Word: cubists
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...European entries had variety and vigor too. France's Ossipe Zadkine contributed Menades-fragmentary fleeing figures that seemed closer to cubist painting than to most sculpture. Russian-born Jacques Lipchitz, who now lives in Greenwich Village, submitted Sacrifice, a handsomely ugly bronze of a man knifing a rooster; the disturbing thing about Sacrifice was that, stared at a while, the man began to look like a rooster, the rooster like...
...German army in 1940 and spent three disconsolate months near Toulouse. There he did the first landscapes of his career-neatly representational sketches that might have been made by an architect on vacation. Then he wandered back to Paris and spent the rest of the war years turning out cubist paintings based on his landscape sketches...
...composition, Villon's landscapes were as cubist as ever. He had broken the trees, rivers, mountains and towns of southern France into thin flakes and shavings of color, and though he obeyed the laws of perspective in applying his painted patchwork to canvas, he used different perspectives for each patch. As a result, his pictures looked rather like panoramas painted into the pleats of an accordion. Even his self-portrait appeared to have been painted on creased and crumpled paper: the self-possessed face was only half there...
...also enlisted in the cafe cohorts of Pablo Picasso, who was by then knee-deep in cubism. "I have never believed in God," says Rivera today, "but I believe in Picasso." Cubism, he maintains, "was the most important development in art since the Renaissance." He points out that cubist principles of composition underlie his most realistic murals...
...there came a time when Rivera pooh-poohed Picasso: mere cubism was not enough. Diego's rebellion began one fine morning in 1918, he recalls: "I was just coming out of a cubist show at the Rosenberg gallery when a fruit vendor passed in front of me in the sunshine, pushing a little wagon full of peaches. The sight was so much more beautiful than all those dry, thin abstractions inside the gallery. It made me want to paint the richness we can see and feel, not just intellectual constructions." Rivera was coming back to the maxims...