Word: cubism
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
Back to Vulcan. The metal sculpture school has roots as far back as Vulcan. Its immediate antecedent is constructivism, proclaimed by two Russian-born brothers, Naum Gabo (now in the U.S.) and Antoine Pevsner (now in Paris), who in 1920 revolted against cubism: "Depth alone can express space. We reject mass as an element of sculpture . . ." By approaching the problem like engineers, Gabo and Pevsner (see color page opposite) turned out metal objects that have the smooth, polished beauty-and the coldness-of a mathematical equation...
...traditional nude. Instead of idealizing the body Gusils prefers to make it very fleshy and animal like. Irregular proportions and a relaxed posture help accomplish this. The same subject is teated in increasingly more abstract styles in three other works. No. 6, a marble nude, approaches a watered down cubism. As in the work of the contemporary Italian sculptor Martini the limbs are almost conical in shape. A more extreme example of this type of form is found in No. 11, "Centaur," which looks like stretched taffy...
ANDRÉ MINAUX, 31, whose work represents one significant trend in French painting: the return to realism and 19th century masters like Courbet and Delacroix. The lessons of cubism and fauve color, thinks Minaux, have by now become the unconscious inheritance automatically guiding and correcting the artist's eye and intelligence, thus leaving painters free to turn to traditional subjects, such as Minaux's French peasants harvesting...
...changed the title of Corpus hipercubus to The Crucifixion because "it is easier to understand." As it put its new Dali on public view, the Met rated the work "an outstanding modern religious painting, very serious, with little surrealistic eccentricities." Said Dali, "Juan Gris created beautiful cubism and Picasso continued it. Now myself has created one complete hypercubist painting...
Among them are Sea Birds (from the Metropolitan Museum) and Light in Autumn (opposite). Both have the flawed-crystal complexity, the hint of cubism applied to open air, that has become his trademark. Thon builds each composition on a lattice of smudgy rectangles, laid in partly with putty knives, and laces his sharp, delicate outlines well into the lattice. An extraordinary yet unobtrusive richness of texture results. More important, Thon's technique stretches and modifies the vision of the viewer. In his pictures, air has peculiar sparkle and density, and the things it seems to enclose look fragile...