Cubismo
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Transcript of Cubismo
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Pablo Picasso. Les demoiselles d Avignon, 1907
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Paul Cezanne, Montanha de Sainte Victoire, 1904.
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Mas o cubismo levanta explicitamente o problema da renúncia à função decorativa, do retorno à analítica da visão e da rigorosa objetividade da forma, da renovação total da linguagem, do sistema dos signos e da técnica — ou seja, retoma o problema da forma e do espaço no ponto em que Cézanne, ao morrer, o tinha deixado. Na obra deste mestre, que justamente os críticos alemães tinham estudado nos seus aspectos mais problemáticos, se individua então o fundamento de toda linguagem plástica possível, portanto de toda cultura figurativa possível: somente sobre este fundamento poder-se-á construir uma linguagem objetivamente analítica, isenta de determinantes históricas ou tradicionais e concretamente européia. E não somente a história não influi na análise da visão, mas, ao contrário, é a história que sofre a sua influência. De modo que, por meio do cubismo, abrem-se novas perspectivas históricas, que trazem à luz valores até então negligenciados, afastando outros, que tinham sido exaltados.
Argan As fontes da arte moderna
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Georges Braque, Casas em L`Estaque, 1908.
Pablo Picasso, Fábrica em Horta del Ebro, 1909.
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Braque, Viaduto em L´Estaque, 1908.
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Máscaras Africanas
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Pablo Picasso, Auto-retrato, 1906-7
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Braque, Harbor in Normandy, 1909.
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Jean Metzinger, Aldeia, 1912.
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Pablo Picasso Retrato de Ambroise Vollard1910
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Georges Braque, Violin and Pitcher, 1909-10.
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Pablo Picasso.O poeta, 1910.
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Pablo Picasso.O guitarrista, 1910.
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Juan Gris. Retrato de Picasso, 1912.
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Georges Braque, Still Life with violin, 1913-14
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Georges Braque, Le Jour, 1929.
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Georges Braque, Still Life Pitchers, 1932.
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Georges Braque, La Patience, 1942.
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Juan Gris, Guitarra, 1918.
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Juan Gris, Homen no café, 1912.
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Pablo Picasso Violão, jornal, copo e garrafa 1913
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Fernand Léger, The Mechanic, 1912.
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Fernand Léger, Jogadores de Cartas, 1912.
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Fernad Léger, Still Life With beer mug, 1921-22.
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É com Mondrian que a representação do mundo se reduz a linhas, planos e cores puras, mas que ainda há o exercício de abstração das formas da natureza, e que é com a arte Concreta que se chega à objetividade física da matéria, e que passando por diversas experiências chegaram, os artistas, a necessidade de compreender o quadro como objeto em si. Assim como, em Kandinsky a questão da subjetividade do gesto, da cor, e a compreensão do espaço: ponto, linha e plano vão marcar profundamente a história da pintura no século XX, até os dias de hoje, e influenciar a obra e o pensamento de diversos artistas.
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Piet Mondrian, Árvore vermelha, 1908
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Piet Mondrian, Árvore cinza, 1912
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Piet Mondrian, Composição com linhas, 1917
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Piet Mondrian, Composição com vermelho, amarelo, azul e preto, 1921
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Kasimir Malevich, Composição suprematista, 1915
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Kasimir Malevich, Quadrado preto, 1913
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Kasimir Malevich, Circulo preto, 1913
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Kasimir Malevich, Esportistas, 1928-32
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Theo Van Doesburg, Composição aritmética, 1930
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Theo Van Doesburg, Composição V, 1924
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Theo Van Doesburg, Composição V, 1924
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Wassily Kandinsky, Composição V, 1911
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Wassily Kandinsky, Improvisação comtrolada: fuga, 1914
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Wassily Kandinsky, Improvisação VII, 1910
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Wassily Kandinsky, Composição VIII, 1923
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Robert Delaunay, Homenagem a Bleriot, 1940
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Mark Rothko Red, Orange, Tan and Purple, 1954
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Mark RothkoRed, Orange, Tan, and Purple, 1949
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Jackson Pollock, Número 8 - detalhe, 1949
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Franz Kline, Reflexos em preto, 1959
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Franz Kline, Chef, 1950
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Willen de Kooning, Mulher II, 1952
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Willen de Kooning, Escavação, 1950
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Willen de Kooning, Gotham News, 1955