Word: cubism
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...Renaissance painters was perspective and how to use it. Georges Braque did away with all that. "Perspective forces objects to disappear away from the beholder instead of bringing them within reach," he protested. So he brought objects up to the picture plane, as if squashed on a window. His cubism gave man a new perspective that indifferently abandoned the third dimension and then thoughtfully added the fourth, time, by giving multiple views of the same object...
...later years, his youthful infatuation with the flamboyant Fauves embarrassed him as a childish excess. In 1908 Braque was drawn to fragment his vision in the manner that became known as Cubism, after seeing Picasso's panorama of naked prostitutes, Les Demoiselles d'Avignon. Their fractured postures impelled Braque to a further dissection of nature. He and Picasso, working together, began turning out canvases so similar that in later years they could not recall which of them had painted what. In 1912 Braque invented the paper collage, in which scraps of newsprint and ticket stubs were glued onto...
...time, adding to each a fast-growing repertory of stock techniques: the placement of the curious (whether an object, texture or color) next to the ordinary, the abrupt disordering of space, an almost mannerist play of light. He jumped like a child at hopscotch from Fauvism to cubism to Dadaism to sur realism, but it was Dada that shaped him most. He was one of the few American members of the original school, and for him it never really died: his determined disrespect for the materials of art and deep attention to the ideas that art can shape lend...
...noise the Americans were making. Yet this week, the Corcoran Gallery in Washington has a well-thought-out show to prove that Americans had plenty of vitality between 1900 and 1940. There were the new open sculptures of Archipenko, the mobiles of Calder, the precisionism of Charles Sheeler, the cubism of Max Weber, and the soaring abstractions of Joseph Stella. But the case of Stanton Macdonald-Wright was something else again, one of those bitter little footnotes to the history of art that serve as a reminder that experimentation and progress are not necessarily the same thing...
Cone to Crazy Quilt. With such castoffs, Cézanne did the spadework for cubism. He laid the landscape bare to its essential structure, yet cloaked it in a crazy quilt of color like a Jack Frost with spring fever. Unlike his contemporary impressionists, he wanted to show the unchanging longitude and latitude of the earth rather than the fleeting snapshot of the instant. But he left to the later cubists the task of actually depicting the geometry of "the cylinder, the sphere, the cone" of his famous dictum on the elements...