the famous series of etchings of Vollard's Suite, on which he began to work in these years, Picasso's marriage broke up; his new lover was Marie-Thérèse Walter. In 1936, when Spain began Civil War, Picasso took the side of the republican government and, in confirmation of his loyalty, accepted the offer to take the honorary post of director of the Prado Museum. At the end of April 1937, the world learned about the bombing of Guernica, as a result of which the small Basque town was wiped off the face of the earth. Picasso expressed his attitude to what happened in the Guernica panel. It was intended for the Spanish pavilion at the World Exhibition in Paris, and then kept in New York's Museum of Modern Art. In 1981, six years after Franco's death, the painting was transferred to the Prado. During World War II, Picasso lived in Paris with Françoise Gilot, who bore him two children. In 1946, the master turned to the art of ceramics and, practically on his own, revived the ceramic craft that once flourished there in the town of Vallauris on the Riviera. Picasso was always interested in new technologies, and developed a special technique of lithography. In 1944 the artist joined the French Communist Party. The political convictions of Picasso, reflected in Guernica, reappeared in the painting The Korean War (1951) and two large panels War and Peace (1952) created to decorate the Temple of Peace in Vallauris. The 1950s saw several retrospective exhibitions by Picasso; at the same time he met Jacqueline Roque, whom he married in the 1950s, the artist entered into a dialogue with the great masters of the past: in he wrote several variations on the theme of Delacroix's painting Women of Algiers, in Velasquez's Menin, and in Manet's Breakfast on the Grass. In the 1960s, Picasso created a monumental sculptural composition 15 m high for a community center in Chicago. In 1970, the artist donated over eight hundred of his works to the Aguilar Palace Museum in Barcelona. Picasso died in Mougins (France) on April 8, 1973.

PICASSO PABLO. VASE WITH DANCERS. Ok National Museum of Modern Art, Paris.

GRIS, Juan (Gris, Juan) (1887-1927), Spanish artist, one of the founders of cubism. Born in Madrid on March 23, 1887, real name - José Victoriano Gonzalez (Jos Victoriano Gonz lez). Initially, he earned a living drawing for humorous publications and at the same time studied painting. In 1906, Gris arrived in Paris and settled in Montmartre, not far from his compatriot Pablo Picasso. During his formative years, at the beginning of the Parisian period (1906–1912), Gris became fascinated with Cubism. His early work(1911-1912) are made in an "analytical" manner, dating back both to Cezanne and to Picasso and Braque. Rapidly developing, Gris already in 1913-1914 develops his own version of "synthetic" cubism. He defines his painting as “a variant of planar, colored architecture”, or rather, its “premonition”, a harmonic arrangement of shapes and colors. He believed that “the essence of painting is an expressive interaction between the artist and outside world”, but he called the paintings, devoid of a pictorial beginning, a “flawed technical exercise”. Gris's version of cubism was more severe and classical, less spontaneous than that of Braque or Picasso. In the canvases of 1920-1927, the artist cultivates "a refined and aestheticized side of painting, for which he had not previously found a place in his work." As a result, his style acquired extraordinary freedom, lyricism, and at the same time boldness and completeness. Gris died in Boulogne-Billancourt (France) on May 11, 1927.

JUAN GRIS. SMOKER Thyssen-Bornemisza Museum, Madrid.

MARRIAGE, GEORGE (Braque, Georges) (1882-1963), French painter, graphic artist, sculptor and decorator; together with Picasso is the creator of cubism. Born May 13, 1882 in Argenteuil (department of the Seine and Oise) in the family of an artist-decorator. In 1900-1901 he studied at the Technical School in Paris. In 1902–1904 he attended classes at the School of Fine Arts and the Amber Academy, museums and private collections, studied Impressionist and Post-Impressionist painting, Egyptian and Greek sculpture, as well as works by Corot and Cezanne. In Braque, he painted several series of landscapes, in which the influence of the painting of the Fauves and Cezanne is felt. Picasso's Maidens of Avignon (1907) made a strong impression on him. The following summer, Braque produced a series of groundbreaking landscapes, in which he followed Cezanne's call: "Depict nature in the forms of cylinders, spheres and cones." These landscapes were not accepted by the Salon d'Automne. Henri Matisse said that they were made up of cubes, hence the word "cubism" came from. In 1908-1914, Braque and Picasso worked closely together, developing the principles of the new artistic direction. At first, they analytically destroyed the habitual images of objects, as if "taking apart" them into separate forms and spatial structures. In 1912 they began to work in the technique of collage and appliqué and became interested in the reverse process - the synthesis of objects from dissimilar elements. A significant contribution of Braque to the creative process was the use of inscriptions and various decorative techniques. The large composition The Musician (1917–1918, Basel, Public Art Collection) was the result of the phase of synthetic cubism in the work of Braque and marked starting point in his new creative pursuits. In the 1920s, elements of cubism gradually disappear from the works of Braque, he uses more pictorial motifs. Public recognition came to him in 1922 after an exhibition at which the artist presented a series of paintings written in a rich pictorial manner: Fireplaces, Tables and Canephors (girls carrying baskets with sacrificial utensils). In the late 1920s, Braque abandoned flashy painterly effects and continued to experiment with form and color; he painted seascapes, bathers, neoclassical motifs, and heads with a double profile. In the 1930s and 1940s, Braque painted still lifes and interior compositions, sometimes with musicians, sitters and painters, and sometimes completely devoid of human figures. After the war, Braque's work took on a more contemplative, esoteric character, as evidenced by the series of 8 paintings Workshop (1949–1956). In 1952–1953, the artist painted the plafonds in the Louvre. The large black birds depicted on them against the blue sky became one of the most frequently encountered motifs in the later works of the master. Braque produced many drawings, prints and sculptural works, but the main place in his work was occupied by painting. Braque died in Paris on August 31, 1963. 31

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The main trends and styles in the art of the early 20th century cubism fauvism futurism expressionism dadaism surrealism abstractionism

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Cubi zm (fr. Cubisme) is a modernist trend in the visual arts, primarily in painting, which originated at the beginning of the 20th century and is characterized by the use of emphatically geometrized conditional forms, the desire to “split” real objects into stereometric primitives. The emergence of cubism is traditionally dated to 1906-1907. The term "cubism" appeared in 1908, after the art critic Louis Vaucelles called the new paintings of Georges Braque "cubic whims".

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Kubi zm is a direction in art founded in the first quarter of the 20th century in painting, whose representatives depict the objective world in the form of combinations of regular geometric volumes: a cube, a cube ball, a cube cylinder, a cube cone, in order to more fully express the ideas of things, artists use the traditional perspective as optical illusion and strive to give them a comprehensive image by decomposing the form and combining several of its types within the framework of one picture. An increased interest in form leads to a distinction in the use of colors. warm colors for protruding elements of the plot motif, cold colors for remote or distant elements of the picture. In architecture and sculpture, it is characterized by the use of emphatically geometrized conditional forms, the desire to split real objects into stereometric primitives, the desire to identify the simplest geometric forms underlying objects.

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In the development of cubism, three periods are distinguished: Cezanov, analytical, synthetic. 1. The “Cezanovsky” or otherwise “Negro” period is associated with the discovery and rethinking of primitive art, begun by Paul Cezan. This period is characterized by paintings that depict sharp breaks in forms, large volumes, which, as it were, are laid out on a plane, creating a feeling of relief in the image. The color scheme emphasized and crushed the volume. Compositions are created mainly on the basis of landscapes, figures, still lifes painted from life. 2. The analytical period is characterized by the fact that the depicted object was completely crushed into its constituent parts, stratified into small separate faces from each other. The color palette was reduced to black and white. This period in the development of cubism was more transitional than independent. 3. The synthetic stage lasted from 1912 to 1914. During this period, decorativeness prevails, the paintings become more like panels.

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Representatives Painting Pablo Picasso, Georges Braque, Aristarkh Lentulov Sculpture Alexander Archipenko, Konstantin Brancusi Photography Iosif Badalov

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Most prominent representatives Cubism and its founders are considered two great artists - Pablo Picasso and Georges Braque. Artists in their works compared geometric surfaces with minimal resemblance to the depicted objects, they believed that the form should be far from the depicted object. There was no emotional richness in the works. Lines and shapes replaced feelings. Color in the works of the Cubists was given a minimal value, the artists sought to use it as little as possible. They were mostly grey, black, brown colors. The images in the works of the Cubists had no prototypes in life, lost their reality, became abstract, understandable only to the author himself. The painters represented the object as if from several points of view from above, below, from the inside, from the side, they placed these images on one canvas, superimposed one on another. The desire to portray the unimaginable led to a simplification of the genres of painting.

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The Cubists did not subdivide works by genre (portrait, landscape, still life), but gave them a common name - painting. The main conquest of the Cubists, art historians consider unlimited freedom. To expand the possibilities of their direction, the cubists combined a variety of techniques and materials in the picture: colored paper, wallpapers, etc. One of the new means of expression became a collage - a montage of a picture from stickers. Over time, the new direction came to a standstill. In search of new means of expression, the artists glued newspapers to the picture, and painted over the wrapping paper. They believed that this allowed them to create space.

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Pablo Picasso Pablo Picasso (1861-1973)- outstanding artist 20th century painter, draftsman, engraver, sculptor, one of the founders of cubism. Pablo Picasso received the basics of fine art from his father, a drawing teacher. Then, from the age of 14, he studied at the Barcelona Academy of Arts, at the age of 16 he entered the Royal Academy of San Fernado in Madrid. In 1904 the artist moved to Paris.

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One of the first works in the style of cubism was the painting "Avignon Girls" (1907). In this canvas, the plot is visible, but realism is already disappearing. The figures of women are depicted with geometric shapes and concave-convex planes of the pattern. The presence of light and shadow modeling with shading is still partially felt, but the stroke is already actively used.

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The events in Spain found a response in the work of P. Picasso, he painted the painting "Guernica" (1937). Here you can see some elements of realism. The picture became a warning to mankind about the coming war, about the horrors of fascism, it caused an emotional outburst in society. The author expressed his protest and anxiety with the help of brittle lines that cut across the faces of the characters in the picture.

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Georges Braque Georges Braque (1882-1963) - French painter, sculptor, engraver, one of the founders of cubism. J. Braque was born in Argenteuil. He studied fine arts first with his father, then in the studio of an artist-decorator. In 1902 he entered the Amber Academy in Paris. At the beginning of his work, Braque was associated with Fauvism, painting mostly landscapes using complex color schemes. Early period his work coincides with the period of analytical cubism. He works on still lifes and landscapes, using an almost monochromatic range. During the First World War, Braque was called to the front, was wounded, and underwent a serious operation. After recovery, he again returns to creativity. Gradually, Braque moves away from cubism, switching to the creation of planar paintings of more diverse colors. Since 1930, the artist begins to use in compositions human figures in the interior, very close in style to abstract art. Later paintings by J. Braque become laconic. The plots of the desert plains and the sea coast of Normandy are harmoniously combined with the motifs of an abandoned boat and a plow on an autumn field. The compositions are harmonious and very close to classicism.

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In 1949-1956. Braque created the "Workshops" series, one of his most significant works, which includes eight large-format canvases depicting objects of art, where there is a sparkling image of a white bird - a symbol of creative flight. Objects become more recognizable, the color scheme has become more versatile. Later, the image of the bird develops in his work into an independent theme ("Black Birds", 1956-1957).

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Aristarkh Lentulov (1882-1943) Born in 1882 in the village of Vorona, Penza province, in the family of a priest. Aristarkh Lentulov's mother was left early a widow with four children, the youngest of whom was the future artist. After the Penza Theological School, Lentulov moved to the seminary. However, an art school was opened in Penza, and Aristarkh Lentulov got into the first set. Further art education Lentulov received in Kiev art school, in the St. Petersburg studio of D. Kardovsky. From 1909 he lived in Moscow.

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Upon his return from Paris, the artist created a series of panels depicting the architectural monuments of Moscow. These works connect the natural impression of medieval architecture, traditional folklore brightness and cubo-futuristic transformation of form. In many works of the 1910s, Lentulov used appliqué. " Nizhny Novgorod» (1915)

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Alexander Archipenko (1887-1964) Ukrainian-American sculptor, born in Kyiv. In 1906 he moved to Moscow, and in 1908 to Paris. There, in the biography of Archipenko, the development of his cubic technique in sculpture was laid, where he soon joined the Cubists, and in 1923 he moved to the USA. Archipenko's sculpture is based on a sharp deformation and geometric stylization of the plastic form, retaining only a distant connection with reality. His works are distinguished by deliberate distortion of proportions and sharp linear rhythm.

• Cubism(fr. Cubisme) is an avant-garde trend in the visual arts, primarily in painting, which originated at the beginning of the 20th century and is characterized by the use of emphatically geometrized conditional forms, the desire to “split” real objects into stereometric primitives.

THE RISE OF CUBISM

• The emergence of cubism is traditionally dated to 1906 - 1907 and is associated with the work of Pablo Picasso and Georges Braque. The term "Cubism" was coined in 1908 after the art critic Louis Vaucelle called Braque's new paintings "cubic quirks."
• Beginning in 1912, a new branch of Cubism was born, which art critics called "synthetic cubism". It is rather difficult to give a simple formulation of the main goals and principles of cubism; in painting, three phases of this trend can be distinguished, reflecting different aesthetic concepts, and each one can be considered separately: Cezanne (1907-1909), analytical (1909-1912) and synthetic (1913-1914) cubism.

• The most famous cubist works of the early 20th century were Picasso's paintings " Avignon girls”, “Guitar”, works by such artists as Juan Gris, Fernand Leger, Marcel Duchamp, sculptures by Alexander Archipenko, etc.

« AVIGON GIRLS »

CEZANNE CUBISM

• This is usually the name of the first phase of Cubism, which is characterized by a tendency to abstraction and simplification of the forms of objects. Following the transcendentalism of the late 19th century, they argued that real reality possesses the idea, not its reflection in the material world.

• A direct influence on the formation of cubism had experiments with form in the painting of Paul Cezanne. In 1904 and 1907 exhibitions of his work were held in Paris. In the portrait of Gertrude Stein, created by Picasso in 1906, one can already feel the passion for the art of Cezanne. Then Picasso painted the painting Maidens of Avignon, which is considered the first step towards cubism.

Portrait of Gertrude Stein

• During 1907 and early 1908, Picasso continued to use forms of Negro sculpture in his works (later this time began to be called the "Negro" period in his work).
• In the autumn of 1907 two important events: retrospective exhibition of Cezanne and the acquaintance of Braque and Picasso. The summer of 1907 Marriage spent in Estaca, where he became interested in painting Cezanne. From the end of 1907, Braque and Picasso began to work in the Cubist style.

"WOMAN WITH A FAN". 1909 PABLO PICASSO

"BIDON AND BOWLS". 1908 PABLO PICASSO

ANALYTICAL CUBISM

• Analytical Cubism, the second phase of Cubism, is characterized by the disappearance of images of objects and the gradual blurring of the distinction between form and space. The arrangement of forms in space and their relation to large compositional masses is constantly changing. The result is a visual interaction of form and space.

"PORTRAIT OF DANIEL-HENRY CAWEILER". 1910 PABLO PICASSO

"PORTRAIT OF AMBROISE VOLLARD". 1915 G. PABLO PICASSO

SYNTHETIC CUBISM

• Synthetic Cubism marked a radical change in artistic perception movement. This was first manifested in the works of Juan Gris, who became an active adherent of cubism from 1911. This phase of the style is characterized by the denial of the significance of the third dimension in painting and the emphasis on the pictorial surface. If in analytical and hermetic cubism everything artistic means were supposed to serve to create an image of the form, then in synthetic cubism color, surface texture, pattern and line are used to construct (synthesize) a new object

MAN IN A CAFE, 1914 JUAN GRIS

"STILL LIFE WITH A WICKER CHAIR"(1911-1912) PABLO PICASSO

"VIOLINE AND GUITAR" (1913). PABLO PICASSO

Cubism. Avant-garde - a direction in painting at the beginning of the 20th century. The founders are French artists Pablo Picasso and Georges Braque. Contemporaries saw in cubism a revolutionary rejection of the "conventions of optical realism" in favor of a new artistic vision of reality through the prism of geometric shapes (cube, cone, cylinder). The name "cubism" arose from a negative assessment of the works of this direction, called by critics "a bunch of cubes." Pablo Picasso. Musical instruments.

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If the Fauvists dreamed of creating art that pleases the eye and soothes the senses, then the Cubists wanted to "disturb human souls." The new direction was largely dictated by the desire to continue experimental searches in the field of form. “Many believe that cubism,” wrote P. Picasso, “is a special kind of transitional art, an experiment, and its results will only be felt in the future. To think so is to misunderstand Cubism. Cubism is not a “seed” or “embryo”, but an art for which the form is most important, and the form, once created, cannot disappear and lives an independent life.

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A similar characterization was picked up by the journalist Louis Vexel in a review of an exhibition of paintings by Georges Braque (1882-1963), which took place in Paris in November 1908 and became a great event in artistic life Europe. And although the artists themselves considered the term "cubism" too narrow in relation to their art, it nevertheless took root and began to designate one of the new trends in painting. Moreover, cubism had a significant impact on other arts: sculpture, architecture, arts and crafts, ballet, scenography and even literature.

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Georges Braque. Violin and palette. 1910 Museum of Modern Art, New York Color and subject in cubism performed minor role, the main ones were drawing, static construction and composition. Pablo Picasso noted: “Cubism does not differ from the usual trends in art. The same principles and elements apply here as elsewhere. The fact that Cubism remained misunderstood for a long time and that there are still people who do not understand anything about it does not mean that it is untenable. The fact that I don't read German... doesn't mean that German language does not exist".

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The picture became a true troublemaker Spanish artist Pablo Picasso (1881-1973) Girls of Avignon. Pablo Picasso. Avignon girls. 1907 Museum of Modern Art, NY

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It was she who marked the beginning of a new direction in the art of cubism. Matisse saw in her a caricature of modern trends in painting and considered her just a bad trick of his friend. J. Braque, one of the first to see this work, declared indignantly that Picasso wants to make him "eat tow and drink kerosene." The famous Russian collector and great admirer of the talent of the artist S. I. Shchukin, seeing her in the workshop, exclaimed with tears in his eyes: “What a loss for french painting!" Fortunately, the numerous attacks of critics turned out to be only an incentive for Picasso's further creative searches. The huge canvas was the result of long reflections of the artist, who obviously neglected the canons of classical female beauty. Picasso explained: “I did half of the picture, I felt that this was not it! I did it differently. I asked myself if I should redo the whole thing. Then he said: no, they will understand what I wanted to say.

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What did the artist “want to say” and what so confused the audience in her? five nudes female figures, captured from different angles, filled almost the entire surface of the canvas. Idol-like frozen figures are carelessly carved from solid wood or stone. Strange mask faces are heavily distorted and deformed. Deprived of any feelings and emotions, they frighten and fascinate at the same time... The girl on the right looks indifferently through the parted curtain. The figure, sitting with its back, turned around and gazed at the viewer intently. In every look - a mute reproach and reproach to society, which rejected women and doomed them to illness and death. Thus, according to the author, the picture was supposed to wake up the sleeping conscience of contemporaries, and therefore was perceived as the passionate voice of the artist in defense of outraged beauty, a humiliated and powerless woman.

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The second stage in the development of a new direction in painting is considered to be synthetic cubism, using various items real life. Pablo Picasso. Still life with a straw chair. 1912 Picasso Museum, Paris

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Pablo Picasso. Still life with a straw chair. 1912 Picasso Museum, Paris A guitar neck, a tablecloth border, a cylindrical leg of a glass, a bottle neck, a smoking pipe bend, a deck of playing cards - everything could serve as a pretext for deciphering the paintings. Letters and numbers, fragments of words, fragments of telegraph or newspaper lines, inscriptions on the windows of shops and cafes, car numbers, identification marks on the sides of aircraft were especially often introduced ... Moreover, in the paintings they used materials that were foreign to oil painting: sand, sawdust, iron, glass, gypsum, coal, boards, wallpaper. This was the beginning of the art of collage (gluing materials that differ from it in color and texture onto a base).

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One day, Picasso took an oilcloth, which depicted a grid of a wicker chair. Cutting out a piece of the shape he needed, he glued it to the canvas. This is how the "Still Life with a Straw Chair" was created. The small oval-shaped painting was full of details that went against the existing norms of painting. Disparate elements, connected in a certain way, nevertheless created a single whole. Pablo Picasso. Still life with a straw chair. 1912 Picasso Museum, Paris "Picasso deliberately violates harmonic perception paintings, combining objects on one canvas, the reality of each of which is perceived to a different degree. But they are united in such a way that they create a game of contradictory and at the same time complementary feelings ”(R. Penrose).

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In addition to still life, the Cubists often turned to the portrait genre. The figure of a man, presented in geometric forms, very remotely reproduced the real model. The head resembled a ball, the arms a rectangle, the back a triangle. The face broke up into many separate elements, according to which it was difficult to restore the appearance of the person being portrayed. However, a case is known when an American critic recognized in a Parisian cafe a man who was familiar to him only from a Cubist portrait of Picasso. Pablo Picasso. Portrait of Ambroise Vollard, 1909-1910 Pushkin Museum im. A. S. Pushkin, Moscow

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An amazing "similarity" was achieved by the artist in the famous "Portrait of Ambroise Vollard". Created against a backdrop of intricate crystals, it vaguely conveys the somewhat flattened nose of a well-known collector. The high and straight forehead stands out from the prevailing gray range of colors with the help of soft tones. Barely discernible facial features are absorbed by cubic forms. Vollard himself claimed that, although many could not recognize him on the canvas, the four-year-old son of one of his friends, when he first saw the portrait, immediately exclaimed: “This is Uncle Ambroise!” Pablo Picasso, Portrait of Ambroise Vollard, 1909-1910, The Pushkin State Museum of Fine Arts, Moscow

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His name was already surrounded by legends during his lifetime. They admired and argued about him. He was overthrown and again erected on the peaks of Olympus. Hundreds of studies have been written about it. According to Pablo Picasso, the art of the 20th century, in which he made his brilliant discoveries, will be measured for a long time to come. The aphoristic words of his contemporary Andre Breton (1898-1966) still retain their meaning and meaning: "There is nothing to do where Picasso has passed."