Synthetic cubism

The last inventions of the analytical Cubisme project the movement in its most ludic era. If the analytical period had sacrificed the unit of the object by placing it in a space revealing its gasoline, the phase of the synthetic cubism finds a means of restoring it without giving up the space innovations. Following the space invasion of signs ( Newspaper, match-holder, pipe and glass , 1911, Picasso), the painters have then the idea to represent the objects through their essential features, or in a synthetic way.

This new figuration, which authorizes a figurative freedom ever reached, moreover is brightened by the return of bright colors. The space of the prospect from now on disappeared with the profit for a conceptual space. Directs and Picasso, as for them, however will proceed differently.

Direct having made the forms and the color autonomous in stuck papers, goes until 1913 translating into painting these space upheavals while preserving a flat space until 1913. From now on, the object is not presented any more in the order, it is addressed to the spirit to be reconstituted. Papers are replaced by vertical plans and horizontal, the technique of the false wood practiced in 1912, is refined in order to create a space without relief where the synthesized object seems to advance towards the spectator ( the Violin (Waltz) , 1913).

After having tested in the assemblies and construction, the capacity of the cubists objects to evolve/move in the real space of its workshop, Picasso represents this experiment at the pictorial level by placing synthetic figures cubists in a traditional space ( Femme lines some in an armchair , 1913). This practice gives place to new generations of stuck papers, where he confronts perspective space and cubist with various objects (newspapers, cigarette packs…) and of constructions where real objects and cubists are côtoient ( glass of wormwood , 1914). Arriving at the conclusion which space cubist contains perspective space, Picasso imposes the Cubisme like the logical evolution of painting. Reflection of the change of mentalities, the cubism incarnates the Theory of relativity of Einstein (1905), which called into question the unicity of Euclidean space. It thus gives again with the Peinture a clean function, put at evil since the appearance of the Photographie: in the past mirror of the Real , it is from now on a space favourable with the reflection.

See too

Random links: