Word: cubists
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...sense of the cubist moment can never come again." Let's fervently hope you are right. That such a hoax has lasted so long is a tragedy for serious painting...
Gradually this jutting, sculptural quality dissolved in ever more complicated faceting, "cubifying"?though there are no real cubes in cubism?through the landscapes he painted at Horta de Ebro in 1909. By 1910 the cubist surface was reached, with a sort of gray-brown plasma, the color of fiddle backs, zinc bars and smokers' fingers. Objects were sunk in a twinkling field of vectors and shadows, solid lapping into transparency, things penetrating and turning away, leaving behind the merest signs for themselves?a letter or two, the bowl of a pipe, the sound hole of a guitar. This sense...
Picasso never painted an abstract picture in his life. His instinct for the real world was so strong that he probably would have produced something woman-shaped every time he took brush in hand. Nevertheless, some of his cubist still lifes of 1911 run close to total abstraction, depending on such slender clues as a glass or a pipestem to pull them back to reality. As he moved forward, he found in collage a way of linking cubism back to the world. Collage, which simply means gluing, brought fragments of modern life?newspaper headlines, printed labels?directly into the painting...
...sense of the cubist moment can never come again. It is almost as distant, in its dulcet and inexhaustible optimism, as the faith that built Beauvais. Cubism was the climax of an urban culture that had been assembling itself in Paris since the mid-19th century, a culture renewed by rapid transitions and shifting modes. It was art's first response to the torrent of signs unleashed by a new technology. Not for nothing did Picasso inscribe "Our future is in the air" on several of his cubist still lifes; tellingly, Picasso's nickname for Braque was "Wilbur," after Wilbur...
...dancers, and allowing a conventional style of portraiture, often as insipid as the $3 million Acrobat sold to Japan in last week's Garbisch auction, to alternate with a highly decorative form of cubism. "Decorative," of course, is no longer a cuss word, and his best flat-pattern cubist paintings of the early '20s, with their gravely shuttling collage-like overlaps of bright and dark color, are marvels of pictorial intelligence. The two versions of his Three Musicians, 1921, show what Picasso could do when his sense of form was fully engaged. The classicizing drift of the early '20s took...