Cubism (finish) + Italian Futurism + Russian Suprematism

Synthetic Cubism

collage (coller = to paste)

papier collé = pasted paper

jouer = to play

Filippo Marinetti

non-objective art; abstract art

0.10 exhibition (Dec 1915)

Bolsheviks

Analytic Cubism

• Geometric shapes replacing figures
• Multiple perspectives at same time compressed
• Neutral colour palette
• Multiple dimensions represented through varying light sources

Synthetic Cubism

• Taking flat surface and adding with visual information
• Multiple types of materials
• Technique of collage

Picasso

Still Life with Chair Caning, 1912

• Rope glued to edge of canvas
• Juxtaposes objects from real world and painting illusionistic world. Sketchily.
• Printed chair caning, outlined with rope, painting on top of

Glass and Bottle of Suze, 1912

• Text, wallpaper, blank construction paper, actual label of bottle
• Main surface used as a wall in a cafe, signs and posters pasted over
• Cup – 2 and 3D
• White centre paper represents bottle
• Black shapes representing hands. Proportion to the bottle.
• Newspaper relative to day and time when piece was created. Highly politicised. Cholera epidemic.
• Taking everyday life and putting it into the craft.
• “Displace reality” – Picasso

Italian Futurism

• Militant group of Italian artists
• Multiple media. Adopted Analytic cubist technique.
• Analysis of form. Breakdown of form.
• Analytic Cubism with a sense of energy.
• Function of manifesto: To be extreme and call attention to ideas
• Glorified war, anarchy, killing. Unconstrained liberty.
• Efficiency with machines. Abandoning traditions.

Umberto Boccioni

Unique Forms of Continuity in Space, 1913, bronze

• Not interested in anatomical accuracy
• Sense that sculpture has been freed from the block
• Bronze: traditional sculptures used, but Boccioni used it for mechanical, machine-like forms
• Alienation from human form from lack of arms
• Muscular but mechanical form

Dynamism of a Cyclist, 1913

• Movement in 2D
• Figure is central.
• Light areas: not figure
• Rounded forms = velocity of bike. Movement flattened.

Severini

Dynamic Hieroglyphic of Bal Tabarin, 1912

• French dance hall in Paris
• Feverish motion of chaos
• Kaleidoscopic. Break down of form.
• Female central figure. Gentleman right bottom foreground
• Hieroglyph: picture that represents a word, Individual parts: symbols.

Armored Train in Action, 1915

• Celebrating war. Opportunity for artistic creation.
• Faceless figures aiming guns off canvas, tank aiming the same way
• Streamline, aestheticised. Nature.
• Steam, smoke, wind
• Palette reduced to blues – yellows. Small amount of brown.
• Brightest part is section most affected by violence.

Balla

Dynamism of a Dog on a Leash, 1912

• Much more obvious subject matter. Dog on a leash, hem of dress.
• Less violent.
• Motion of leash, feet. Forms not fragmented. Study of movement.
• Same objective recreated over and over in different places