Word: cubism
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...Path. His Paris work, on view in a Manhattan gallery last week, had ended Villon's long career as a rather dull Old Faithful of cubism. To make a little money for his old age, Villon had had to turn aside from his dogged cubism to do newspaper cartoons, architectural prints, and color reproductions of the paintings of his famous contemporaries. In his new life, he no longer had to worry about such workaday chores. At 74, Villon was selling as never before, and he had become the toast of Paris' young painters. His new pictures, they agreed...
Pablo Picasso, 67, leading post-impressionist and a founder of cubism, was seriously dabbling again in realism. For Paris' Communist-sponsored "World Congress of Partisans of Peace," scheduled for later this month, he had painted a dove of peace that looked just like a dove. The bird, trilled Communist L'Humanite, was "vital and soft. Its plumage shines and drives back the shadows...
...Paris he set up housekeeping with a pretty Russian blonde named Angelina Beloff, learned Russian and talked Marxism with Angelina's expatriate friends. He also enlisted in the cafe cohorts of Pablo Picasso, who was by then knee-deep in cubism. "I have never believed in God," says Rivera today, "but I believe in Picasso." Cubism, he maintains, "was the most important development in art since the Renaissance." He points out that cubist principles of composition underlie his most realistic murals...
...there came a time when Rivera pooh-poohed Picasso: mere cubism was not enough. Diego's rebellion began one fine morning in 1918, he recalls: "I was just coming out of a cubist show at the Rosenberg gallery when a fruit vendor passed in front of me in the sunshine, pushing a little wagon full of peaches. The sight was so much more beautiful than all those dry, thin abstractions inside the gallery. It made me want to paint the richness we can see and feel, not just intellectual constructions." Rivera was coming back to the maxims...
Missing Models. By 1914 they had quarreled. Picasso went his wild way; Braque stuck with cubism. Over the years Braque's paintings grew simpler and subtler, his cubes melted and merged. Where his predominantly low-keyed palette had given even his landscapes a stuffy, indoor look, he came to use flashes of fresh color. His compositions looked fragile as a house of cards, but being perfectly balanced they stood...