A tendency towards simplification and abstraction from realism in the analytic and synthetic phases of Cubism, was a response to the idea of progress including scientific revolution going from macro to micro between the late 19th and early 20th centuries. Originating with artists Pablo Picasso and Georges Braque in France, who invented new pictorial methods and applied technical innovations, this tendency in cubism brought the representation of reality in the painting to a new level and became the precursor of later pure abstraction. The essay will discuss four artworks that projected such a tendency and will also examine its relevance in the context of science at the time. Depicting faceted objects within a fragmented structure referencing the subjects themselves (from reality), shown in Braque’s Violin and Palette, Picasso’s Portrait of Ambroise, in the analytic phrase of cubism, was progressed and replaced by completely flattened pure 2D forms of subjects with incorporation of letters or cut-out novel media, as in Braque’s Violin and Pipe,and Picasso’s Guitar and Wineglass, in the synthetic phase of Cubism.

Για τη συνέχεια δες εδώ.