Word: cubism
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...school of Paris, and backed them with an enthusiasm shared by no other collectors of his time except the Steins. Morosov's tastes were slightly more conservative. He had 18 Cézannes, no fewer than five of which are in the present show, but he balked at Cubism. Schuhkin, however, absorbed it all, from the primitive and enchanted jungles of Henri Rousseau to the most difficult early cubist Picassos, from the bustling impressionist streetscapes of Pissarro to the dense, darkly resonant and sinister vision with which Gauguin, in Tahiti, could invest even a subject like Still-Life with...
...served as a receptacle for those instincts toward solid, feelable shape which he could not (with out violating the development of his work as a painter) get into his canvases. De Kooning imagery has long tended toward the monstrous. But the images existed in a fictional space, descended from Cubism, flattened and modulated. One may guess that De Kooning felt curious about how his figures might look off the page, when the surface violence of brushmarks was translated into the more actual violence of the hand-slapping and twisting lumps of clay...
Cubist Fleshed. Granted this tenor of thought, it was inconceivable that Braque's kind of Cubism could ever have turned the corner into abstraction. Instead, his enterprise was to put flesh on the bones of Cubist structure, to give it the sensuousness of the world of objects, returning to the eye and hand a space which, though fictional, can be explored in real detail. "There is in na ture," he said later, "a tactile, I almost mean 'manual' space." The Mantel piece, 1922, is an example of this pro cess. At first one recognizes its elements...
...helmets of the gambling soldiers in The Denial of St. Peter, glimpsed by candlelight. A body or a hand is silhouetted against a shielded flame in order to display, with effortless virtuosity, its linear nature as form. Indeed, La Tour's night pieces look like predictions of Cubism; the background is as active as the figure, voids read as strongly as solids. This quality gives his compositions an immense formal authority - Caravaggio, whose followers La Tour had undoubtedly studied in Rome, never solved problems with La Tour's exactitude...
...concerned with what exercised the Cubists and later became an absolute fetish in American painting, the "problem" of filling the picture plane. In fact he strove to destroy the illusion of a unified, comprehensible surface, which representational art had gained by means of perspective and which Cubism achieved through its multiplicity of facets. The forms of Ribbon with Squares, No. 731, 1944, simply hover in an illimitable field of color, whose depth cannot be guessed; they evoke what Kandinsky called "floating sensations," whose only concern is with thrust and counterthrust, disembodied, in free fall...