Word: cubists
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...artificial and unfair. The work is simply not of the same order." He is at least 91.23% correct, though the distinction is not likely to disturb the average museumgoer, who will revel in the early, if decidedly familiar canvases by Matisse, Chagall, Braque, Dufy, Derain, Vlaminck and other cubist and fauvist favorites. Particularly impressive: Picasso's rarely shown room-sized stage curtain from the 1917 production of Diaghilev's ballet, Parade...
Nonsense & Nostalgia. Though the Dadaists were determined to break with what they considered the "spiritually bankrupt" styles of cubism and futurism, they borrowed many cubist techniques. While they claimed to tweak the nose of logic, and build their art by happenstance, it was in fact highly rational and ironically detached...
Collage, for example, was originally developed by the cubists; yet when the German Dadaist Kurt Schwitters began to build his many-splendored "Merz pictures" from old newspaper scraps, driftwood, buttons and other attic rubbish, his works took on a pathos and intimacy that more formal cubist compositions lacked. Schwitters himself always insisted that Merz was a nonsense syllable, derived from a phrase from an advertisement for the "Kommerz und Privatbank." But merzen is also an obsolete German verb connoting rejection. Both as nonsense and as nostalgia, Schwitters' handsome, 5-ft. by 4-ft. Merz Picture with Rainbow clearly foreshadows...
Richter considers not visual art but music "my principal inspiration." As a child in Berlin, he became fascinated with the impeccable synthesis of logic and rhythm found in the fugues of J. S. Bach. His rhythmically fragmented paintings of musicians made under the cubist-futurist influence around 1914, show him striving for a visual emulation of Bach's counterpoint...
Braque's versatility as a painter is legendary and a wide range of his development in oils can be seen here. A few examples include a 1906 land-scape very much like Fauvist work, particularly reminiscent of Vlaminck. Later, in 1911, at the height of the Cubist period, Braque painted the "Still Life with Banderilas," one of a series of muted-tone exercises almost indistinguishable from Picassos of the same period. Three still lifes, one of 1929, another 1939, and of 1941 show his developing interest. The first includes a lemon painted to look flat, while on an adjacent goblet...