Signac but he brings more precision to the cutting of his cubes of color which appear to have been made mechanically [...]". The critical use of the word "cube" goes back at least to May 1901 when Jean Béral, reviewing the work of Henri-Edmond Cross at the Indépendants in Art et Littérature, commented that he "uses a large and square pointillism, giving the impression of mosaic.
A retrospective of Cézanne's paintings had been held at the Salon d'Automne of 1904, current works were displayed at the 1905 and 1906 Salon d'Automne, followed by two commemorative retrospectives after his death in 1907. In France, offshoots of Cubism developed, including Orphism, Abstract art and later Purism.
A retrospective of Cézanne's paintings had been held at the Salon d'Automne of 1904, current works were displayed at the 1905 and 1906 Salon d'Automne, followed by two commemorative retrospectives after his death in 1907. In France, offshoots of Cubism developed, including Orphism, Abstract art and later Purism.
This familiar explanation "fails to give adequate consideration to the complexities of a flourishing art that existed just before and during the period when Picasso's new painting developed." Between 1905 and 1908, a conscious search for a new style caused rapid changes in art across France, Germany, The Netherlands, Italy, and Russia.
A retrospective of Cézanne's paintings had been held at the Salon d'Automne of 1904, current works were displayed at the 1905 and 1906 Salon d'Automne, followed by two commemorative retrospectives after his death in 1907. In France, offshoots of Cubism developed, including Orphism, Abstract art and later Purism.
According to Cooper there was "Early Cubism", (from 1906 to 1908) when the movement was initially developed in the studios of Picasso and Braque; the second phase being called "High Cubism", (from 1909 to 1914) during which time Juan Gris emerged as an important exponent (after 1911); and finally Cooper referred to "Late Cubism" (from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement.
Around 1906, Picasso met Matisse through Gertrude Stein, at a time when both artists had recently acquired an interest in primitivism, Iberian sculpture, African art and African tribal masks.
Picasso's paintings of 1907 have been characterized as Protocubism, as notably seen in Les Demoiselles d'Avignon, the antecedent of Cubism. The art historian Douglas Cooper states that Paul Gauguin and Paul Cézanne "were particularly influential to the formation of Cubism and especially important to the paintings of Picasso during 1906 and 1907".
However, the word "cube" was used in 1906 by another critic, Louis Chassevent, with reference not to Picasso or Braque but rather to Metzinger and Delaunay: :"M.
Mark Antliff and Patricia Leighten, A Cubism Reader, Documents and Criticism, 1906–1914, The University of Chicago Press, 2008 Christopher Green, Cubism and its Enemies, Modern Movements and Reaction in French Art, 1916–28, Yale University Press, New Haven and London, 1987 Mikhail Lifshitz, The Crisis of Ugliness: From Cubism to Pop-Art.
A retrospective of Cézanne's paintings had been held at the Salon d'Automne of 1904, current works were displayed at the 1905 and 1906 Salon d'Automne, followed by two commemorative retrospectives after his death in 1907. In France, offshoots of Cubism developed, including Orphism, Abstract art and later Purism.
Douglas Cooper's restrictive use of these terms to distinguish the work of Braque, Picasso, Gris (from 1911) and Léger (to a lesser extent) implied an intentional value judgement. ===Proto-Cubism: 1907–08=== Cubism burgeoned between 1907 and 1911.
Pablo Picasso's 1907 painting Les Demoiselles d'Avignon has often been considered a proto-Cubist work. In 1908, in his review of Georges Braque's exhibition at Kahnweiler's gallery, the critic Louis Vauxcelles called Braque a daring man who despises form, "reducing everything, places and a figures and houses, to geometric schemas, to cubes". Vauxcelles recounted how Matisse told him at the time, "Braque has just sent in [to the 1908 Salon d'Automne] a painting made of little cubes".
They became friendly rivals and competed with each other throughout their careers, perhaps leading to Picasso entering a new period in his work by 1907, marked by the influence of Greek, Iberian and African art.
Picasso's paintings of 1907 have been characterized as Protocubism, as notably seen in Les Demoiselles d'Avignon, the antecedent of Cubism. The art historian Douglas Cooper states that Paul Gauguin and Paul Cézanne "were particularly influential to the formation of Cubism and especially important to the paintings of Picasso during 1906 and 1907".
In Italian. John Golding, Cubism: A History and an Analysis, 1907-1914, New York: Wittenborn, 1959. Richardson, John.
A Life Of Picasso, The Cubist Rebel 1907–1916.
According to Cooper there was "Early Cubism", (from 1906 to 1908) when the movement was initially developed in the studios of Picasso and Braque; the second phase being called "High Cubism", (from 1909 to 1914) during which time Juan Gris emerged as an important exponent (after 1911); and finally Cooper referred to "Late Cubism" (from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement.
Pablo Picasso's 1907 painting Les Demoiselles d'Avignon has often been considered a proto-Cubist work. In 1908, in his review of Georges Braque's exhibition at Kahnweiler's gallery, the critic Louis Vauxcelles called Braque a daring man who despises form, "reducing everything, places and a figures and houses, to geometric schemas, to cubes". Vauxcelles recounted how Matisse told him at the time, "Braque has just sent in [to the 1908 Salon d'Automne] a painting made of little cubes".
The motif of the viaduct at l'Estaque had inspired Braque to produce three paintings marked by the simplification of form and deconstruction of perspective. Georges Braque's 1908 Houses at L’Estaque (and related works) prompted Vauxcelles, in Gil Blas, 25 March 1909, to refer to bizarreries cubiques (cubic oddities).
This familiar explanation "fails to give adequate consideration to the complexities of a flourishing art that existed just before and during the period when Picasso's new painting developed." Between 1905 and 1908, a conscious search for a new style caused rapid changes in art across France, Germany, The Netherlands, Italy, and Russia.
According to Daniel Robbins, "To suggest that merely because these artists developed differently or varied from the traditional pattern they deserved to be relegated to a secondary or satellite role in Cubism is a profound mistake." The history of the term "Cubism" usually stresses the fact that Matisse referred to "cubes" in connection with a painting by Braque in 1908, and that the term was published twice by the critic Louis Vauxcelles in a similar context.
According to Cooper there was "Early Cubism", (from 1906 to 1908) when the movement was initially developed in the studios of Picasso and Braque; the second phase being called "High Cubism", (from 1909 to 1914) during which time Juan Gris emerged as an important exponent (after 1911); and finally Cooper referred to "Late Cubism" (from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement.
The motif of the viaduct at l'Estaque had inspired Braque to produce three paintings marked by the simplification of form and deconstruction of perspective. Georges Braque's 1908 Houses at L’Estaque (and related works) prompted Vauxcelles, in Gil Blas, 25 March 1909, to refer to bizarreries cubiques (cubic oddities).
Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro, as the first Cubist paintings.
A diagram need not eschew certain aspects of appearance but these too will be treated as signs not as imitations or recreations." ===Early Cubism: 1909–1914=== There was a distinct difference between Kahnweiler's Cubists and the Salon Cubists.
The 1911 New York Times article portrayed works by Picasso, Matisse, Derain, Metzinger and others dated before 1909; not exhibited at the 1911 Salon.
During the autumn of 1909 Picasso sculpted Head of a Woman (Fernande) with positive features depicted by negative space and vice versa.
According to Douglas Cooper: "The first true Cubist sculpture was Picasso's impressive Woman's Head, modeled in 1909–10, a counterpart in three dimensions to many similar analytical and faceted heads in his paintings at the time." These positive/negative reversals were ambitiously exploited by Alexander Archipenko in 1912–13, for example in Woman Walking.
The term is broadly used in association with a wide variety of art produced in Paris (Montmartre and Montparnasse) or near Paris (Puteaux) during the 1910s and throughout the 1920s. The movement was pioneered by Pablo Picasso and Georges Braque, and joined by Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Juan Gris, and Fernand Léger.
In one scheme, the first phase of Cubism, known as Analytic Cubism, a phrase coined by Juan Gris a posteriori, was both radical and influential as a short but highly significant art movement between 1910 and 1912 in France.
Already in 1910 a group began to form which included Metzinger, Gleizes, Delaunay and Léger.
The group's title was suggested by Villon, after reading a 1910 translation of Leonardo da Vinci's Trattato della Pittura by Joséphin Péladan. During the late 19th and early 20th centuries, Europeans were discovering African, Polynesian, Micronesian and Native American art.
Contact first occurred via European texts translated and published in Japanese art journals in the 1910s.
Cubist architecture flourished for the most part between 1910 and 1914, but the Cubist or Cubism-influenced buildings were also built after World War I.
According to Cooper there was "Early Cubism", (from 1906 to 1908) when the movement was initially developed in the studios of Picasso and Braque; the second phase being called "High Cubism", (from 1909 to 1914) during which time Juan Gris emerged as an important exponent (after 1911); and finally Cooper referred to "Late Cubism" (from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement.
Douglas Cooper's restrictive use of these terms to distinguish the work of Braque, Picasso, Gris (from 1911) and Léger (to a lesser extent) implied an intentional value judgement. ===Proto-Cubism: 1907–08=== Cubism burgeoned between 1907 and 1911.
The exhibition was reviewed in the October 8, 1911 issue of The New York Times.
The 1911 New York Times article portrayed works by Picasso, Matisse, Derain, Metzinger and others dated before 1909; not exhibited at the 1911 Salon.
Juan Gris, a new addition to the Salon scene, exhibited his Portrait of Picasso (Art Institute of Chicago), while Metzinger's two showings included La Femme au Cheval (Woman with a horse) 1911–1912 (National Gallery of Denmark).
In 1913 he attached a bicycle wheel to a kitchen stool and in 1914 selected a bottle-drying rack as a sculpture in its own right. ====Section d'Or==== The Section d'Or, also known as Groupe de Puteaux, founded by some of the most conspicuous Cubists, was a collective of painters, sculptors and critics associated with Cubism and Orphism, active from 1911 through about 1914, coming to prominence in the wake of their controversial showing at the 1911 Salon des Indépendants.
One even wonders why the artist has not used cubes of solid matter diversely colored: they would make pretty revetments." (Robert Herbert, 1968, p. 221) The term Cubism did not come into general usage until 1911, mainly with reference to Metzinger, Gleizes, Delaunay, and Léger.
In 1911, the poet and critic Guillaume Apollinaire accepted the term on behalf of a group of artists invited to exhibit at the Brussels Indépendants.
The following year, in preparation for the Salon de la Section d'Or, Metzinger and Gleizes wrote and published Du "Cubisme" in an effort to dispel the confusion raging around the word, and as a major defence of Cubism (which had caused a public scandal following the 1911 Salon des Indépendants and the 1912 Salon d'Automne in Paris).
Joseph Csaky, after Archipenko, was the first sculptor in Paris to join the Cubists, with whom he exhibited from 1911 onwards.
In one scheme, the first phase of Cubism, known as Analytic Cubism, a phrase coined by Juan Gris a posteriori, was both radical and influential as a short but highly significant art movement between 1910 and 1912 in France.
Picasso worked in Montmartre until 1912, while Braque and Gris remained there until after the First World War.
Although the work was shown in the Salon de la Section d'Or in October 1912 and the 1913 Armory Show in New York, Duchamp never forgave his brothers and former colleagues for censoring his work.
Delaunay's monumental La Ville de Paris (Musée d'art moderne de la Ville de Paris) and Léger's La Noce, The Wedding (Musée National d'Art Moderne, Paris), were also exhibited. ====Galeries Dalmau==== In 1912, Galeries Dalmau presented the first declared group exhibition of Cubism worldwide (Exposició d'Art Cubista), with a controversial showing by Jean Metzinger, Albert Gleizes, Juan Gris, Marie Laurencin and Marcel Duchamp (Barcelona, 20 April to 10 May 1912).
Art historian Jaime Brihuega writes of the Dalmau show: "No doubt that the exhibition produced a strong commotion in the public, who welcomed it with a lot of suspicion. ====Salon d'Automne==== The Cubist contribution to the 1912 Salon d'Automne created scandal regarding the use of government owned buildings, such as the Grand Palais, to exhibit such artwork.
The indignation of the politician Jean Pierre Philippe Lampué made the front page of Le Journal, 5 October 1912.
The Cubists were defended by the Socialist deputy, Marcel Sembat. It was against this background of public anger that Jean Metzinger and Albert Gleizes wrote Du "Cubisme" (published by Eugène Figuière in 1912, translated to English and Russian in 1913).
Kupka's two entries at the 1912 Salon d'Automne, Amorpha-Fugue à deux couleurs and Amorpha chromatique chaude, were highly abstract (or nonrepresentational) and metaphysical in orientation.
Both Duchamp in 1912 and Picabia from 1912 to 1914 developed an expressive and allusive abstraction dedicated to complex emotional and sexual themes.
Beginning in 1912 Delaunay painted a series of paintings entitled Simultaneous Windows, followed by a series entitled Formes Circulaires, in which he combined planar structures with bright prismatic hues; based on the optical characteristics of juxtaposed colors his departure from reality in the depiction of imagery was quasi-complete.
The Salon de la Section d'Or at the Galerie La Boétie in Paris, October 1912, was arguably the most important pre-World War I Cubist exhibition; exposing Cubism to a wide audience.
The following year, in preparation for the Salon de la Section d'Or, Metzinger and Gleizes wrote and published Du "Cubisme" in an effort to dispel the confusion raging around the word, and as a major defence of Cubism (which had caused a public scandal following the 1911 Salon des Indépendants and the 1912 Salon d'Automne in Paris).
Léger's The Wedding, also shown at the Salon des Indépendants in 1912, gave form to the notion of simultaneity by presenting different motifs as occurring within a single temporal frame, where responses to the past and present interpenetrate with collective force.
Francis Picabia exhibited his abstractions La Danse à la source and La Procession, Seville (both of 1912).
According to Douglas Cooper: "The first true Cubist sculpture was Picasso's impressive Woman's Head, modeled in 1909–10, a counterpart in three dimensions to many similar analytical and faceted heads in his paintings at the time." These positive/negative reversals were ambitiously exploited by Alexander Archipenko in 1912–13, for example in Woman Walking.
Cubism had become an influential factor in the development of modern architecture from 1912 (La Maison Cubiste, by Raymond Duchamp-Villon and André Mare) onwards, developing in parallel with architects such as Peter Behrens and Walter Gropius, with the simplification of building design, the use of materials appropriate to industrial production, and the increased use of glass. Cubism was relevant to an architecture seeking a style that needed not refer to the past.
His theoretical studies soon advanced into many different architectural projects. ===La Maison Cubiste (Cubist House)=== At the 1912 Salon d'Automne an architectural installation was exhibited that quickly became known as Maison Cubiste (Cubist House), with architecture by Raymond Duchamp-Villon and interior decoration by André Mare along with a group of collaborators.
The best-known Cubist building is the House of the Black Madonna in the Old Town of Prague built in 1912 by Josef Gočár with the only Cubist café in the world, Grand Café Orient.
Vlastislav Hofman built the entrance pavilions of Ďáblice Cemetery in 1912–1914, Josef Chochol designed several residential houses under Vyšehrad.
A Cubist streetlamp has also been preserved near the Wenceslas Square, designed by Emil Králíček in 1912, who also built the Diamond House in the New Town of Prague around 1913. ==Cubism in other fields== The influence of cubism extended to other artistic fields, outside painting and sculpture.
Although the work was shown in the Salon de la Section d'Or in October 1912 and the 1913 Armory Show in New York, Duchamp never forgave his brothers and former colleagues for censoring his work.
The Cubists were defended by the Socialist deputy, Marcel Sembat. It was against this background of public anger that Jean Metzinger and Albert Gleizes wrote Du "Cubisme" (published by Eugène Figuière in 1912, translated to English and Russian in 1913).
In 1913–14 Léger produced a series entitled Contrasts of Forms, giving a similar stress to color, line and form.
In 1913 he attached a bicycle wheel to a kitchen stool and in 1914 selected a bottle-drying rack as a sculpture in its own right. ====Section d'Or==== The Section d'Or, also known as Groupe de Puteaux, founded by some of the most conspicuous Cubists, was a collective of painters, sculptors and critics associated with Cubism and Orphism, active from 1911 through about 1914, coming to prominence in the wake of their controversial showing at the 1911 Salon des Indépendants.
The conjunction of such subject matter with simultaneity aligns Salon Cubism with early Futurist paintings by Umberto Boccioni, Gino Severini and Carlo Carrà; themselves made in response to early Cubism. Cubism and modern European art was introduced into the United States at the now legendary 1913 Armory Show in New York City, which then traveled to Chicago and Boston.
This architectural installation was subsequently exhibited at the 1913 Armory Show, New York, Chicago and Boston, listed in the catalogue of the New York exhibit as Raymond Duchamp-Villon, number 609, and entitled "Facade architectural, plaster" (Façade architecturale). The furnishings, wallpaper, upholstery and carpets of the interior were designed by André Mare, and were early examples of the influence of cubism on what would become Art Deco.
A Cubist streetlamp has also been preserved near the Wenceslas Square, designed by Emil Králíček in 1912, who also built the Diamond House in the New Town of Prague around 1913. ==Cubism in other fields== The influence of cubism extended to other artistic fields, outside painting and sculpture.
According to Cooper there was "Early Cubism", (from 1906 to 1908) when the movement was initially developed in the studios of Picasso and Braque; the second phase being called "High Cubism", (from 1909 to 1914) during which time Juan Gris emerged as an important exponent (after 1911); and finally Cooper referred to "Late Cubism" (from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement.
Prior to 1914, Picasso, Braque, Gris and Léger (to a lesser extent) gained the support of a single committed art dealer in Paris, Daniel-Henry Kahnweiler, who guaranteed them an annual income for the exclusive right to buy their works.
Both Duchamp in 1912 and Picabia from 1912 to 1914 developed an expressive and allusive abstraction dedicated to complex emotional and sexual themes.
In 1913 he attached a bicycle wheel to a kitchen stool and in 1914 selected a bottle-drying rack as a sculpture in its own right. ====Section d'Or==== The Section d'Or, also known as Groupe de Puteaux, founded by some of the most conspicuous Cubists, was a collective of painters, sculptors and critics associated with Cubism and Orphism, active from 1911 through about 1914, coming to prominence in the wake of their controversial showing at the 1911 Salon des Indépendants.
Undoubtedly, due to the great success of the exhibition, Cubism became avant-garde movement recognized as a genre or style in art with a specific common philosophy or goal. ===Crystal Cubism: 1914–1918=== A significant modification of Cubism between 1914 and 1916 was signaled by a shift towards a strong emphasis on large overlapping geometric planes and flat surface activity.
The purifying of Cubism from 1914 through the mid-1920s, with its cohesive unity and voluntary constraints, has been linked to a much broader ideological transformation towards conservatism in both French society and French culture. ===Cubism after 1918=== The most innovative period of Cubism was before 1914.
They were followed by Raymond Duchamp-Villon and then in 1914 by Jacques Lipchitz, Henri Laurens and Ossip Zadkine. Indeed, Cubist construction was as influential as any pictorial Cubist innovation.
However, the linking of basic geometric forms with inherent beauty and ease of industrial application—which had been prefigured by Marcel Duchamp from 1914—was left to the founders of Purism, Amédée Ozenfant and Charles-Édouard Jeanneret (better known as Le Corbusier,) who exhibited paintings together in Paris and published Après le cubisme in 1918.
Cubist architecture flourished for the most part between 1910 and 1914, but the Cubist or Cubism-influenced buildings were also built after World War I.
Undoubtedly, due to the great success of the exhibition, Cubism became avant-garde movement recognized as a genre or style in art with a specific common philosophy or goal. ===Crystal Cubism: 1914–1918=== A significant modification of Cubism between 1914 and 1916 was signaled by a shift towards a strong emphasis on large overlapping geometric planes and flat surface activity.
Mark Antliff and Patricia Leighten, A Cubism Reader, Documents and Criticism, 1906–1914, The University of Chicago Press, 2008 Christopher Green, Cubism and its Enemies, Modern Movements and Reaction in French Art, 1916–28, Yale University Press, New Haven and London, 1987 Mikhail Lifshitz, The Crisis of Ugliness: From Cubism to Pop-Art.
This grouping of styles of painting and sculpture, especially significant between 1917 and 1920, was practiced by several artists; particularly those under contract with the art dealer and collector Léonce Rosenberg.
Attempts were made by Louis Vauxcelles to argue that Cubism was dead, but these exhibitions, along with a well-organized Cubist show at the 1920 Salon des Indépendants and a revival of the Salon de la Section d’Or in the same year, demonstrated it was still alive. The reemergence of Cubism coincided with the appearance from about 1917–24 of a coherent body of theoretical writing by Pierre Reverdy, Maurice Raynal and Daniel-Henry Kahnweiler and, among the artists, by Gris, Léger and Gleizes.
The purifying of Cubism from 1914 through the mid-1920s, with its cohesive unity and voluntary constraints, has been linked to a much broader ideological transformation towards conservatism in both French society and French culture. ===Cubism after 1918=== The most innovative period of Cubism was before 1914.
In 1918 Rosenberg presented a series of Cubist exhibitions at his Galerie de l’Effort Moderne in Paris.
Cubism after 1918 can be seen as part of a wide ideological shift towards conservatism in both French society and culture.
However, the linking of basic geometric forms with inherent beauty and ease of industrial application—which had been prefigured by Marcel Duchamp from 1914—was left to the founders of Purism, Amédée Ozenfant and Charles-Édouard Jeanneret (better known as Le Corbusier,) who exhibited paintings together in Paris and published Après le cubisme in 1918.
Between 1918 and 1922, Le Corbusier concentrated his efforts on Purist theory and painting.
A second phase, Synthetic Cubism, remained vital until around 1919, when the Surrealist movement gained popularity.
The term is broadly used in association with a wide variety of art produced in Paris (Montmartre and Montparnasse) or near Paris (Puteaux) during the 1910s and throughout the 1920s. The movement was pioneered by Pablo Picasso and Georges Braque, and joined by Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Juan Gris, and Fernand Léger.
This new kind of depiction revolutionized the way objects could be visualized in painting and art. The historical study of Cubism began in the late 1920s, drawing at first from sources of limited data, namely the opinions of Guillaume Apollinaire.
It came to rely heavily on Daniel-Henry Kahnweiler's book Der Weg zum Kubismus (published in 1920), which centered on the developments of Picasso, Braque, Léger, and Gris.
This grouping of styles of painting and sculpture, especially significant between 1917 and 1920, was practiced by several artists; particularly those under contract with the art dealer and collector Léonce Rosenberg.
Cubism reemerged during the 1920s and the 1930s in the work of the American Stuart Davis and the Englishman Ben Nicholson.
Attempts were made by Louis Vauxcelles to argue that Cubism was dead, but these exhibitions, along with a well-organized Cubist show at the 1920 Salon des Indépendants and a revival of the Salon de la Section d’Or in the same year, demonstrated it was still alive. The reemergence of Cubism coincided with the appearance from about 1917–24 of a coherent body of theoretical writing by Pierre Reverdy, Maurice Raynal and Daniel-Henry Kahnweiler and, among the artists, by Gris, Léger and Gleizes.
In the 1920s, Japanese and Chinese artists who studied in Paris, for example those enrolled at the École nationale supérieure des Beaux-Arts, brought back with them both an understanding of modern art movements, including Cubism.
According to Cooper there was "Early Cubism", (from 1906 to 1908) when the movement was initially developed in the studios of Picasso and Braque; the second phase being called "High Cubism", (from 1909 to 1914) during which time Juan Gris emerged as an important exponent (after 1911); and finally Cooper referred to "Late Cubism" (from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement.
Between 1918 and 1922, Le Corbusier concentrated his efforts on Purist theory and painting.
In 1922, Le Corbusier and his cousin Jeanneret opened a studio in Paris at 35 rue de Sèvres.
Many Cubists, including Picasso, Braque, Gris, Léger, Gleizes, and Metzinger, while developing other styles, returned periodically to Cubism, even well after 1925.
In France, however, Cubism experienced a decline beginning in about 1925.
Cubism reemerged during the 1920s and the 1930s in the work of the American Stuart Davis and the Englishman Ben Nicholson.
Picasso in turn was an important influence on Stein's writing. In the field of American fiction, William Faulkner's 1930 novel As I Lay Dying can be read as an interaction with the cubist mode.
Barr, Jr., Cubism and Abstract Art, New York: Museum of Modern Art, 1936. Paolo Vincenzo Genovese, Cubismo in architettura, Mancosu Editore, Roma, 2010.
In Italian. John Golding, Cubism: A History and an Analysis, 1907-1914, New York: Wittenborn, 1959. Richardson, John.
One even wonders why the artist has not used cubes of solid matter diversely colored: they would make pretty revetments." (Robert Herbert, 1968, p. 221) The term Cubism did not come into general usage until 1911, mainly with reference to Metzinger, Gleizes, Delaunay, and Léger.
Leiden: BRILL, 2018 (originally published in Russian by Iskusstvo, 1968) Daniel Robbins, Sources of Cubism and Futurism, Art Journal, Vol.
Mark Antliff and Patricia Leighten, A Cubism Reader, Documents and Criticism, 1906–1914, The University of Chicago Press, 2008 Christopher Green, Cubism and its Enemies, Modern Movements and Reaction in French Art, 1916–28, Yale University Press, New Haven and London, 1987 Mikhail Lifshitz, The Crisis of Ugliness: From Cubism to Pop-Art.
Mark Antliff and Patricia Leighten, A Cubism Reader, Documents and Criticism, 1906–1914, The University of Chicago Press, 2008 Christopher Green, Cubism and its Enemies, Modern Movements and Reaction in French Art, 1916–28, Yale University Press, New Haven and London, 1987 Mikhail Lifshitz, The Crisis of Ugliness: From Cubism to Pop-Art.
Barr, Jr., Cubism and Abstract Art, New York: Museum of Modern Art, 1936. Paolo Vincenzo Genovese, Cubismo in architettura, Mancosu Editore, Roma, 2010.
1 (Spring 2014), pp. 1–28.
Leiden: BRILL, 2018 (originally published in Russian by Iskusstvo, 1968) Daniel Robbins, Sources of Cubism and Futurism, Art Journal, Vol.
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