Word: cubism
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...eight-part series of hour-long programs on various aspects of 20th century art for a BBC-TV and Time-Life Television coproduction. Titled Shock of the New, it will be shown on public television stations next January. "Picasso pervades the entire series," says Hughes. "The history of cubism is largely about Picasso. No discussion of art as political emblem can avoid Guernica, the last major political work of art. Picasso was a dominating influence on surrealism and the chief inspiration of American abstract expressionism. The shape of 20th century art is unimaginable without...
...turn, had extracted from Japanese decorative art. By 1902 the blueness of this line had spread to dominate the whole painting. It had a symbolic value, of course: it spoke of melancholy, of the "blues." But it also enabled Picasso, as the pervasive brown-gray monochrome of analytical cubism later would in a different way, to take color out of his work, so that he could make a compromise between decorative flatness and sculptural volume in terms of pure tone...
...geometric calibration. What he wanted, and had found by 1947, was a much simpler, grander and more declarative kind of structure: opaque, ragged planes of color rearing up the surface, emphatic in their brush-work-none of the characteristic cubist tonal flicker-and engulfing in their sheer size. If cubism was the art of hypothesis, Still would contradict it with an art of crushing visual fact. In doing so he hoped to make a clean leap out of modernist history into images "not proven by a continuum," as he wrote to a friend in 1950: "I am myself-not just...
Diaghilev was more than a gilded talent scout. Wherever he found genius, he made it fashionable. Parisians flocked to see Parade, which coincided with the flowering of cubism. Romeo and Juliet, designed by Miro and Max Ernst, popularized surrealism. Apollon Musagete, the first successful collaboration of Stravinsky and Balanchine, marked the beginning of neoclassicism in music and dance. Diaghilev's own life was measured out in hotel bills and telegrams. He ranged ceaselessly from Europe to America in search of backers and triumphs. World War I and the Russian Revolution slowed his progress but never stopped...
...Kasimir Malevich, Natan Altman, Naum Gabo and scores of others was a collectively ecstatic response to the possibilities of a new world, the Utopia that Lenin called "Marx plus electricity." It was international in range, drawing on the resources of the new movements in Italy and France-futurism and cubism-which the Soviet artists absorbed with extraordinary speed; and there was nothing provincial about their absorption. Moreover, it was wedded to the ideal of revolution. The energies of radical politics had called forth an equally radical state art. Many of its makers believed that they were at the climax...