I illusion of depth like Picasso and Braque but

I
am studying geometric portraiture as a theme for my personal project and I will
be focusing on cubism. The reasons why I chose to study cubism are to explore
the motivations behind the great cubist artists like Picasso, Braque and
Cézanne when they created cubism, ultimately to create work of a similar style.
In my study I will overview the lives and experiences of my chosen artists and
how they came to developing cubism. I will also be looking at some comptempoty
artists who have gained a fairly large following in recent years for their
developments of the traditional style. like Josh Bryan and Breno Bitencourt.  My intentions in my personal project are to
show how different people see the world in ways that you couldn’t imagine.
Cubism is just one example of this phenomenon. 
Ever since 15th century Renaissance
painters like Masaccio and Piero Della Francesca mastered the art of line based
perspective painting that was based on the idea of a single viewpoint. This
meaning an object on a canvas is always viewed exclusively from one fixed point
in space and time. Picasso and Braque decided that this strict  approach was insufficient and dishonest because
it failed to represent the “truth”. For instance, it couldn’t show
the side or rear view of the object  nor
could it show the object at different times of the day. Picasso and Braque’s
solution was  Cubism, a revolutionary
type of modern art which rejected single point perspective and sought to show
the object from multiple angles, in differing lights.Cezanne’s inspiration Cézanne’s work inspired Picasso and Braque to
develop the cubist movement as his work closely resembled the initial concept
of cubism.  However Cézanne was not
primarily interested in creating an illusion of depth like Picasso and Braque but
he still abandoned the tradition of single point perspective drawing. Cézanne
saw painting in more abstract terms as the “construction and arrangement of
colour on a two-dimensional surface” this flat abstract approach  appealed to Picasso and Braque in their early
paintings An example of these early paintings
would be ‘Factory at Horta de Ebbo’ by Picasso When Picasso visited Horta de Ebro in the
summer of 1909, it was his second visit to the village on the Aragon border,
having earlier spent seven months there in 1898 with his friend Manuel
Pallares. Horto. It was a quiet mountain village and here Picasso began a
series of landscape views. These followed on from the paintings he had produced
a gear earlier at La Rue-des-Bois with Braque, One of the best known of these
works, Foctory at Horto de Ebro, again draws heavily from Cezanne both in
colour and form.   One of the most notable differences between Picasso’s
work and Cézanne’s is the way in which Picasso has happily manipulated the features
of the landscape. An example of this is the chimney that appears in the
background is, in fact nowhere in Horta. Rather it represents a chimney used
for burning waste, situated far away from the village, Similarly, Picasso has
included palm trees in this work  though
none of these trees grew in or near the village. Picasso has freely introduced
this to serve the structure of the work. This was one of the main ideas of cubism,
to have multiple perspectives that all come together to create the final work. Picasso’s Portrait of Ambroise
Vollard (1909-10) began a new style of Cubism – known as Analytic Cubism. In
this painting, Picasso disassembled a human figure into a series of flat
geometric plates that overlap at various angles. all the cube-like imagery of
early Cubist painting had disappeared. Instead, the painting style is different
sections of multiple images overlapping and separated by straight and curved
lines. This paths the road for the most recognized era of cubism where the
objects depicted weren’t 2 dimensional or 3 dimensional but instead the cubist
paintings were in the fourth dimension.  . Simultaneity: the Fourth
Dimension of Painting

After 1909 and up into 1912 the introduction
and development known as simultaneity brings Cubism into its own as a
revolutionary concept. The forms in Jean Metzinger’s “Tea Time”  is broken into large plates. But something
else is happening too; in places these plates are transparent in order to
reveal other plates behind them. they cross and merge together. At the left
there is a teacup and saucer that is divided down its middle by a line, on one
side they are head on, on the other side it is shown from above. Because we see
it from two angles at once we can build an image in our heads of what that
object would look like in real life, which is impossible when an object represented
in conventional perspective allowing a view from only one angle at a time.

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