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Movements

in

Modern Art

CUBISM

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Movements

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CUBISM David Cottington

Cambridge UNIVERSITY PRESS

PUBLISHED BY THE PRESS SYNDICATE OF THE

UNIVERSITY OF CAMBRIDGE

The

Pitt Building,

Trumpington

Street,

Cambridge cbi

irp,

United Kingdom

CAMBRIDGE UNIVERSITY PRESS

The Edinburgh

Cambridge CB2 2RU, United Kingdom

Building,

http://www.cup.cam.ac.uk

40 West 20th

Street,

New York,

ny

10011-4211,

USA

http://www.cup.org 10

Stamford Road, Oakleigh, Melbourne,

3166, Australia

© Tate Gallery 1998. All rights reserved. David Cottington has asserted

his right to be identified as the

author of this work

This book

is

in copyright.

to the provisions

Subject to statutory exception and

of relevant

reproduction o{ any part

collective licensing agreements,

may

no

take place without the written

permission of Cambridge University Press.

by Tate Gallery Publishing Ltd, London 1998

First published

Cover designed by Slatter-Anderson, London

Book designed by Isambard Thomas Typeset

Adobe

in

Monotype Centaur and

Franklin Gothin

Printed in

Hong Kong

by South Sea International Press Ltd

Library of Congress Cataloguing- in -Publication

A

catalogue recordfor this book

Measurements

is

Data

is

available.

availablefrom the British Library

are given in centimetres, height before width,

followed by inches in brackets

Cover:

Robert Delaunay, Windows Open

Simultaneously (First Part, Third Motif),

1912. (detail; see fig.49)

Frontispiece:

Pablo Picasso, Majolie (Woman with (detail; see fig.55)

isbn o 521 64610

3

Zither or Guitar), 1911-12.

Introduction:

Modern Times

6

i

Avant-Garde and Avant-Guerre

12

2 Languages of Classicism

32

3 Contents Perspectives on Simultaneity

47

4 High and Low

64

Conclusion: After Cubism

73

Further Reading

78

Index

79

Modern Times

Introduction: The decade

before the First World War was an extraordinary period in the

history of Paris.

Newly

refurbished by the massive

development launched by Baron Haussmann half

programme of urban

a century earlier, the

reputation as the capital of luxury and entertainment was at

city's

its

height,

had drawn fifty million department stores and the

sealed by the Exposition Universelle in 1900, which visitors,

by the rapid expansion of

proliferation

of

glittering facade itself

— was

its

its

theatres, music-halls

of

this

belle

riven by conflicts

capitalism that was driving

and cinemas. Yet beneath the

epoque spectacle, Parisian society

— like

France

and contradictions. The dynamic of

its

booming economy exacerbated

already

sharp social inequalities, and met with mounting resistance from working class

men, organised

in the

new movements of Socialism and

women

(or trade unionism), and from feminist movement.

The

syndicalism

in the increasingly vociferous

rapid growth of the city

itself,

and of

its

new

forms of mass transportation, consumption and entertainment, threatened existing, often rural, industries

and ways of

life

to

which there remained

deep attachment. Meanwhile international competition for colonial possessions and markets fuelled a spirit of nationalism which, ignited

by clashes with Germany over

its

Moroccan

protectorate in 1905 and again

of 1914. Within this complex and dynamic society developed the diverse community of the artistic avant-garde. Drawn to Paris by its cultural prestige, young aspirant artists from across Europe made this the largest, in 1911, led inexorably to the conflagration

.

most

diversified

and most

influential artistic

flourished in the early years of

community

this century. This

of

all

those that

was the context of the

emergence and development of Cubism, perhaps the seminal movement for the history of Modernism in all the arts, and certainly one of the most

complex and contradictory of the many 'isms' that it spawned. It was initiated between 1907 and [910 within two quite distinct milieux of the avant-garde — on the one hand that of Pablo Picasso and Georges Braque, centred on the studios of Montmartre and the art dealers

them, and on the other the left-bank

circle

who

frequented

of Albert Gleizes, Jean

Metzinger, Fernand Leger, Henri Le Fauconnier and Sonia and Robert

Delaunay, oriented towards the annual exhibitions of the Salon d'Automne

and the Salon des Indcpendants.This pioneering phase of Cubism

as a style

movement, however, was brought to an end by the war. That summer of 1914, Picasso was painting with Braque and Andre Derain in the south of France, and took his friends to Avignon station at the beginning of August and

a

to join their regiments; times, but by this he

'I

never saw

meant

them

again, he said. In fact he did,

many

that their relationship was never to be the same;

the Cubist adventure was over.

Yet

it

had been approaching

the style and the

movement

its

some months,

end, as an adventure, for

diversified

as

through the work of increasing

numbers of adherents, and as its originators began to go their separate ways. Already, in the autumn of 191 3, the critic Roger Allard had noted the disappearance of an identifiable group style, and declared the dismemberment of 'the Cubist empire' to be fait accompli'. The outbreak of war both confirmed this dismemberment, as military duties claimed some of Cubism's key players, and ushered in a decade of consolidation, and contestation, of its achievement. Two works made in the spring of 1914 summarise between them much of that achievement and indicate the diversity of the concerns that the Cubist movement subsumed over the previous five years. One of them, by Robert Delaunay, a former leading member of what we can call the 'salon' Cubist group, was public in its address — if not large, still big enough to hold its own in a crowded exhibition hall, with a recognisable and contemporai indeed topical, subject matter and an attention-grabbing motif. The other, 'a.

\

by Picasso, the principal scale

and

'gallery'

self-effacing, even

one of the small group of

Cubist, was correspondingly private in

humble,

clients

in

appearance,

and friends who

its

putative spectator

visited the artist's studio

or the premises of his dealer. Together they also suggest

ways

— how

this arcane avant-garde style

economic and

The

social

dynamic

was anchored

subject of Delaunay s painting

Political

m

Drama Sg.i was a on 10 March

his office,

the wife of Finance Minister foseph

to publish

some

campaign to

(

aillaux.

and

Figaro,

discredit the politician,

of his early love-letters to a

recent

[914, oi the

Gaston ( almette, In (almette had lor some days

editor of the leading conservative newspaper Lt

a

in very different

of pre-1914 Pans.

spectacular scandal: the shooting dead

been conducting

—

in the political.

and was threatening

former mistress. This was no

straightforward crime passionnel, however, lor the reasons for

C

almette's

animosity were profoundly

political,

and

his

orchestrated by President Poincare himself.

campaign was,

The

first

it is

thought,

of his motives was

of conscription for military

Caillaux's opposition to the extension

service

from two years to three, a measure of preparedness for possible war which, in the wake of the second clash with Germany over Morocco in 191 1, became for the growing nationalist majority something of a litmus test of campaign against the Three Years Law

patriotism. Caillaux's

leading

up

to

its

enactment

in

August

1913 aligned

him with

in the

months

the

antimilitansm of the Socialists and syndicalists, and against the rest of-the republic.

idea

On top of this, he was proposing to

of which was anathema to the middle

militancy on the upheaval.

To

and even

its

left

was leading many

introduce an income

class, at a

moment when

tax, the

political

in that class to fear a revolutionary

the opinion-formers of the Third Republic such as Calmette

President

— he

was

—

clearly a liability.

Le

Petit

Journal Robert Delaunay Political Oil

Drama 1914

and collage on

cardboard

88.7x67.3(35x26) National Gallery of Art,

Washington.

Joseph

H.

Gift of

Hazen

Foundation,

Inc.

Front cover, Le Petit Journal,

29 March 1914

Bibliotheque Nationale

de France

Delaunay s subject therefore brought together two of the issues

of that decade: nationalism and

third, for

class conflict. It also

salient political

suggested a

Mme Caillauxs action in defence of her husband could not have

been without significance for what was termed

'the

woman

question at a

moment of increasingly vocal demands by women for political and social equality. Not that he chose it directly for these reasons: it appears, rather, that he was struck

by

a

newspaper

was published some days

artist's

later (fig.2), in

'impression of the incident that

which

Mme Caillaux's attack was

pictured against a window, her pistol-shot creating an aureole of

light.

This

happened to be the very motif that Delaunay had been exploring in his recent paintings, as he experimented with the constructive and symbolic potential of spectral colours arranged in relationships of complementary pairings. In Political Drama, based clearly on this illustration, he turned the aureole into an implicit target that expands to

fill

the picture surface in

concentric, quartered circles

of bright colour —

almost identical

a pattern

to that of another work he made around this time, the extraordinary Disc (fig.3), which has some claim to be counted among the first-ever

Works

abstract paintings.

innovation in 1914,

and

as

like the latter

were

at the leading

edge of

First

artistic

such were almost ccrtainlv incomprehensible to

the salon-going public; as his letters of the time reveal, Delaunay was kccnlv

aware of this

fact.

assassination was,

His choice of such it

a

notorious incident as Calmette's

seems, not fortuitous but deliberate, an attempt

keeping with other works

made by Delaunay and

his wife

—

in

Sonia before 1914

Robert Delaunay First Oil

Disc 1914

on canvas

134 (52X) diameter Private Collection

—

to use a popular subject as a vehicle for his pictorial Innovations so as to

make

the latter accessible to a public beyond that of the avant-garde

community. The problems

raised by such a

experimentation and public address we significant that such an attempt

the

new

should

combination

oi esoteric

shall explore later,

haw

been made

technologies of newspaper photography

,\n^\

but

at a

it is

moment when

newsreel film were

taking over from painting and illustration the role of documenting historic events,

The

and were dictating the terms

response of most avant-garde

to turn

from such

of visual representation of public

artists to this

issues to questions

development seemed

of form and colour

for their

life.

to be

own

sake.

yet

Drama can be seen

Political

an ambitious attempt, from within the most

as

aesthetically radical avant-garde

reasserting paintings public role

movement, to challenge it, by both and modernising its means of

communication. If Life

Its

Delaunays picture suggests

construction

and

a

same

— some

and arranged to look

wine

on

glass

scraps of

its

way, this

Still

little

wood and

tasselled

of bread and sausage,

like a slice

— implies

a cafe table beside a wall

behalf. Yet, in

its

Picasso's

spring, suggests the opposite.

not only of the traditional materials of art but of claiming on

Cubism,

lofty ambitions for

in that

of humble materials

collection

braiding, painted a knife

made

(fig.4),

that

all

a rejection

Delaunay was

work embodies

quite as

fundamental an engagement with questions of the representation of

modern

and the

life,

not only those

role

common

of

of the spectator. Through space

a fictive

physicality

— that of a

it,

as Political

Drama.

Its

materials are

their likeness to such objects they at

cafe table

— and

call it into

once create

question by their sheer

and by dispensing with the usual mediating devices of frame and

At the same

pedestal.

art within

to everyday objects, they also jut out into the space

time, likeness itself

is

called into question: for if the

bread, sausage slices and knife look real, the glass has something of the

character of a diagram, arc

of

from above, and parts company with the supposedly standing on it.

downwards, is

transparency and volume implied by the

its

as if seen

combining

In thus

wooden

at right angles to its elevation; while the table-top slopes

its lip,

different conventions

Pablo Picasso

glass that

Still Life

Painted

of representation, Picasso

upholstery fringe

points to their conventional character. Indeed he does more: for while the spectator

may not

1914

wood and

25.4x45.7x9.2

be fooled by the bread and sausage, which are identiflably

(10x18x3'/*) Tate Gallery

made of wood,

the braid

is

braid,

of

just the

kind that edged many a

tablecloth in 1914; thus the border between fiction

what

is

art

and what

the object as art

evidence of

is

is

not

—

is

also

is

reality

— between

compromised. Moreover, the

status

of

guaranteed neither by the materials themselves nor by any

skill (at least,

of any traditional

instead, the pathos of the poverty

of the

and

latter are offset,

artistic

kind) in

its

fabrication;

of the former and rudimentary character

even highlighted, by the wit of their juxtaposition.

It

the inventiveness with which Picasso has both conjured this fictive scene

out of so

work

its

little

and

charm;

at the

it is

same time revealed the

as if the artist has

artifice

of

art,

that gives the

transformed the dross of these cast-

off materials into the gold of art through the alchemy of his creative

imagination.

Such alchemy drew,

in 1914,

upon

culture that was rapidly growing

features

of

a

and diversifying

modern commercial new methods of

as

mechanised production met burgeoning demand for consumer goods. The braid tassels in particular were an imitation of materials and techniques that

belonged to

a pre-industrial, luxury craft tradition,

appropriated for more

vulgar use as mass-production brought their price within reach of the majority. Their

deployment

here, to designate a table

of fake food against

a

wall with real but conventionally illusionistic trompe-l'oeil moulding, was in

keeping with the masquerade of materials that characterised modern decor. 10

But such components of Picasso's construction were distanced from their origin by the play of ambiguity and ironv around which the wit of the Still Life

turns.

He

juxtaposes

'real'

tablecloth against trompc-Voeil bread and

drawn in short-hand, in a Cubist code thai refers this work back to the series of paintings, collages and constructions through which it had been elaborated over the previous two wars. If the adoption of the cast -oils of a degraded commercial culture was for Picasso a means of subverting the conventions of academic art, this private game of wit And inter-reference a glass

enabled this

Still Life

to maintain, against

To resist absorption by that commercial culture. its

burgeoning pressure,

space for reflective and

a

critical art.

In truth both Picasso

and Delaunay had moved, with these two works.

some way from Cubisms reference.

and

original starting-points

initial

frame

of

Delaunay had publiclv distanced himself from the salon

group eighteen months

earlier,

and

Political

(

iubisl

Drama exhibits neither the

juxtaposition of different

viewpoints nor the fragmentation

of forms that have come to be seen hallmarks of the Cubist

as the style.

these qualities are

If

residually present in Picasso's

construction

—

diagrammatic

of the

in the

glass

table — his

scrap materials

m

and the slope

conjuring with three dimensions

opened up implications

for

sculpture that, as we shall called

see.

Cubism's own premises into

question. Yet neither work would

have been possible without the collective experience of the Cubist

movement. In

their

combination of the popular and the

foregrounding of the devices of illusionism

programmatic demonstration of the constructive through

his

game of make-believe —

different ways,

on

esoteric, in then-

— Delaunay

via his

somewhat

role of colour. Picasso

these artists draw,

if

in radically

ideas and pictorial practices that had been consolidated

over six or seven years of shared experimentation, as the following chapters will

show. Fundamental to that experimentation was awareness

conventional character of visual representation

—

did not imitate the visual world, but represented devices, such as perspective

and that

it

and modelling,

could only be modern

acknowledged. Like the words

if

of a

in

a it

of the

recognition that painting

through conventions and

ways analogous to language,

this linguistic character

were explicit

Iv

language however, what such

conventions and devices meant depended on their accent or inflection, And

modernity' was

a

word painted and sculpted

within the Cubist movement,

as

we

in

many

different accents

shall discover.

11

I

Pablo Picasso Les Demoiselles d'Avignon 1907

Avant-Garde and Avant-Guerre Little in their previous acquaintance either

Oil

with Picasso's painting or that of

other aesthetically radical artists in Paris in 1907 could have prepared those

who viewed a shockingly

was

Les Demoiselles d'Avignon that year for the experience (fig.5). It

unconventional work,

its

quintet of brazen, naked whores

—

two of them monstrously deformed and two others implacably unblinking

— lined up

to confront the spectator across a claustrophobically flattened,

angular space. Even after almost a century, this picture remains unsettling

both

in its

raw sexuality and

illusion, figural integrity

in the violence

and compositional

it

does to conventions of spatial

unity.

Although

it

was not

exhibited publicly for almost another decade, the painting gained immediate

notoriety in the artistic a tour deforce

growing

community of Montmartre —

a fact suggesting that

of some kind was already anticipated from

whose prodigious

talent

in the milieux

that appeared to turn

young Spaniard

of those who were making and collecting new

its

art.

that expectation, however, with a painting

back on that

go out of its way to look works appearance. His dealer Daniel-

talent, to

horrid, was itself as unexpected as the

Henry Kahnweiler

a

was obvious, and whose reputation was rapidly

That Picasso should have met

later recalled that, to

everyone

seemed 'something mad or monstrous', while the

who saw artist's

it,

the oainting

friend Gertrude

Stein reported that the collector Sergei Shchukin had almost been reduced to tears by the loss for French [sic] art. Picasso's motivation for painting such a shocking picture appears to have

come not only from an 12

on canvas

96x92

appetite for iconoclasm and a profound sense of his

(243.9x233.7) The Art,

Museum of Modern New York. Acquired

through the P.

Bliss

Lillie

Bequest

own artistic ability — qualities that have come to be associated with his very name — but also from an attitude that was substantially a product of that pre-First World War decade: avant-gardism. A spirit of rebellion against academic convention and bourgeois

taste

artistic practice in Paris since early in the

had characterised

a strand

nineteenth century.

From

of the

individualism and technical brio of the Romantics such as Eugene Delacroix, through the ironic and oblique observations of

on modern

city life

and painting's relation to

it.

Edouard Manet

to the Utopian visions of

Vincent van Gogh's sun-drenched Provence and Paul Gauguin's Tahitian paradise, artists had engaged with And represented on canvas a deepening 13

culture

of alienation from the

of modern

social,

moral and aesthetic conventions

of the nineteenth century became more acute and found institutional support. Increasing numbers of aspirant artists and writers, flocking with stars in their eyes to Pans as the cultural capital of Europe, found their paths to a glittering career — the state art schools, the juried salon exhibitions and their hierarchy of prizes, the established newspapers and literary magazines — choked by overcrowding and obstructed by hidebound protocols. capitalist society. In the last years

that alienation both

In response, they turned increasingly to alternatives, exhibiting together.in

informal groupings, networking between their multiplying cafe-based milieux to promote, compare and contest

they wrote about in ephemeral slowly growing

number of

investment in their work.

and

1880s,

little

new

and

practices,

which

magazines, and discovering a small but

private art dealers

From

ideas

and collectors willing to

risk

the Impressionists' exhibitions of the 1870s

through the foundation of the unjuried Salon des Artistes

Independants in 1884, to the pioneering dealerships of Paul Durand-Ruel,

Ambroise Vollard and the brothers Bernheim-Jeune,

this alternative

infrastructure steadily expanded. It

was not until after the turn of the century, however, that

artistic

garde

of

—

this unofficial

population became the counter-cultural community of the avantor

more properly

avant-gardes, since by

now

numbered thousands nearly ^0,000 new

it

writers; one critic estimated in 1911 that would be shown in Paris that year, while nearly 200 small literary and artistic magazines, each declaring and promoting a different 'ism', were founded between 1900 and 1914. Such numbers were themselves a reason for this consolidation; another was the widening of its market base, as more dealers and collectors began to speculate m new and unorthodox art. In 1904 the Societe de la Peau de l'Ours (Skin of the Bear Society), was founded expressly to invest in such art and then sell it after ten years. The Society's name came from La Fontaine's fable in which two hunters sold the skin of a bear before they had even tried — and failed — to catch the animal. (Unlike these unfortunates, the Society realised a handsome profit from the sale of its collection in 1914.) By 1909, indeed, the contemporary art market was buoyant enough to support a new kind of art dealer. Opening his gallery in 1907, Kahnweiler began two years later to narrow his purchases to the work of only four or five artists, and in particular that of two — Braque and Picasso. From the spring of 1909 he undertook to buy almost everything they produced — a move that was at once a major gamble and a vote of confidence in the extraordinary Cubist pictures they were artists

and

paintings

beginning to paint.

A third factor was

the growth in Paris

of consumerism,

at the centre

of

which were the rapidly expanding department stores, and with it the emergence of modern marketing techniques. Newspapers gave steadily greater space to advertisements, billboards appeared

all

over both the city

and the surrounding countryside, and people across France, as elsewhere, were bombarded with promotional hyperbole in all media. The appearance of 14

Italian poet Filippo

Tommaso

Marinetti's 'Founding Manifesto

of

Futurism' on the front page of Le Figaro in February 1909 signalled the appropriation by artists of such techniques, for which a salon and gallery publics of Paris

new

art as

if

critic

From around

coined the generic term 'Futurist publicity'.

became accustomed

—

inevitably

-

this time, the

to the presentation of

were another form of novelty commodity, as artists without

it

and writers without publishers resorted to the proclamation of manifestos and movements, and the founding of magazines as the means of dealers

elbowing their way to the front of the race for

A

a reputation.

fourth factor was a change in the political temper of the French Third

Republic.

The new

liberal intellectuals

century had opened on a spirit of collaboration between

and

artists,

on the one hand, and the

including the organised working

and symbolised

by — the 'Bloc

on the

class,

Its

political left,

—

was founded on

des Gauches', a coalition between Socialist

and Radical parties that gave the centre-left parliament.

other. It

a

working majority

in

beyond government, however, into the cultural belief in the progressive social purpose of art, and

reach went

arena, fostering

both

a

a

range of initiatives through which this purpose was promoted: art study

groups, evening class institutes and the

When

like.

the Bloc collapsed in

1905—6 under the pressures of mounting nationalism

Moroccan

and working-class protest

crisis,

parliamentary Socialism, end.

As

much of this

in

response to the 1905

of came

at the ineffectiveness

inter-class collaboration

to an

the politically organised working class withdrew behind the

stockade of trade unionism, their former intellectual and

artist

reciprocated, exchanging aesthetic for social militancy and artistic elitism in place

of

comrades

promoting

political solidarity.

The term 'avant-garde' appears to have been first applied at this time to — and by — aesthetic groupings seeking to distinguish themselves from more orthodox

artists

and

styles.

On one level it was a badge of membership,

on the part of artists alienated and marginalised by mainstream society and/or its dominant cultural institutions, and, for many, expressing a commitment to aesthetic renewal expressing a sense of collective identity

On another it stood for the

that replaced their former social activism.

panoply of self-promotional strategies and devices that helped to distinguish an artist or aesthetic innovation

marketplace.

of progress

from the many others

in art, the belief that

only

new

aesthetic ideas

it

was

a significant factor in the

idea

and practices were

adequate to the representation of the experience of modernitv. these levels

in the

On a third, it represented a common commitment to the On

all

of

emergence and subsequent

history of Cubism.

Thus deeply

the Demoiselles d'Avignon was the result of,

felt

commitment on

formal conventions and the enhancement of

took

his cue in this partly

from Cezanne's

painting that would lay bare

—

viewer— the complex process important

in this respect

female bathers

in

among

other things,

a

Picasso's part to the overhaul of paintings

or

at least

its

expressive potential.

efforts to fashion a

open up

way

He

of

for exploration by the

of pictorial representation. Especially

was Cezanne's extended

which relationships

of

series of paintings of

colour and

line, figure

and ground, 15

mass and plane

are so orchestrated as to

monumentality of construction

their massive

(fig.6).

moment when

the

Painted in the year after Cezanne's death and at

latter's

picture was, characteristically, less a

The abrupt

a

— secured by a big retrospective d'Automne — was greater than ever, Picasso's

reputation

exhibition at that years Salon

challenge.

emphasise both the timeless

nudes and the means of their pictorial

homage

to the 'master of Aix' than a

changes in the manner of depiction of the

and the violent distortion (and contortion) of the squatting

five

nudes,

figure at the

lower right, in particular, were both an acknowledgement and a critique of

Cezanne's painstaking efforts to reconcile the juxtaposition, in a single painting,

of different perspective schemas with the requirements of and

verisimilitude

pictorial

harmony. Although apparently

quotation from the seated figure in Cezanne's Three

a direct

Bathers (fig.7), this

squatting nude entirely disregards both requirements, and the in-your-face quality

of her

stare

provided the most disconcerting confrontation for the

JBESr i

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4. 61

64

1

)ominu]iu

Sigmund

Jacob,

19

Braque

Mai

lapomstes

20

18

fig.57

14-15. u,

1

31.

kahnwcilcr.

technical

47;

1

lenn

12. 14.

25-6,

Kandinsky.Wassir)

Kant, ImmanueJ

Gabo,

7, 28,

fig.46;

First Disi

>2. 96,

)elaunay

Manifesto 49

53

1^

cam 66;

Tower 47, 48-9.

42—3,

Ingres, |ean-Augustr-

^3

64-6, 67—

I

The City

44.

galler\

Naum ubisin

(

fig.52;

Gauguin, Paul C

5$

9;

fig.3;

Mandora 39.41,60;

Homage to BUriot

fig.28;

Three Nudes

Drama 7—10.11.66;

66;

jo, 54,

Eiffel

s-.

fig.42;

10;

iconic signs

42

59;

The Cardiff

fig.14;

f'g-4s;

1

Dish and Gloss

47-52, 59-63, 64-6, 74-5:

Houses

fig. 12;

s

Vlaunay. Robert

fig. 57;

Cuitar 56;

6

28, j6, 44,

18, 22,

14—15,

Delacroix, Eugene

auconmer

f\

69—70

of

Founding Manifesto

decorat ive

1

Ebn

%3

Freud,

Dada 76

22,31,39;

Nude 20—2;

Man with a

lauvism

TirstDisc (Robert

Bruit

>ecaudin, Michel

fig.29

Impressionism

9;

fig.54

David, Jacques-Louis

lorta da

40:

Hunter Le

50-1,52;

Exposition Universelle (1900

70;

I

fig.19;

I he

fig.35

////, /

Delaunay) 66

31

(Marc and others)

)aix, Pierre

fig.14

the I

Picasso

Prisms (Soma

Futurism 75;

on

$3

62

fig- '5

term

of

66

lourcade, Olivier

EiffelTower (Delaunay) 47,

26,

I

fishes

14

lantin-Latour, Henri

(Picasso) 22,49;

Robert

to Rlcriol

)elaunav

Houses at UEstaaut Braque

enamel paints, use

fig.30

Cubist House

(Matisse)

(l)uchamp^)

(

I

Gypsy Girl with

Cubism, use

75

42,58

lomage

1

fig-4

31

Cottage and Trees (Ia Rue-des-Rois)

fig- 8

fig.61

and

41;

/

Durand-Ruel, Paul

48-9,52.59;

14—15,

;

43-4,55—6,59,61,69

67-8, 75-6

Electric

fig.19

Rottlerack

hermetic < ubism

fig.6i

Mandolin (Christine Nibson)

14

28, 65

18—19;

Umberto

Bois, Yves-Alain

43;

15,

('Souvenir de Riskra')

(Matisse)

b--t;

45,

fig.61;

75;

22, u,3o;

55

consumerism

rot

t:.

41;

Duncan, Carol 19—20

fig.6o

constructions 10—11,75;

George 54

Berkeley,

'

26,

/ louses

Corot, Jean-Baptistc-Camille

48,52

Rottle

75;

conception

41-^;

Girl with Mandolin

20, 55—6, 58

Complex Corner Relief (Tatlm)

32

Picasso

Chrism-.,

colour theory 61—2

18

fig.6

Rlue

Cubist

collective nature of

fig. 5

P«

for

flg.2o

Rottlerack

45,

Guitarist

18

Duchamp-Villon, Raymond

69—72, 76;

Maquette

58-9,70; fig.44

40, 41. 6n

^9,

Readymades 75;

32—46

59,

S2

fig.9

Diaghilev, Sergei

fig.46

r

54

Portrar

7, [6, 19, 28, --,:

16, 18;

28,43;

collage

jus. fuan

Cuitar,

Duchamp, Marcel

classicism

(

S s

Vr.im. Andri

diagonal grid

The (Robert Delaunay)

!

2

fig.

Rathers

Chevreul, Lugcnc 62

66-7, 73-4

hi rii.

(

58;

hnstoplu

(

1

12-22. 24.

Denis, Maurice I

1

Dressing Iable. The (Picasso)

chiaroscuro 41,43

18;

fig.7

16;

19

19-20,26,29,31,33,43-4,

Babangi mask

15—16, 21;

Three Rathers

fig.6; (

avant-gardism

56.58;

I. title

fig.51

rati

inaCafi 54-s: fig4U

(Picasso

25,26,29,33,36,39,40,41,

/li/w of Phocion, The (Poussin) 36;

Trans-Siberian and of

the

mask

Jehanne of

fig.51;

Demoiselles d 'Avignon.

Prose on

iogh. Vincent \.in

I

fig.50

fig.26

Cendrars, Blais< 62—3;

74

I title

62—3;

France

Electrk

Simultaneous Contrasts 62. 66;

(Braque) 39—40;

34— 5, 67,

7, 28,

and of

Siberian

fig.52

Caro, Anthony 76 Castle at La

fig.io

Roger

Allard,

(

Hullier

iaillaux,

I

18—19,

16,

with Pi

7, 9. ie\, 59,

62—3, 64—6, 74—5; Ral

42, 33

African influences

Soma

Calmette, Gaston 7-9

(

The Cardiff Team Robert

fig.43

58;

Mine Joseph 7-9

)elaunav.

manifi

path Metzingei

61, 62, 66;

fig.49

43,62,74—5

abstraction

44—5; E

Ion

Open Simultaneous!

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ape.

.

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1

1

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rank

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7, 12-

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auien,

Laurens, Hero

70—1;

79

,

»I0 Le Fauconnier, Henri 7,28,

L^

J3-5. 44-

I^gtw^^^

29,31, 33,

gfflMMW MliS

3 9999 03667 257 2 neo-Impressionism

43, 44,

The Hunter 50—1,52;

Fernand

nco-Symbolism 44

Nm^5 hi

7, 28, 29, 35,

AWfs m

44, 49—50, 67;

/braf 29, 35—6, 40;

Wedding 51—2;

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35-

Fora/ ( Leger )

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4°;

29

On

69, 70;

67-8.75

Rabannikoff, Maroussia 28

16

Cubism (Gleizes and

Raynal, Maurice 46,

18

Lipchitz, Jacques 73, 76

J9»

Romains, Jules 48—9,52;

56, 58,

49,52,55-61,69-72,73,75,

26, 28,

40, 56, 58

ZTk' Accordionist

76;

54—5;

fig.41

Guitar (Braque)

56;

fig.42

Bread and Truit Dish on

a Table

25;

59, 41,

&&

d 'Avignon

60;

fig.28

Olympia

13;

Les Demoiselles

5>

iz—zz, 24, 29,

26, 28, 43;

Table

fig.20;

70—1

Glass and Bottle of Suze

16

Mare, Andre; Cubist House 67-8;

fig.

Marinetti,

54

FilippoTommaso;

fig.58;

Guitarist

41—3;

fig.

Houses on

the Hill,

32

;

36,

The Dressing

fig.5;

56,58;

Manet, Edouard

l

HortadaEbro 40;

fig.29;

'Founding Manifesto of

'Ma Jolie' (Woman with Zither

Futurism' 14—15,31,47

of Guitar)

69;

Maquette

for Guitar 58—9,

Marx, Roger

65,

Matisse, Henri Blue

Nude

67 16,

18—19, 2 &>

('Souvenir de Biskra')

16,18—19;

fig.8;

Bonheurde

Vivre 16

32

Maurrass, Charles

32

Mctzinger, Jean

52, 55, 73;

Li/> w///>

On

44,

Cubism

(manifesto, with Gleizes) 67;

55;

with Teaspoon)

fig.39;

49,52;

52—

Two Nudes 44,

Pip?

48

24—5;

fig.17;

Women 24;

fig.16

Raymond

Drama (Robert

fig.

11,

80

^2— 3, 45,

53,

67—8,

54;

(Gris)

Poussin, Nicolas

la

34, 36;

and Pitcher (Braque)

Vlaminck, Maurice de Vollard,

7,

28—9,

11,

Ambroisc

[9

14

55,

Wedding (Leger)

Weiss, Jeffrey

54-5

Salon des Independants 20, 28,

39;

31,

74 Section d'Or 46,

7, 14,

Schopenhauer, Arthur

Window on

the

51—2;

fig.38

31

City No.

]

(Robert

Delaunay) 60—1,62;

35,47,65—6

fig.48

Windows Open Simultaneously

53

sculpture 75—6

(TirstPart, Third Motif)

Seated Nude

(Robert Delaunay) 61,62,

41,44;

(1909— 10) (Picasso)

66;

fig.31

Serusier, Paul

Woman

33

Shchukin, Sergei Silver,

12

J5J

52,

62, 66;

fig. 50

Pcau de l'Ours

75—6

arfd colour

mind, concept of 12, 18

stencilling 69, 70; Still Life

Still Life

58—9, 70;

61

Gertrude

2

29,

*

WorldWarl

Smith, David 76 la

%

woodgrain, simulated 69, 70

61—3

Simultaneous Contrasts (Sonia

Societe de

fig.49 with Phlox (Gleizes)

women 19—20,28,64—6,68

Kenneth 74

simultaneity 48,

fig.55

(1914) (Picasso) 7,

10-11,72,75;

fig.40

Postmodernism 76 18

7, 16, 18, 28,

44, 46, 47-52,

Salon de

Stein,

Portrait of Pablo Picasso

74 Naturalism

Cubism

34,

52, 53—5,

59—60

fig.27

34,41,46,67 salon

56, 58, Violin

Salon d'Automnc

states of

1

populism 64—6, 67—70 nationalism

fig.36

49;

Salmon, Andre 20

spatial illusionism

66;

(Braque)

fig.24

viewpoints, multiple

Spate, Virginia 61

Pop art 76

74

Viaduct at L'Estaque, The

(Robert Delaunay)

space, real

8

fig.33

49,52;

the Bievre near

36;

St Scvcrin

19

68

Two Nudes (Metzinger) 44,

H

Poiret.Paul 68

Nancy

fig.13

Delaunay)

36;

Delaunay) 7—10,

modernolatry 47—50, 62 Pict

C7w!r Caning 69;

fig.59

72;

Political

74, 75

5////