Picasso’s friends and collectors were unable to accept this painting, which they felt was ‘mad’ and ‘monstrous’, and it remained rolled up in his studio for almost 10 years. It showed five prostitutes with sharply distorted naked bodies within a room whose space seemed shattered into f ragmentary shards, while the women’s faces derived from Egyptian, Iberian and African art, the latter still viewed as something crude and savage in this period. This work managed to bring together several radical and shocking elements. ![]() In 1907 Braque had also made the acquaintance of Picasso, who that same year had produced his extraordinary large-scale painting Les Demoiselles d’Avignon. ![]() ![]() The box-like appearance of houses in these landscapes led the critic Vauxcelles – who had been quick to label the Fauves – to describe them mockingly as ‘cubes’, inspiring the term ‘Cubism’. Braque made trips to the village of L’Estaque in southern France to paint the same sites depicted by Cézanne, and his resulting series of landscapes were exhibited in Paris in 1908, showing houses, trees and roads as simplified geometric forms squeezed into a shallow picture space. Cézanne’s work was an inspiration, particularly in its use of ‘passages’, the unification of parts of the picture surface through colour and tone, which meant that the difference between foreground and background was no longer sharply maintained. The Legacy of Cézanneīraque had worked initially in a Fauvist style, but after seeing a major retrospective exhibition of the work of Paul Cézanne (1839–1906) in Paris in 1907, he pursued a new artistic vision. Two key artists who began to experiment with the Cubist style were French painter Georges Braque (1882–1963) and Spanish artist Pablo Picasso (1881–1973). Picasso and Braque: Cubist PioneersĬubism flourished in Paris between 1907 and the outbreak of the First World War in 1914, and its impact was felt in artistic developments throughout Europe during this period. Cubist works would provide a radical challenge to the painterly conventions for producing an illusion of depth, and they would attack the tradition of ‘high’ art by including within two-dimensional paintings and collages a range of extraneous materials not traditionally associated with high art, such as newspaper clippings, scraps of sheet music and stencilled lettering. “The Urbans are who I am, a hip hop street kid from Brooklyn,” he says, “but Modern is my taste.Cubism was one of the most influential twentieth-century art movements. As part of his evolution as an artist, he’s put in countless hours in the studio, pursuing a maturing technique and a fresh path to self-expression. The artist was formally trained in art school and took a special interest in color theory and the optical dynamics of how color moves the eye and creates the effect of space within the surface, the sense of forward and retreating motion. Painter Flore understands the symphonic power of colors at a foundational level, and for the past several years, his Urban Cubist works have deployed complex chromatic equations and witty texts to create unique, jaunty, bustling, architectural canvases. ![]() In a painting, colors work to create and define space, optical movement, and emotional narratives. Colors have their own rhythms, unique energy signatures that like notes gain depth and nuance through juxtaposition and sequence.
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