CUBISM

SHRUTI KOKANE
SHRUTI THOPATE
KAUSTUBH KINGE
RYAN MAZHAR
 Introduction
• Cubism was a revolutionary new approach to representing reality invented in around 1907–08 by artists
Pablo Picasso and Georges Braque. They brought different views of subjects (usually objects or figures)
together in the same picture, resulting in paintings that appear fragmented and abstracted

• In Cubist works of art, the subjects are analyzed, broken up, and reassembled in an abstract form—instead of
depicting objects from a single perspective, the artist depicts the subject from multiple perspectives to represent
the subject in a greater context. Cubism has been considered the most influential art movement of the 20th
century.

Architectural interest in Cubism centered on the dissolution and reconstitution of three-dimensional

form, using simple geometric shapes, juxtaposed without the illusions of classical perspective.
Pablo Picasso, 1910, Girl with a Mandolin
CHARACTERSITI (Fanny Tellier)
CS:
• Transparency
• Spatial ambiguity
• Multiplicity
• Abstraction
• Illusion
• Geometric shapes and planes

The common characteristics of the buildings of the Cubist movement were transparency, spatial ambiguity, form-faceting, and multiplicity. Architects also borrowed and
played with concepts like abstraction, geometrization, symbolism, distortion, fragmentation, and illusion.
Houses Near l'Estaque George Braque 1908 Early Cubism

The very name Cubism came from
this painting. When the critic
Vauxcelles saw this painting he said
the houses "look like a bunch of little
cubes." He meant the comment to be
insulting but the name Cubism stuck.
Artists needed a more radical approach - a 'new way of
seeing' that expanded the possibilities of art in the same way
that technology was extending the boundaries of
communication and travel. This new way of seeing was
called Cubism - the first abstract style of modern art.
Picasso and Braque developed their ideas on Cubism around
1907 in Paris and their starting point was a common interest
in the later paintings of Paul Cézanne.

The Cubist Vision

• The fact that a picture drawn in perspective could only work from one viewpoint restricted their options.
• They wanted to introduce the idea of 'relativity' - how the artist perceived and selected elements from the subject,
fusing both their observations and memories into the one concentrated image. To do this the Cubists examined the way
that we see.
• The Cubists tried to show different sides of an object or person on one plane. This desire to show "all sides at once" or
multiple views became known as "simultaneity."
Head of • The Cubists proposed that your sight of an object is the sum of many different views and your memory of an object is
not constructed from one angle, as in perspective, but from many angles selected by your sight and movement. Cubist
a painting, paradoxically abstract in form, was an attempt at a more realistic way of seeing.
Woman • Not from a fixed viewpoint. Instead it will show you many parts of the subject at one time, viewed from different
angles, and reconstructed into a composition of planes, forms and colors.

Cubists Inspirations
• The Cubists believed that the traditions of Western art had become exhausted and another remedy they applied to
revitalize their work was to draw on the expressive energy of art from other cultures, especially African art. However,
Dan they were not interested in the true religious or social symbolism of these cultural objects, but valued them superficially
for their expressive style.
Mask • They viewed them as subversive elements that could be used to attack and subsequently refresh the tired tradition of
Western art. This inspiration to cross-reference art from different cultures probably came from Paul Gauguin, the French
post-impressionist artist, whose paintings and prints were influenced by the native culture of Tahiti and the Marquesas
Islands where he spent his final years.
 Phases of Cubism
• Cubism had two distinct phases. The early phase which lasted until about
1912 was called Analytical Cubism. Here the artist analyzed the subject
from many different viewpoints (simultaneity) and reconstructed it within a
geometric framework, the overall effect of which was to create an image
that evoked a sense of the subject. These fragmented images were unified
by the use of a subdued and limited palette of colors.

Analytical Cubism
• Analytical Cubism is one of the two major branches of the artistic
movement of Cubism and was developed between 1908 and 1912. In
contrast to Synthetic cubism, Analytic cubists "analyzed" natural forms and
Still Life with Chair Caning-Picasso reduced the forms into basic geometric parts on the two-dimensional
picture plane.
Violin and Jug-Braque • The color was almost non-existent except for the use of a monochromatic
scheme that often included grey, blue and ochre. Instead of an emphasis on
color, Analytic cubists focused on forms like the cylinder, sphere and the
cone to represent the natural world. During this movement, the works
Phases of Cubism produced by Picasso and Braque shared stylistic similarities.

• Around 1912, the styles of Picasso and Braque were becoming

predictable. Their images had grown so similar that their paintings of this
period are often difficult to tell apart. Their work was increasingly
abstract and less recognizable as the subject of their titles. Cubism was
running out of creative steam.
• In an attempt to revitalize the style and pull it back from total abstraction,
Picasso began to glue printed images from the 'real world' onto the surface
of his still lifes. His painting 'Still Life with Chair Caning', was the first
example of this 'collage' technique and it opened the door for himself and
other artists to the second phase of the Cubist style: Synthetic Cubism.

Portrait of Ambrose Vollard 1910 Portrait of Daniel-Henry

Kahnweiler 1910
 Synthetic Cubism
• Influenced by the introduction of bold and simple collage shapes, Synthetic
Cubism moved away from the unified monochrome surfaces of Analytic
Cubism to a more direct, colorful and decorative style. Although synthetic
cubist images appear more abstract in their use of simplified forms, the other
elements of their composition are applied quite traditionally. Interchanging
lines, colors, patterns and textures, that switch from geometric to freehand,
dark to light, positive to negative and plain to patterned, advance and recede in
rhythms across the picture plain.
• Influenced by what he saw around him, Picasso pasted various real-life
materials not normally associated with each other, e.g. bits of paper, onto a flat
Au bon marche 1913 surface to create an arrangement. He usually added drawn or painted marks or
Synthetic Cubism images.

• Real-life materials were thought to better represent “reality” for making art
because they are closely connected to daily life. Picasso and future artists
found the collage process liberating; it suggests new and infinite possibilities
of what art can be. There is a sense of compelling immediacy to collage.
• Real pieces of paper replaced painted flat depictions of paper. Real scores of
music replaced drawn musical notation. Fragments of newspaper, playing
cards, cigarette packs, and advertisements that were either real or painted
interacted on the flat plane of the canvas as the artists tried to achieve a total
interpenetration of life and art.

Summary
• Cubism was invented around 1907 in Paris by Pablo Picasso and Georges
Braque.
• Cubism was the first abstract style of modern art.
• A Cubist painting ignores the traditions of perspective drawing and shows
you many views of a subject at one time.
• The Cubists introduced collage into painting. Three Musicians 1921 Still Life with Mandolin and Guitar
• The Cubists were influenced by art from other cultures, particularly African 1924
masks.
• There are two distinct phases of the Cubist Style: Analytical Cubism (pre
1912) and Synthetic Cubism (post 1912)
 HISTORY
• The Chapel Is The Latest Of Chapels At The Site. The Previous Chapel Was
Completely Destroyed There During World War Ii.
• At The Time The New Building Was Being Constructed, Corbusier Was Not
Exactly Interested In “Machine Age” Architecture But He Felt His Style Was
More Primitive And Sculptural.
• Also, He Realized When He Visited The Site That He Could Not Use
Mechanized Means Of Construction, Because Access Was Too Difficult.

• LOCATION RONCHAMP , HAUTE-SAONE , FRANCE.

• ARCHITECT - LE CORBUSIER.
• CLIMATE - TEMPERATE
• GROUND BREAKING - 1953.
• ARCHITECTURAL TYPE - CHAPEl.
• COMPLETED – 1955.
• THE CHAPEL IS A WORKING RELIGIOUS BUILDING.
• IT ATTRACTS 80,000 VISITORS EACH YEAR. CHAPEL OF
NOTRE DAME DU HAUT

CHARACTERISTICS
• The Plan Itself Looks Like A Painting With The Formation Of
Surfaces ,Inspired From Cubist Paintings.
• The Plan Is Inspired From The Painting Of “Le Corbusier, Women
With Candle”

ARCHITECTURE STRUCTURE
• The Structure Is Made Mostly Of Concrete And Is Comparatively
Small, Enclosed By Thick Walls.
• In The Interior, The Spaces Left Between The Walls And Roof Are
Filled With Clerestory Window.
• The Main Part Of The Structure Consists Of Two Concrete
Membranes Separated By A Space Of 6'11“.