Word: cubists
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...Cubist Fleshed. Granted this tenor of thought, it was inconceivable that Braque's kind of Cubism could ever have turned the corner into abstraction. Instead, his enterprise was to put flesh on the bones of Cubist structure, to give it the sensuousness of the world of objects, returning to the eye and hand a space which, though fictional, can be explored in real detail. "There is in na ture," he said later, "a tactile, I almost mean 'manual' space." The Mantel piece, 1922, is an example of this pro cess. At first one recognizes its elements...
...Cubist. There is something quite abstract in La Tour's art, which is as evident in the serene, egglike oval of the courtesan's head, seen in broad day, as it is in the cuirasses and helmets of the gambling soldiers in The Denial of St. Peter, glimpsed by candlelight. A body or a hand is silhouetted against a shielded flame in order to display, with effortless virtuosity, its linear nature as form. Indeed, La Tour's night pieces look like predictions of Cubism; the background is as active as the figure, voids read as strongly...
...least of Kandinsky's achievements is that he worked out the first viable alternative to Cubist space -and did it as early as 1915. He was not concerned with what exercised the Cubists and later became an absolute fetish in American painting, the "problem" of filling the picture plane. In fact he strove to destroy the illusion of a unified, comprehensible surface, which representational art had gained by means of perspective and which Cubism achieved through its multiplicity of facets. The forms of Ribbon with Squares, No. 731, 1944, simply hover in an illimitable field of color, whose depth...
...painting was on loan to the Fogg as a part of an exhibition of cubist paintings being studied by Fine Arts 13 and two other Fine Arts courses...
...games with perception by dropping words and letters into his pasted or painted collages. Grouped together they form a telegraphic narrative of Picasso's life in Paris; "Pipe, Glass, Bottle of Rum" (1914) or "The Architect's Table" (a fitting description, too, of Picasso's idea of the Cubist painter as architect) evoking the bohemian conviviality of pre-war France; clippings from French or Spanism newspapers contrasting the national characteristics of a dapper "Man with a Hat" with a Spanism-speaking guitar. Picasso's use of musical motifs is evidenced by the many studies of guitars; Cubist fragments, staccato rhythms...