Introduction
	"Avignon girls" as the beginning of the cubism
	Development of cubism as one of the directions in art
	The main artistic cubism principles
	Cubism development periods and their characteristics
	Influence of cubism on artXX century
	Conclusion
	application

Introduction

The twentieth century was marked by a multitude of innovations in art and literature related to catastrophic changes in the public consciousness during the revolution and world wars. The new conditions of social reality had an impact on the entire artistic culture as a whole, on the one hand, by giving a new breath of a classical tradition, and on the other hand, breeding new art - avant-garde, or modernism, the most fully reflective face of time.

Essentially, the term "modernism" is indicated by the artistic trends, currents, schools and activities of individual masters of the XX century., Refused to have the former visual form who have broken with the concept of style as the integrity of the form, space, plane, colors and proclaimed freedom of expression on the basis of their creative method.

Artistic culture experienced unprecedented grandee on sharply different movements. There were forms that are absent in nature and inherent in art only. Fine arts departed from "copying nature": the focus was made to create a form reflecting the spiritual side of nature, invisible, and, therefore, and unlowful. In these turbulent and numerous artistic movements, several main things can be distinguished: Formism, expressionism, abstactivism, futurism, cubism, surrealism, purism, orphism, constructivism and others.

One of the trends of modernism - cubism, formed In the first decadeXX century. Cubists proceeded from the belief that all objects and phenomena, including a person, can be depicted in the form of the amount of geometric shapes. Like expressionists, they abandoned the illusory space, putting the strict construction of the subject presented on the plane from different points of view in the chapter work. His representatives - Pablo Picasso, George Marriage, Fernan Leo, Robert Delone - professed a real passion for the experiment, search for new expressive means and techniques. They sought to radical upgrade the artistic language. Art for them performed as creativity of plastic forms endowed with independent Being and meaning.

It is believed that the appearance of cubism was the result of the impact on the worldview of his founders of Picasso and the marriage of the African sculpture brought into Europe. With it, it was borrowed by the idea of \u200b\u200bsimplifying objects to the geometric shapes of the ball, cylinder, prism, cube. Therefore, their creativity in the mockery called the "art of cubes". The world that they created in their works was faceted and angular.

Relevance of the topic.Cubism is one of the significant artistic currents of modernism that influenced the art of the entire twentieth century. Its specific means is based on compulsory imitation of nature. The outside world is just an impetus for the expression of the individuality of the Creator. The refusal of plausible imitation of the surrounding world opened incredibly wide opportunities in front of the artist. Art got the opportunity to stay alive and relevant in the world, where the visual images are becoming increasingly affordable and do not require certain canons.

A modern person is very important to understand the creativity of the cubists not only because it determined the nature of the European art of the twentieth century, but also because, developing for seven decades, from the beginning of the century and almost before its completion, it was a catalyst and reflector of his philosophical and his philosophical and Aesthetic ideas, a reflexion of a genius artist about the freshers and contradictions of this inhuman century.

Beautiful, but difficult to understand the artist holds the viewer in intellectual and spiritual tension all the time. Going to meet with the paintings of the cubism in the Museum, the viewer must have a certain stock of aesthetic and philosophical knowledge, so that in the museum continue not only the opening of the world of cubistic paintings, but also the creation of their own inner world. When meeting with cubism, as in general, with works of Western painting, the viewer creates virtual, ideal items, thereby expanding the field of his consciousness and high qualityly enriching it. This phenomenon of culturologists called the "new aesthetic feeling."

The goal of the course work is to study cubism, the causes of its occurrence.

Based on the goal, the following tasks must be resolved in the course work:

Reveal P. redspons of the emergence of cubism and its socio-psychological influence on society;

Reveal the role of cubism fathers;

Explore the main artistic cubism principles;

Consider periods of cubism and give them a characteristic;

Explore the experience of the new perception of the world

Reveal signs of the influence of cubism on artXX century.

When writing a course work, educational and scientific literature on the history of art and cultural studies were used.

The degree of study of the topic: The scientific analysis of the picturesque and technical techniques of cubism is considered in the book "On Cubizm" (authors - Jean Metzenznza, Albert Glez).

The structure of the course work consists of introduction, 2 chapters, conclusion and literature of the used literature. The first chapter characterizes The emergence of cubism as an artistic direction in art. The second chapter discussesazvitia cubism as one of the leading currents in art Western European paintingTwentieth century.

1 The emergence of cubism as an artistic direction in art

1.1 Prerequisites for the emergence of cubism and its socio-psychological influence on society

From the middle of the XIX century, the departure from the dominant at this time in the visualthe art of naturalistic tradition is sharply accelerated. Painting, graphics,sculpture turns to what is not available to direct ("literal")playback. Development of new visual funds, striving fortypification, increased expression, creating universal symbols, compressed plastic formulas directed, on the one hand, to displaythe inner world of a person, his state (mental, emotional), withanother - on the strengthening of expressiveness, informativeness of the "bodily" structurethings, update of the visual view of the world up to the task of creating"Independent pictorial fact" design"New reality."

The last exhibition of impressionists in 1886 marks the end of the classicthe period of European art. Starting from that time in the Europeanpainting one after another arise numerous currents existing moreor less long time: Yuggendistil, expressionism, neo-simpressionism,pointelism, symbolism, cubism, fusism.

"In anarchy of emotional values \u200b\u200bat the end of the last century, - wrote Austrianpainter Wolfgang Paren, - People who appealing to art as the lasti will refuge, begin to understand that the inner nature of things as wellsignificant, like an external one. That is why Siera, Cezanne, Van Gogh and Gaugumeopen a new era in painting: Syra - with his desire for structuralunity, to the objective method, Van Gogh - its color that ceasesplay a descriptive role, goguene - a bold way out beyond Western aesthetics andespecially sesanne - solving spatial tasks. " Palayen compressedcharacterized the most important stages of the artistic process, directlypreceding the discovery of primitive art and the fracture thatscheduled in European art around 1907

1907 is considered to be swivel in relation to traditional, first of allafrican art, at the same time, this line from which he originatesthe newest artistic directions. 1906 - the year of death Cezanna -marks the beginning of a particularly deep impact on the whole generationartists. Later this period was named art historians"Cesannovsky", or "Negro".

Analyzing creativity Cezanne and especially his latest works in whichit is closest to solving the spatial tasks,comparing them with the most characteristic samples of African plastics,being sometimes ideal examples of the embodiment of these spatial solutions,it is safe to say that it was Cezanna's creativity that became the lastand, perhaps, decisive in a number of factors who have forced a new look atprimitive art.

Tangible weight of the images, which sought to reach Cezanne, trying through the detection of rhythmic, geometric structures to penetrate the essence of things and phenomena and show this essence, is, according torecognition, the basic quality of African plastics. So creativityCezanna, the former logical result of all prior developmenteuropean painting, in a famous sense close to the work of Van Gogh,Gogen and Syra, played a decisive role in creating objective conditions,which African art was included in the global artistic process.

The moment comescompatibility: an alien aesthetic system is not only recognized, but also "adopted" artistic practice. Moreover, primitive art itself has become a discovery tool, and this is the deep essence of the process under consideration. It opened his eyes to artists who discovered where they were least expected to be a new system of artistic values, fundamentally different from the one that the millennia followed European art.

Thus, the basis of the concept of cubism was the "pagan" culture, which at one time caused the art of antiquity, and later gave new sprouts in the revival era. She freed artistic creativity from salon lightness, returned him to disclose the essence of things and phenomena, making art in accordance with the trend of time tool of knowledge. In its consecutive manifestations, the new course, conditionally received the name "Cubism", was the audience of the structure, as if exposing skeletons of objects.

The feelings of the viewer, which was at the exhibition in front of the clutters of cubists, can be compared with the sensations of a person who gathered to make a pleasant journey, and instead, received an invitation to participate in the laying of new paths.

The reaction of the public proved that the transition to the new direction occurred hopping, despite the long preparatory period, during which the capital European viewer would have to significantly expand his horizons. After the recognition of Van Gogh could no longer be considered the smoothness and naturalistic color of the color with an indispensable condition for "good painting"; The life and work of Gauguen attracted attention to "primitive" cultures and taught to see not so much their immaturity, as much as their state of their condition, which had a lot of valuable and instructive; Ciro's work was an example of the possibility of using scientific methods to solve artistic problems; Finally, the creative method of Cezanne, especially the technique of its latest works, so close to the technique of early chicketers of marriage, it seemed to be promoted if not an understanding, then at least recognition of the right to the existence of this experiment, which is called the most brave in the history of art. And yet the works of marriage, as the subsequent works of the cubists, were rejected by the jury and became a long time for criticism and the subject of the scandal for the general public.

A new direction in the pictorial art and literature, born in the opening era of "L'Art Negre" (the art of blacks) and closely connected with him, of course, was not the only horizon, where the alloy of a new artistic culture was created.

The connection of cubism with the opening of African sculpture is obvious. Although the question of who is precisely the open-ender of the African sculpture remains controversial, no one is in doubt that her lesson was first thoroughly perceived by young, but already well known at the time by the Spanish painter Pablo Picasso.

Cubism is considered the most powerful movement in art since the Italian Renaissance. This avant-garde movement made a revolutionary coup in European painting and sculpture at the beginningXX century. The great temptation for artists was the science, as an area not affected by the crisis. Like scientists working in their laboratories, artists deepened in their workshops, plunged into the world of words, sounds, forms. Perhaps it turned out to be a more efficient way to participate in the surrounding life than its realistic reflection. Therefore, such great importance acquires the obsession of the artists-cubists in search of forms.

Another stimulus for the occurrence of cubism was the interest of artists to art, not affected by the crisis of civilization, in which there is something "proper". In such art, found the integrity, the organic of artistic consciousness, the natural immediacy of the creative act. The desire of artists to touch the "sources" was fed and modern discoveries in the field of subconscious, and an intuitiveness bias in philosophy.

The emergence of cubism was a natural reaction to the naturalism of impressionism and the natural stage of the development of the analytical trends of postimipressionism. The exhibition of paintings of Cezanne in the "Autumn Salon" served in the development of the visual cubism method in Paris. What made with painting impressionists, replacing the form and composition of the game of light, colors and reflexes, did not satisfy many. Cezanne first felt that this path leads to a dead end of freeness and subjectivism. That is why he wrote the words that have made his motto young Kubist artists: "Take the nature by the cylinder, ball, cone ...".

The first exhibition of walkers in 1905 in 1907, the first exhibition of foups in 1905 was promoted to form cubism as a certain flow in art. In 1907, young Picasso wrote his famous picture, one of the program works of Cubism "Avignon girls", which caused the loud scandal of critics called it "signboard for a brothel." I figuratively speaking, if the building was previously built with the help of forests, then P. Picasso and his like-minded people began to prove that the artist can leave the forests and remove the building itself so that the whole architecture will continue in the forests.

The works of the cubists were first exhibited at the exhibition in 1908 in the independent salon. The group exhibition of cubists took place in 1911. First, in the group, enter Pablo Picasso, Georges Marriage, Jean Metzenznaya, Albert Glez, Fernan Leo, Robert Delone, Marseille Dushan and others. In 1911-1912, Picasso and marriage wrote a series of preferably oval compositions filled with amazing thickness of crushing forms penetrating each other, translucent, merging slipping. Among them, a look catches the edges of glass glasses, bursts of fans, fusions of shells, numbers, letters, notes. Some universal miniature. Ovals Picasso and marriage give the viewer the feeling that in the picture the infinitely "something happens."

The first collective exhibition of cubists took place in 1911 in the Salon of independent, where the 41st hall of the cubists made a sensation. Especially highlighted the work of Metzenza, Gleza, "Young Girl" Marie Laurent, "Tower" Robert Delone, "Abundance" Le Foconier. The achievements of the cubism were stimulated by the collaboration of marriage and Picasso, which for seven years worked in close communion with each other. Such a dialogue helped them comprehend and explore the technique of illusionistic image.

1.2 Pablo Ruiz Picasso and George Marriage as Fathers cubism

Creativity Pablo Picasso (1881-1973) permeates the wholeXX century.

Pablo Ruis, subsequently, replaced his father's name too common in Spain on a rare mother's name - Picasso, was born on October 25, 1881 in Malaga. His father, José Rusa Blosko, a drawing teacher at the local art school and crafts, became the first teacher Pablo.. The years spent at the Academy of Fine Arts San Fernando in Madrid (1897-1898) were marked by a departure from Academism and appeal to painting old masters, whose works he studied in Prado. In 1900, he first arrived in Paris. It was a decisive stage in the work of Picasso, who became an impulse to further search. . Throughout 1900-1902 G. Picasso came to Paris three times, and in April 1904 he was finally moved there.

In the fall of 1901, Picasso enters a new path called the "blue period" (1901-1904). Pickasso pictures are repeatedly varied images of beggars, rogues carrying their misfortune as election. Around the mid-1901, an increasingly distinct desire for the surreal palette was added to the compositional experiments, in its moderation leaving for nuanced monotony. Picasso reproduces colorful and textured first impressionism.

Moravia believes that the monthssence is the most decisive step of Picasso to the "manner", to "experimental indifference towards the wealth and complexity of authentic vision of the world." One-color meant simplification, stylization, unification, indicates a purely formal idea of \u200b\u200bthe world - "painted idea". And it's not about the predominance of one color, just as it took place with green in the work of El Greek. We are talking about the "immersion" of the world in a single tonality, about the appearance between the artist's eye and the world of illusory glasses. In fact, the world is not blue, - the world is poor, oppressed, hungry, beggar, unfortunate, as the Picasso himself recognizes in his paintings of this period. But it is precisely blue denies poverty and hunger at the very moment, in which the artist represents them. Moreover, this color approves the will and the desire to picasso to put forward its overall vitality with a totalitarian and demyurgic color.

"The girl on the ball" is the most symbolic picture of the "blue period" and one of his most attractive paintings. The contrast is drawn to the contrast between the graceful fragility of acrobatki, balancing on the ball, and the huge shoulders and the massive athlete legs sitting in Cuba. Picasso is interested in the relationship between these two figures, which he attaches a mysterious, symbolic, very particularly important, distant from any sensual generalization. This is a relationship between the air type of vitality of acrobatki and completely terrestrial vitality of athlete.

The next period of searches of Picasso is customary called "Pink Period" (1905-1906). In the twilight bluish gamut penetrate the delicate tones of heyday. At this time, images of lovers, mothers with children appear. Forms are gradually more and more frozen on the plane and acquire straight borders, the Picasso came closer to a certain schematization.

In the earliest works, the ability of Picasso to the living perception of the influence of Impressionists, Van Gogh, Toulouse-Lotrek, Artists of the Nabi Group. It continues the image of a sad comedy of life in the images of circus and crochets.

In 1907, there is a fracture in the work of Picasso. He refers to cubism. The main task of its art becomes the design of geometric volumes or the speculative-analytical decomposition of these volumes by the amount of components and compaled planes. "Avignon girls" (1907) is one of the most famous, but not the best of his canvases. Feels the gap with traditions, but there is no internal integrity. Traces of influences: Assyrian reliefs, African masks. And on the figures to the right with their dead tested heads planted on terracotta pink bodies, already blows the horror of the Dicar rituals. Here Picasso refuses the illusory effect of painting created by the perspective, lighting, textures, and makes an attempt to transfer three measurements on the plane without disturbing the visual sensation of the plane. This is the principle of mosaic or stained glass. Here the foundations of the Cubism Concept are already laid. Faulting of angular shapes, deaf color contrasts, the overall twilight of the color in many things Picasso transmit concern and the excitedness of the artist.

In the "Portrait of Vollar" (1910), all major lines lead to the face. And the background, and the character does not differ as a texture or spatially. There is a magical focus in this portrait: if you look at the famous distance, then all the planes, angles, the edges are closed, the face appears powerfully plastically glued and alive.

From 1914, Picasso appears more and more realistic works. This is still life: a compoters with bananas and apples, harlequin. At this time, Picasso creates suits to the innovative productions of the Dyagile ballet troupe, including the Parade ballet for Sati's music. In the post-war Europe, the desire to rely on something eternal, unshakable. Picasso detects elements of neoclassicism. In its canvases, squat, short-circuit women with correct features of individuals appear. ("Three women at the fountain", "source"). In 1918, Picasso marries Russian Ballerina Olga Khokhlova, their son is born. Naturally, in the artist's work in the 20s, the motherhood theme.

1920-1930 is characteristic of the transition to surrealistic compositions. Refusing cubistic structures, it creates images based on expressive deformation of the human body, strongly distorts the human appearance. He can write the same woman perfect, angel-like, infinitely attractive, and a day or a month later - monstrous. A striking in the combination of incompatible watercolor "nude on the background of the landscape" (1933). Sea, flowers, temple and nightmare, fragmentation. The hand is naked moving from the brush in the similarity of the shaggy paw. ("Woman in the chair", 1927, "artist and his model", 1927, "Standing swimming pool", 1929).

In 1930, the artist created 30 etchings to "Metamorfosam" Ovid in the classic style, in the 30s G.G. A series of 100 etchings called "Suite Vollar", in which one of the main images is minotavr - receiving-semi-seated, then playful, then ferocious and cruel.

Having learned about the destruction of the small Basque town of Gernik Aviation Frankists, Picasso begins to work on the Gernik's web, which was intended for the Spanish Pavilion at the 1937 World Exhibition in Paris. Panly symbolizes new times, mass death, embodies the tragedy and anger. The severity of emotional impact is achieved by a restless rhythm of the composition, strong deformations, dramatic expressiveness of the complete despair and horror of human faces. The painting made by oil in black, white and gray ones, became a recognized masterpiece and a symbol of meaningless destruction of war. The artist wrote: "Art is a lie, which helps to understand the truth."

In such works as the "slaughter" of 1948, "War in Korea" of 1952 is expressed by the civil position of Picasso. Since 1947, Picasso has been working in the center of the pottery production of France Valoris over ceramics sculptures, paints clay dishes. In 1946, Picasso performs a number of panels and paintings for the museum in Antibes, later than the Picasso Museum.

In the past 30 years, Picasso's creativity appeals to the heritage of great painting masters, reincarnating their images in their paintings. So, in 1950-1960. He created three cycles dedicated to the "Algerian women" Delacroix, "breakfast on the grass" mana and "Meninam" Velasquez (44 versions). .

Inspired by the picture of Velasquez, Picasso creates a series of artistic analyzes of the composition, showing the wealth of imagination. He decomposes the work, transforming his heroes to "new" characters without losing the majestic atmosphere. The series of "Menins" can be viewed as a repertoire of the visual receptions of Picasso, contrastingly combining planar images with countless nature deformations.

The art of Picasso is born with an era, when everything has moved from the usual places, all values \u200b\u200bhave undergone revaluation. His art is an open system, an endless metaphor chain.

Georges Marriage (1992-1963) was born in Argente 13 May 1882. When the boy was eight years old, his family moved to Gavr. He received the first lessons of professional skill from his father and grandfather, who were professional decorator artists. In 1900, he comes to Paris and in the circle of his colleagues often not without pride declares, which is "self-taught without academic education."For a while he studies at the school of fine arts and absorbs the latest artistic trends. Matissened by the art of Matisse, he adjoins in 1906 to "Fovists" and creates a series of landscapes, which seem to absorb the power of the southern Sun and the brightness of the colors of Provence. In these landscapes, a traditional image of a natural motive is maintained, but the bullshit of the color and plastic expression give images almost cosmic. A distinctive feature of the work of the marriage of this period was not only special decorative beauty, but also a large, than other vaults, the design of the composition.

Two events of 1907 radically changed the creative fate of marriage: the exhibition Cezanne and a meeting with Picasso.The effect of Cezanne and Picasso works leads to a radical change in marriage style. One of the most famous works of this period is the picture "Houses in the Esta". The concrete motive here is even more resolutely turned into a kind of model of the Universum - there is not so much the view of the city as the image of the creation of the world. But instead of the previous flowing forms, powerful geometrized volumes, the riot of paints appear, the festive combustion of the color is replaced by ascetic "Cesannovskaya" gamut of muffled yellowish-ocher, green and gray-blue tones, and dynamism is now combined with unshakable static. It is about the "houses in the auto" Matisse, and after him, one of the critics used the expression "Cuba", which caused the name of the new direction, which was destined to play such a significant role in the art of the XX century.

From the end of 1909, the marriage works closely with Picasso andfollowing him, entering the period "Analytical Cubism". He writes at this time mainly still lifes, in which "Cuba" "houses in the estacle" begin to flow into small facets that fill the entire surface of the canvas. These verses have their own coloring and direction, seem to be protruding, in-depth, luminous or darkened; Soft picturesque smears are combined with sharp contours. From abstract forms there are details of objects, but, in accordance with the doctrine of cubism, the artist does not depict an object, but seeks to transfer the amount of plastic sensations and ideas about him. It was stated - for the first time with the Renaissance, the right to painting show what cannot be seen from one point of view and that cannot be seen at all. However, the refusal of concrete image with the inevitability led to the exhaustion of the figurative content of the pictorial work. In front of the viewer were concluded in rectangular or oval frames, colorful and rhythmically organized color surfaces, transmitting the same abstract "formation" of a moving material substance.

The marriage depicted objects from different angles, thus refusing from the central perspective taken earlier in the art. In addition, the artist transferred objects and figures in extremely simplified form: so, not knowing the name of the picture, it was difficult to guess what was depicted on it.

In early 1912, the marriage creates cubistic sculptures - paper structures. Spring Picasso, inspired by them, creates a collage.

In the summer of next year, the marriage continues their searches and as a result comes to the discovery of a new topics - paper applications ("papiers Colles "-" Padier Coll "), which allows the marriage to return to painting the color and" clearly separate the color from the form and see its complete independence in relation to the form. " This, in turn, marks the transition to "synthetic" cubism.

In the period of "synthetic cubism", marriage, like Picasso, finally rummates with the traditional "kind of nature". The picture is now not an "analogue" of the subject, but a kind of "new reality". On the clean surface of the canvas, the free game of color planes painted in bright local paints, realistic contour draws of items, inscriptions and elements "mounted" into the "Living" nature composition - in the form of a collage or picturesque imitation of pieces of newspaper, wallpaper, labels, etc. With the help of these techniques, new decorative effects were removed, but the overall sense of life of the modern city was created, with his rhythms and documentary signs - and sometimes a similar similarity of musical images ("Aria Baha").

After World War I, Cubism gradually makes himself up. Its metamorphosis showed the degradation of exile from the painting of the visual principle. Starting from the 20s, the marriage uses only individual style elements and tricks of cubism and refuses its abstract trends. But, like Picasso and most other modern masters, he relies on the freedom acquired in previous searches, not only "visible", but also "thought". His art from now on, as it would be balanced between nature and the inner world of the artist and is, in many ways, the "defined" poetry. The picturesque language uses poetic "trails", penetrated with special spirituality, seeks to pass in visible forms not so much the appearance as the inner essence of phenomena.

In 1914, marriage was mobilized, and next year he was seriously injured at the front and commission. As soon as Health has been allowed, namely, in 1917, he again is accepted for work and immediately at the end of the war creates several still lifes, which demonstrate that the vision of the master remains cubistic - it decomposes the items on the elements and plans, recomposed and as if compressed with strict plastic and decorative rhythms.

Along with still lifes, the marriage writes portraits in the 20s and a series of naked, exciting by their powerful plastic, the latitude of the rhythm and the beauty of the flavor. Simultaneously with these female images in his art, antique characters appear for the first time - "Canephors", girls with sacred gifts in the form of fruits and colors. Unlike neoclassical images of Picasso, "Canephors" marriage do not contain grotesca and combine monumentality with almost the limited ease. Mythologized characters freely live in the space of artist's paintings; Their very appearance is not accidental, it is due to the entire poetic of marriage. In the future, he repeatedly returned to the ancient topics (cycle of illustrations for haziod, numerous lithographs, etching and plastic works with images of Greek deities, etc.). In the most stylist of painting a marriage with her gamut of golden, brown and black tones and exquisite linearity there is a common with an archaic vasopype.

In early 30s, marriage experienced a short influence of surrealism (a series of still lifes with generalized linear planar images of objects and molluscular irrational forms). In the future, its painting acquires a new poetic and spatial latitude, as well as special coloristic and linear refinement; Filled with light. In early 30s, he creates a number of marine species in Normandy, then the interiors are written in which there are tables with still lifes or thoughtful women with combined faces and profile, outlined by winding "baroque" contour. A number of works are devoted to the topic "Artist and his model". Her interpretation is deprived of the marriage of the drama and wealth of aspects inherent in the work of Picasso, in accordance with all its warehouse, the marriage emphasizes, first of all, the mysterious and contemplative-lyrical beginning of creativity. The same cycle includes a series of "workshops" (1949-1956), in the complex layering of the images of which the flying bird often dominates - the leitmotif of the entire late art of the artist. It She strives to combine all his memories, all searches and all the themes of their creativity.
The eternity of the movement of art in the image of flying birds brilliantly embodied in his bestmonumental work - painting of the Hall of Etruscov in the Louvre. The creativity of marriage is not limited to painting and graphics. He created a sophisticated and expressive sculpture energizing with Greek archaic. The highest achievements of French applied art belong to his stained glass, jewelry. Classical steel and his theatrical works are produced by Dyagileev ballets in Paris in the 20s.
George Marriage works is the uniqueness of his vision of peace and art, the process of rapid, truly revolutionary development of the art of the twentieth century.

1.3 "Avignon girls" as the beginning of the cubism

In 1905, Picasso creates its famous series "Acrobats", "Girl on a Ball", "Acrobatov Family" and other compositions "Pink" period, filled with soft lyrics, even more detailed, close to nature than previous works. They do not foreshadow that fracture in the work of the artist who comes suddenly and with all the sharpness manifests itself for the first time in the big composition of Avignon maidens. This picture was started in 1906 in a manner, rather close in the previous one: Portrait of Gertruda Stein, "Two Nude Women" (both paintings were written in 1906). But when it was completed, in 1907, there was nothing left in it, which would resemble the previous Pink's Pussy period. Five naked female figures depicted in different angles filling almost the entire surface of the canvas, as if rudely out of solid wood or stone. The bodies are maximally generalized, faces are deprived of expressions. The folds of the drapes constituting the pattern of the paintings, create a feeling of decay and disharmony.

The picture made a deep depressing impression on the artist's friends. Some found it with my swelling, others spoke about the author's mental illness. J. Brac, who saw "Avignon Devitz" one of the first, indignantly stated that Picasso wants to make him "have a pass and drink Kerosene." According to Gertruda Stein, the famous Russian collector S.I. Bichkin, a big fan of painting Picasso, being with her after visiting the artist's workshop, almost exclaimed with tears in his eyes: "What a loss for french painting!". Marshans, before the boring all the works of Picasso, refused to acquire this picture, whose importance in 1907 they understood, it seems, only two people - Guillaume Apolliner and Daniel Henri Kanveyailer. It is this picture that the remaining unrecognized, marks the beginning of a new, Negro Picasso period in the work of Picasso and a new direction in world art - cubism.

"The painting" Avignon girls "is not in their own sense of the Cubist picture, - writes the largest English researcher John Golding. - Cubism is realistic ... In a sense, it is a classic art. "The girls" also impress the impression of extreme tensions ... At the same time, this canvas, undoubtedly, notes a fracture in the work of Picasso and, moreover, the beginning of a new era in the history of art. It is a logical starting point in the history of cubism. The painting analysis clearly shows that most of the problems that will later work together in the process of creating the style of marriage and Picasso, here are already set, maybe even ineptly, but for the first time quite clear. "

According to the testimony of the city of Stain (the portrait of which in the fall of 1906 ended Picasso), it was during the work on the "Avignon girls" the artist thanks to Matisseu met African sculpture. M. Szhorzh-Michel in the book "Painters and sculptors, whom I knew" recalls the visit of Picasso together with the Apolliner of the Exposition of Negro Art in the Museum of Ethnography Trocadero. According to Georges Michel, Picasso "at first was frivolously entertained, but then passionately became interested in idle barbaric forms." It can be added that in 1906 Picasso met the dend, which was then under a strong impression of the African sculpture, open to them in the British Museum.

Poet and critic Andre Salmon, fully supported a new direction in art, was the first to reflect the connection between the creation of the famous painting and an African sculpture. Salmon writes that in 1906 Picasso is experiencing a significant crisis. "He is secretly working on the picture and night, trying to translate his new ideas in it. By this time the artist has already fascinated by the art of blacks, considering it more perfect than Egyptian. And especially he appreciated his structurality, believing that Dagomoe or Polynesian images extremely concisely transmitted the plastic essence of the subject. "

According to Cezanna's testimony, Picasso clearly gave himself a report that in African sculpture it attracted uncomfortable plasticity, immediacy. In this regard, the comment of the Russian criticism of ToughaldHold in the article about the collection should also be mentioned
S.I. Ishukina. "When I was in the Picasso workshop," wrote Tougyandhold, "I saw Congo's black idols there, I remembered the words of A.N. Benua about ... the warning analogy between the art of Picasso and the religious art of African savages and asked the artist whether his mystical side is interested in these Sculptures ... Not at all, he answered me, it takes me their geometric simplicity. "

Geometric simplicity of figures - exactly what is primarily rushing to the "Avignon girls". Moreover, the faces of the two right figures are directly associated with African ritual masks. In the drawing and color, these heads are sharply different from the rest, and the composition as a whole produces an impression of incompleteness. The radiograph of the picture showed that both of these figures, the most innovative and at the same time the most "Negritanese" were written first in the same manner as the rest, but soon rewritten again. It is assumed that they were reworked after visiting the artist of the Ethnographic Museum, when he is "passionately carried away by an African sculpture.

"I took half the picture," Picasso explained, "I felt that it was not that!" I did otherwise. I asked myself: Should I remake everything entirely. Then he said: No, you will understand what I wanted to say. "

2 Development of cubism as a leading course in art

2.1 The main artistic cubism principles

Cubism, as a course of widespread in the first decadesXX Century all over the world - an example of the Alliance "Magic and Mathematics". Cubist artists were inspired by the famous postulate of Cesanna - "to interpret the forms of nature as a form of a cylinder, sphere, cone." Kubist artists, theorists of this direction Alber Glez and Jean Metsence wrote in the book "On Cubizm" (1946): "Each of the parts that the canvas surface shamining has an independent character of the form, but all rhythmically conjugate. The room is eliminated by a number of parts, the same in shape, length, lightness. The artist is achieved the greatest intensity of all these relations within the canvas, then the canvas creates the impression of a dynamic and difficult life - the limit saturation of the greatest space in the picture. The cubists found that the imitation of nature only interferes, without it, the specific laws of revival spaces can perform in their purity and absoluteness. Do not obey the dictate of nature, the more seen from one point of view, the artist Wained to saturate the canvas of the most tental game forms, reliefs and lines, paints, shadows and lights in their contact, contrasts, converges and discrepancies ".

Cubism was an attempt to deepen painting, open its deep content, and such, according to artists, there were ideas. Cubists understood ideas as a reality that exists in the artist's consciousness. Unlike sensations that Impressionists were focused, ideas, their content is irreal, and sometimes incredible.

Cubism has crushed one of the varieties of abstractionism. He freed the content of the product from substantive images and replaced them with geometric abstractions. For Kubist, a real event is thinking that happens in the Creator or Spectator, the same-style cylinder itself is an irreal item. Ideas for cubists, gasset noted, these are "subjective reality containing virtual objects, a whole world, mysteriously speaking from the subsoil of the psyche and different from the visual." Body forms in the works of cubists are replaced by geometric, fictional images associated with validity only metaphorically.

Starting from Cesanna, artists depict ideas. This is the most important feature of new art.XX century. Ideas are also objects, but intrasubjective. Pablo Picasso already in his early works rounded bodies with exorbitantly protruding volumetric forms ("Two women in the bar", "roofs of Barcelona", "Couple", "Gladiller"). At the same time, in other works, he destroyed the closed form of an object and in pure euklidal planes had disparate details (nose, eyebrows, mustache), the purpose of which is to be the symbolic code of ideas. In his work on Picasso, an outstanding Italian writer A. Moravia explained the essence of Western European artXX Century: Creators of new art, unlike their predecessors, such as Van Gogh, did not want to tell anything about themselves. If Van Gogh in his paintings, one way or another talked about himself, and on them we need to post him "escalating madness", then Picasso, for several years of his creativity, "burns a career of a traditional artist related to the presentation of reality", "shifting his works From life to culture. " The works are now created as an answer to the market's demand, but as an answer to the requirements of culture. And Picasso His "Autobiography quickly turns into vitality approval." And the means that Picasso enjoyed to dissolve their own vision of the world and turn it into "pure vitalism", was the return of the form. Picasso perceived the form as devoid of any value, for the exceptions of the biological value. He refused every historical in the name of the "non-historical" "life impulse". This term "Ellin Vitital" is the main concept of "philosophy of life", under the influence of which all European art developed, especially the first halfXX century.

Another distinctive feature of cubism was the creation of a new concept of beauty. "There is nothing hopeless than running with beauty to the clove or lag behind it. It is necessary to break out ahead and grant it, make the side. This fatigue gives new beauty a beautiful madness of the head of Medusa Gorgon, "will write in his memoirs about Picasso J. Kokto. "Study" the beauty so that it is not perfection, for which it is possible to sleep forever, it never achieved - such was the aesthetic principle of cubists. New beauty proclaimed by them is devoid of harmony and clarity. It is the result of an uncompensated connection: high and low.

Attitude towards artistic creativity as a creative act, the result of which is a new reality, one of the main Cube postulates. Mask and figurine have always been a living reality, as they embodied quite specific spirits and deceased ancestors (not depicted and did not reflect, namelyembodied, representedthem, i.e. They were and in this sense were part of the surrounding reality, a kind of variety of that "additional reality", which A. Jarry spoke about and in a somewhat different form - Apolliner, marriage, reversings, fun and other practices and theoretics of cubism).

So, the purpose of artistic creativity for cubists, as well as for primitive and traditional artists, is not a reflection or mapping, but the creation of a new, other reality - phenomena standing in one row with the phenomena of reality, and not derived from them. "The goal," says marriage, "not in reproducing a narrative fact, but in the work of an act of picturesque. The plot is not an object, it is a new unity. "

However, what would be a subjective attitude to creativity in primitive and traditional artists, whatever the goal they persecute, cutting out a statuette of ancestor or applying the cave wall of the animal figure, as a result, a more or less conditional image of a person or an animal was obtained, that is, Ultimately display objects of the surrounding world.

Communication with simulatory retains the most conditional cubes of marriage, fungus, Picasso, lesy. The objects depicted in their still lifes are sometimes purchasedabout weight weights, materiality than the nature itself, and portraits made up of geometric shapes retain even the external similarity with the original.

Also, African masks and figurines: built, it would seem, from pure geometric volumes, they nevertheless strikingly transmit an ethnic peculiarity, face features, features of the physique. The focus of the artist-Kubist is not subject to appearance, and the design, architectonics of the subject, not the texture, but structure. Working on the way, he seeks to maximize it from the entire transient, volatile, non-permanent, reveal its true essence. If, as an example, take the human figure, and the genuine essence is considered an ethnic beginning, then the ideal example of the incarnation of the cubism requirements will be recognized as an African sculpture.

2.2 Periods for the development of cubism and their characteristics

At an early stage of the Cubism, who experienced the influence of Cezanne ("Cesanovsky Cubism", 1907-1909), the geometrization of forms emphasized the stability, the inviolability of the main elements of the world. The edges of the volume of melt on the plane forming the similarity of the relief. In the paintings of this period, massive volumes are similar to the forms of Negro Plastics (Picasso "Three Women", 1909; Marriage "Estak", 1908).

In the next stage, called "analytical" (1909-1912), shape, items are disintegrated into a plurality of faces and converge at plane angles; A limited set of paints is used. An example of an analytical cubism is the portrait of Ambroza Vollar (1910), whose face is divided on the verge, color is almost absent. One of the best works of analytical cubism was a portrait of a canvant, in which each face of the image is shown at an angle, fraction image. The danger of the conversion of the image into a cryptogram, inaccessible to perception, made the creators of the cubism try to establish a connection with an eluding reality with the help of elements of the reality itself - so, in the paintings of the marriage appeared carved letters, parts of the text.

During this period, Picasso and marriage cooperated so closely that it was difficult to distinguish their works. Their goal is to create an object form in the picture, which has implicitness and a specific function.

Items in Picasso and Marriage paintings are immediately recognizable by forms: plates, glasses, fruits, musical instruments, later playing cards, alphabet letters, numbers. That is, artists work with mentally learned material that does not require reconciliation with reality. The impact of the picture is the stronger than the less recognizable items and the more the unprepared viewer will be shocked, which they want to teach the form as an integral part of the subject. Sometimes items, lines, forms entering each other, are difficult to distinguishable. Sometimes artists give the keys to read the image, leave a fixed object, such as a handset for identifying a smoking person. In 1910, the marriage and Picasso created almost monochrome, finely nuanced landscapes, portraits, with pyramidal compositions and the decomposition of the subject to equivalent harmonious elements.

In the last, "synthetic" period preference is given to decorative start. The picture turns into a colorful plane beginning (Picasso "Guitar and Violin", 1918; marriage "Woman with a guitar", 1913). In 1912-1914 It was Picasso and the marriage made a revolution in art, including verbal quotes in the Assemblages and collages. They began to use paint paints in some pictures of lacquer paints instead of oil paint, glued onto the canvas pieces of oil, applied drawings on glued pieces of wallpaper, going beyond their limits. So in the "still life with a straw chair" Picasso applies collage technique using tissue pieces, newspaper pages, marriage in the form of "papier-call" uses paper pasted on canvas. So the technique of collage was invented. The collage is the composition, the initial materials of which can belong to different artistic areas (newspaper text, photography, stickers, pieces of wallpaper, etc.) Thus, the items of varying degrees of reality are connected in one space.

2.3 Influence of cubism on artXX century

Cubism would not have such an influence on the development of world art if it remained the case of one or two painters. Piled up to dozens and hundreds of artists in all countries of the world, this case turned out to be so significant because it expanded the artistic horizon, spreading the borders of European aesthetics.

Twenty-thirty years later, when the last peripheral flows of this movement were gradually transformed and disappeared, it became apparent that the new directions that had arisen in its place retain the generic features, although they did not always lead their official pedigree from him. The official pedigree cubism begins with "Avignon Devitz", with the entry of Picasso to the Negro, from the beginning of the joint work of a group of French artists and poets, in the center of which - Pablo Picasso, George Marriage, Huang Gras, Fernan, Garyom Apolliner, Mano Jacob other.

One of the first experiences the influence of African art A.Deren. In his picture of the "swimsters" (1906), it is possible to detect the features that bind it, on the one hand, with an African sculpture, on the other - with the work of Cezanna. Many researchers, in particular, a very authoritative John Golding, believe that the picture had a well-known influence on Picasso during the creation of the Avignon Maiden.

It was the paintings of the Picasso of the 1910s and the preparatory sketches allow to see how and what the basic parameters of the new direction are made, as under the influence of which the fracture was performed, and on this example (which was not accidentally infectious) to understand the changes that happened in this time in french art. Creativity P. Picasso, J.Brack, H.Gris, F. Lezh, J. Notzenge, A. Gleza, and others. It became defining for the early stage of the Cubism and the relevant period in the history of French and world art.

Official criticism for a long time, more precisely, the entire so-called the heroic Cubism period relatedsharply hostile to a new direction. Among French art historians of that time, perhaps, only Maurice Reynal consistently defended Cubism. However, from the first steps, cubism enjoyed the active support of French poets. In addition to the Apolliner, the new direction is hotly supported Andre Salmon, Max Jacob, Pierre Reversis, Blaze Sandrar, Jean Cockt and Dr. Picasso said it was time, "when painters and poets mutually influenced each other." Indeed, already during the years, directly preceding the cubism, in the workshops on the Montmartre there was a community that led to fruitful cooperation in the future. "Picasso," Apolliner wrote, who invented a new painting and, beyond any doubt, is a wonderful figure of our time, conducts all his days solely in the society of poets to which I have the honor to belong. "

From the elder poets that influenced the formation of the concepts of cubism, they call Stephen Mallarm and Alfred Zharry. In turn, the work of Cubists artists had an indisputable impact on the nearest poetic environment. This manifested itself in the paramount role, which was given to the poetic imagination, and in the desire to create capacious images and even in the direct borrowing of the plots. "Obviously, the example of painters affected the modern poetic works - from" alcohols "to" Kornet a de "and" asleep guitar, "Pierre Jose writes.

The poetic collection of Apolliner "Alcohol", published in 1913 at the same time with his book "Cubist artists", opens with a famous poem "Zone", which in certain aspects is as it were, the poetic projection of those problems that painted painters-cubists. The poet and the world around him appear here in a wide variety of and unexpected angles. It is unlikely that this poem can be considered a random that this poem, especially appreciated by the Apolliner himself and the first place to them in the collection, ends with rows, which refers to the "fetishes of Oceania and Guinea" as the gods of "dark hopes".

Pierre Reversis is the largest poet of cubism, in whose work the new aesthetics finds an even more organic embodiment than the Apolliner - believed that, creating an "aesthetic work", "special emotion", the poet approaches the comprehension of certain "deep and universal" human truths. The thoughts of reversings about the appointment of poetry echoes the definition of new art, the goals set by the Kubistami artists. "From the former painting cubism distinguishes the fact that it is not an art based on imitation, but - on the concept and seeks to rise to creation," the Apolliner wrote. "You should not imitate what you are going to create," we read in "thoughts and reflections on the art" marriage.

Reversals at the time was one of the few who understood the historical meaning of cubism. He believed that nothing so significant since the opening of the prospects in painting was not created to the cubism in art. "We," wrote the reversal, "present with the fundamental transformation of art. This is not about change in sensations, but about a new structure and, therefore, about a completely new goal. " He believed that the concept brings together poetry with visual art and in the sense that the poetic work becomes the same subject, autonomous, almost material as a picture or sculpture. It is not so much reflected or displaying reality, how much reality itself, other reality. "The work that is only an accurate era mirror disappears in time as quickly as this era."

Apparently, it is not by chance that the idea of \u200b\u200ba universal language (Esperanto) is the generation of the same era. Deepening under the influence of economic and socio-political factors, the consciousness of all-life communion, the rapid development of ideas of internationalism was radically changed the conditions and character of all types of human activity. Giant shifts in the field of science and technology, the mass yield on the forefront of the history caused deep changes in the field of art, up to the creation of new forms (printing, sound recording, photography, cinema, design).

In the beginning of the XIX, the beginning of the XX century. Situations None of the existing types of artistic creativity (painting, sculpture, poetry, etc.) could not preserve its meaning, remaining within the framework of the previous evolutionary process, the beginning of which rises to the era of the Renaissance. Cubism reflected new trends in all their complexity and contradictions: an unconscious desire for democratization of artistic creativity - recognition of primitivists, the so-called Sunday painters and the refusal of private, individual, chamber in art; Faith in science - the search for objective methods, rejection of intuitive creativity, the desire to create "art grammar".

The trend expressed in the refusal to imitation, in understanding creativity as the creation of a "new unity", how to design new forms, answered the requirements of the emerging industrial aesthetics and later received the final expression in the design and other types of modern applied arts, which did not accidentally achieve a particularly high level in For countries where new artistic flows leading their pedigree from the Cubism, managed to take a solid place in the artistic process.

Contrary to the continued resistance to the general public, the new current by 1912-1914. It applies to all areas of artistic creativity. Initially, Picasso, then Henri Laurence and Jacques Lipschitz create the first cubist sculptures; Paints-cubes write theatrical scenery, illustrate books and magazines. Sonia Delon, the artist, the wife of the famous painter and theorist of cubism R.Delone, creates drawings for tissues and clothing model; In music, starting from Bartok, Ravel, Debussy, Prokofiev to Poilka and Stravinsky, also planned a tendency to update on the basis of folklore. "Parade" Jean Cocteau (1917) performed by Dyagilev's ballet with the music of Eric Sati and the scenery of Picasso entered the story as a triumph of new art.

New methods developed by French Kubistami attract the attention of leading artists in all countries. Tens and hundreds of the names of the painters, sculptors who gave tribute cubism in their time could lead.

Conclusion

Despite all contradictions, adversity and historical cataclysms, culture inXX A century developed quite successfully. This century comes many great achievements in painting, architecture, sculpture, music, philosophy. Therefore, speaking of crisis phenomena of the century, it is necessary to keep in mind that the concept of "crisis" refers not to culture as such, but to those contradictions that arise in society and generate serious problems of human existence and existence, challenge culture.

Responding to this challenge, the culture creates the corresponding new forms, which in terms of tradition are unusual and perceived as "crisis", therefore the reaction of culture on numerous historical events was the emergence of a large number of new ways to reflect the world. Never before it created such a number of new directions of its development and never changed its values \u200b\u200bso quickly and the principles of hope to get a new picture of the world from dynamic historical phenomena.

Modern world culture is not one holistic phenomenon. It consists of a number of currents that differ in their goals and expressive means and are often directly opposite to each other. But with all the motion of modern culture, the components of its flows and styles have one common feature - they all seek to repel the world in the form of expressing the feelings and moods of the artist. The start of this direction in the work was postponed by still post-acceptanceists, and later it was named modernism.

So in the first decadeXX A century in European culture was formed one of the trends of modernism - cubism.

Cubism, which arose in the reaction era to impressionism and the AR Nouveau, against the cultivation of the elements of variability, transfers in art, was set, according to Huan Gray, the goal of finding elements in the articles depicted objects, the least unstable.

It is difficult to agree with those who consider the most important conquest of cubism "limitless freedom". Cubism has nothing to do with endless freedom, with freedom from any rules and restrictions. It is significant that the well-known formula "Progress in art is not in discharge, but in the knowledge of its borders" belongs not to anyone else, like a j.bank. The discovery of cubism was the discovery of other restrictions, other discipline - in a certain sense even more rigid than the former. If it was liberation, then the release from obsolete rules in the name of the approval of new, more universal. Already the art of siera, subordinate to the strict coloristic system, and sesane, recommended "to interpret nature by cylinder, ball, cone, etc., can be considered as the search for objective universal methods of creativity.

N. Berdyaev saw the horror of the decay, death, "Winter Space Wind" in the cubism, "Winter Space Wind", eats old art and being. And yet, the "melting" of the former harmonic cosmos, built for the first time by Ellity, was not only denial in art, only the sign of the end. As not a simple flight into the past, the passionate interest of the cubists to the archaic, "barbarism", an African mask, primitive idol. Vector of this movement: Through the future - in the past.

What was Cubism, who deceased as a group of artists with the beginning of the First World War, and why and today his influence is felt in contemporary art? Now, any unbiased man, looking at the work of impressionists, clearly sees the conventionality of the usual colors for us. And once it became a revolution in art. It is cubism, based on the freedom gained by the postimipresions, the freedom to portray not only seen, but also thinking, exposes all the components of painting, approves the conditionality of the form, color and linear perspective, volumes.

List of used literature

1 Emokhonova L. G. World Art Culture. - M.: Publishing Center "Academy", 2001.-544c

2 Grishevitskaya T.G, sadochin AP Culturalology: Tutorial.- M.: Juniti-Dana publishing house,2010 - 688 p.

3 Lviv E. P., Sarabyanov D. V., Kabkova E. P., Fomin N. N., Khan-Magomedova V. D., Savenkova L., Averyanova G. I. World Art Culture. XX century. Fine art and design. Peter, 2007 - 464 p.

4 Petkov S. M. Directory by world culture and art. Phoenix, 2010 - 507 p.

5 "Great artists, their life, inspiration and creativity". Kiev, 2003 - 32c.

6 " Georges marriage, paintings gallery, biography. Georges Braque." Pavel Ying //

Http://www.artcontext.info/pictures-of-great-artists/55-2010-12-14-08-01-06/550-jorj-brak.html

7 Sokolnikova N. M. History of fine art: Textbook for stud. Institutions are high. prof. Education: in 2 t. T. 2 / N. M. Sokolnikova. - 5 ed., Ched. - M.: Publishing Center "Academy", 2012. - 208 p.

8 Culturalology. The history of world culture. Textbook for universities / ed. N. O. Voskresenskaya. - M.: Uniti-Dana, Unity, 2003. - 759 p.

9 Culturalology. The history of world culture: a textbook for universities / ed. prof. A. N. Markova. - 2nd ed., Pererab. and add. - M.: Initi-Dana, 2006. - 600 p.

10 Borzov E. P. The history of world culture. - St. Petersburg: Publisher "Lan", 2001. - 672 p.

11 "At the sources of cubism". Vil Marimanov, Doctor of Art History. //http://eng.1september.ru/article.php?id\u003d200100701

Appendix A.

Picture "Avignon girls"

Appendix B.

Picture "Girl on the Bowl"

Appendix C.

Appendix C.

Picture "Portrait of Vollar"

The origin of cubism is largely due to the fact that classical art has experienced a crisis. Search for a new form to display feelings and emotions has given the opportunity to find a new method and method in painting and allowed a new look at creativity.

The emergence of cubism, along with impressionism and surrealism, became an attempt to look at painting under a new angle and revise the created before.

The origins of cubism

The origins of cubism Closely related to the name of the famous Pablo Picasso.

Cubism Picasso is caused by the interest of the artist to the primitivist African sculpture. He became interested in her at the turn of 1907-1908. The crushed forms of African art fastened the picasso's desire for the abstract generalization of images, on the basis of this, it can be considered a Cube forerunner as a style. The first picture in the style of cubism was "Avignon girls", written in 1907.

This work was the first personification of the basic cubism principle. Picasso, creating this work, stopped with "conventions of optical realism" and discarded the nature and refused to prospect and lighting.

Birthday cubism In art, they consider the meeting of Picasso and the young artist George Marriage.

She happened with the participation of the poet of Guillae Apoliner, who invited marriage to the workshop to Picasso. Picasso and marriage became the cubism to the First World War, they actively worked with each other, while creating the history of cubism.

Over time, many other young poets and painters have joined them with Montmartra. At about that period, which joined Picasso and marriage, a group, which is known as "Bato Lavar", proclaimed about the birth of a new direction in art, soon gained its name.

The term "cubism" itself provided the French critic Louis bill.

Soon he passed.

Rodonarchors cubism The basis of his creativity made decomposition of objects on the plane, as well as a variety of combination of these planes in space. They refused to transfer reality with the help of a standard linear perspective and flower-air medium. It was believed that they could achieve an interesting artistic effect, alternating plane, and confessed the principle that the analytical way to comprehend reality makes it deeper to reveal the essence of certain phenomena. Many representatives of the Cubism applied an interesting approach when creating paintings by the Cubizm, which was that the same subject is depicted at one time from several points of view - this made it possible to achieve a versatile analysis when considering the subject.

Artists cubism

Alexander Arkhipovenko, Gino Severini, George Marriage, Lyubov Popova, Marevna, Nathan Altman, Osip Thadkin, Pablo Picasso, Rafael Bowl, Richard Linder, Roger De La Franz, Fernan Leo, Juan Gras, Yuri Annenkov, Yannis Moralis.

Cubizm artists intended to limit the use of color palette. Cube's canvases truly seem limited in color, as the tonality of cubism patterns boils down to gray, black, as well as brown tone. Excluding the color system, cubism in art also differs in the fact that the patterns of cubists are compared of different geometrized planes and surfaces with a very remote similarity with the original. The cubism generators did not consider the artistic form fully correlated with real, based on this items on the canvases of cubism seem more abstract.

Cubism in painting is not just an image of the subject, this is an image of the subject that mentally destroyed and is re-created in the artist's mind.

Most often, the objects on the cubism style canvases are lost contact with their valid prototypes and turn into abstract symbols that are perceived, it turns out to be available only to one author.

If we talk about the cubism of Pablo Picasso, it should be noted that the Picasso cubism canvas were not the only direction in his work. Cubism Picasso replaced interest in impressionism in his work and later transformed into a surreal view of the world.

The Cubizm style expressed a huge impact on the development of painting, changed the presentation of artists about the ways of transmission of texture and volume and space.

If we talk about Russian cubism, it should be understood that the development of this area in this country went somewhat differently than in European countries. Russian cubism often includes the work of Chagal, Malevich, Archipenko, Altman and Lentulov, however, their work can also be taken as an example of other trends in art.

Undoubtedly, cubism in painting made a huge shock. It was he who opened the way abstract creativity, gave the audience the opportunity to interpret the symbols that are depicted on the works of cubists. Cubism in painting prepared the massive consciousness of viewers and artists, serving the basis for the development of such flows of abstract art, like futurism, constructivism and much more.

In avant-garde art, one of the main artistic flows of the beginning of the twentieth century is cubism (from FR. "Cube" - cubic meter). This direction in art involves the use of underlined geometric forms for the image of real objects and objects. This is a primitive art that perceive the world around him by geometric forms, and striving to "crush" it into separate stereometer elements.

As a new course in painting, cubism arose in 1905-1907 and its appearance is associated with the names of such French artists as Pablo Picasso and George Marriage, they are the founders of the Cubism and its most well-known representatives. The term "cubism" was born after the reaction of George marriage to the critical article of the artistic critic Louis Voxel, who called a series of paintings by the artist "Cubic faders."

Cubism in painting

(Paul Cezanne "La Montagne Sainte Victoire Cezanne")

It is believed that the origins of the cubism were laid by the French artist by Sezanne, who in a letter to the young artist Pablo Picasso recommended considering the world around him as a certain combination of various geometric shapes - cylinders, squares, cones, spheres. Following the advice of Cezanna, and also under the impression of the art of the image of African masks, in 1907, Picasso creates its first picture written in the Avignon Girls cubism style (daring, chopped lines, pointed angles, practical lack of shadows, tone neutral, close to Natural).

(Pablo Picasso "Bread and Fruit Dishes on the Table")

Cubism-style canvas distinguishes their two-dimensional, flat species, they are replete with a large number of various geometric shapes, various lines, sharp corners, and the color scheme at the same time is made in modest, neutral tones. The paint artist does not consider an object or an object with a single single angle, and it tries to crush it into individual elements, and the parts obtained later adds to one single integer.

(Pablo Picasso "Girl on a Bowl")

Three stages of the formation of cubism as a separate direction in avant-garde arts are distinguished:

• Cesannovskaya. The initial stage of formation, objects have an abstract and simplified form. Picasso has a tremendous impact of the work of Cezanna, he creates its "Avignon girls" and meets with George Marriage;
• Analytical. Gradually disappear the images of objects, the differences between the form and space are erased, irrigible paints appear, which are not distinct location, rebuilding for translucent planes. This is noticeable in the works of George Marriage and Pablo Picasso in 1910;
• Synthetic. The third stage of formation, the Kubistam is adjusted by new followers Spanish artist Juan Gras, French poet Guillaium Apoliner and American writer Gertrude Stein. The paintings of the Gray rejects the third dimension in the visual arts and the focus on the surface texture is made, with which the new object is constructed.

(Paul Cezanne "Piero and Harlequin", picture in combination with impressionism)

The most famous paintings written in the style of cubism are the fields of Fields of Cezanna "Pierro and Arlekin", Pablo Picasso "Avignon girls", "Three Musicians in Maskakh", George Marriage "Mandor", "House in the Esta", Juan Gras Phantomas , Fernana lesion "Lady in Blue", "Builders".

Cubism in architecture

The first buildings of the architects of the cubists were built primarily not in Paris (there in 1912 on one of the exhibitions also showed a layout of a house performed in this style), and in Prague, the capital of the Czech Republic, which became at the beginning of the twentieth century one of the largest centers Popularization of cubism. Here you can find the works of such outstanding architects-cubists as Pavel Yanak, Josef Gonchar, the Goluba Gofman, Emil Coalichek, Yosef Khokhol.

(Home-cube architect pit blob)

The most outstanding cubism building buildings are located in Rotterdam (Netherlands), here in the 80s on the project of the site of Piet Bloma, a whole residential complex was built, consisting of household houses, their main distinctive feature - all walls (except in the middle) are located under angle. The houses have three floors, the first - a room for receiving guests and a kitchen, a second - a bedroom and a bathroom, on the third (on top of a glass roof), usually placing a greenhouse, a children's room or an office.

Cubism - recognizable, unusual style, making nature, people, inanimate objects without resorting to imitation. Cubism in painting originated in the first quarter of the 20th century and became one of the directions of development of modernist culture.

Features style

The main feature is a refusal of a surround image of reality. Pictures in the Cubism style recognizable, thanks to a flat form without lighting and perspective. Images are deformed, illogical, irrational, are divided into separate parts - still life, the portrait is similar to a set of interacting geometric shapes.

This direction of art has become a special form of avant-garde, where sharp corners play a dominant role, straight lines, neutral color gamut. Images - still life, a portrait - should not look realistic, they go to the puzzle, which will have to mentally gather the viewer. Cubism belongs to different directions of painting - abstractionism, primitivism, avant-garde.

The foundation of the flow and the first creators

The first works are associated with the work of Pablo Picasso and George Marriage. The time of the appearance of the direction is considered to be 1907. One of the first bright and representative works is the painting "Avignon girls". Creation Picasso was distinguished by chopped, rude lines, sharp corners, lack of shadows and prospects. Unrealistic image of nude women is typical for cubism.

Sangina drawing with red shallow

The artist used neutral, natural colors. African masks, according to art historians, are a symbol of the birth of a new flow of painting.

The founder of the cubism gave the picture the name "Philosophical Bordel", and she was renamed Andre Salmon - a writer, a friend of the artist. In the canvas, the effects of the pattern of Cezanna "Batters" are tracked.

According to the art historian Ernst Gombrich, the founder of the cubism - Paul Cesann, and Pablo Picasso was his student. It was Cezann in a letter to Picasso outlined the Council apply simple, geometric forms: spheres, cylinders, cones. The author of the letter meant the foundation, a base for creating an image, but Pablo Picasso interpreted this advice literally.

Since the time of the Renaissance, the artists sought to maximize the realism of the transmitted image. Cubism completely broke away from realism, naturalness, harmony of the transmission of light and shadow. The desire to create a flat image in still life, portrait, instead of the volume - the main feature of the creativity of the first cubists. They used geometric shapes for abstract transmission of images of people, nature, items. Forms transferred in the pictures - tangible, uncomplicated, simple. Still life and portraits display the essence, emotions, but not a true, realistic image.
The term "cubism" appeared in 1908, thanks to the criticism of Louis Voxel. Leaving the opinion of the paintings of marriage, he called them "cubic quirks."

Pointelism as style in painting

The birthplace of cubism is France, but the direction of painting actively developed and beyond its borders - in Russia (in the form of Cubal fell), Czechoslovakia. Modern style cubism touches abstraction, futurism.

Cubism did not immediately arrive in the world of art - he often became the subject of ridicule and tough criticism. This is a radical for painting the course that came to replace the realism was the subject of non-useful feedback. Also, representatives of the style worked in this style became the subject of the press. Cubic still life and other genres were a bold creative experiment. Fans of a new, unusual style, was a bit, but among them there were critics and patrons.

Development of direction

In the process of style evolution, three periods stand out:

Cesan

Early Development Day or "Cesannovsky Cubism" - the formation of a new direction in painting under the influence of works of Cezanne and African sculptural compositions. Little period from 1907 to 1909. In the works of artists, the volume is transmitted using color - powerful images are not yet fitted in the frame of a flat image.

Impressionism as a style in painting

Analytics

Analytical period (1910 - 1912) - stage of rethinking cubism. The color in the picture is practically absent, the shapes are vague, fuzzy, every item is divided into small face. One of the most representative works of the second periods - "in honor of I.S. Bach "J. Marriage. Genres - Still Life, Portrait.

Artists file objects more detailed, based on their own vision. Items are divided into blocks, details of geometric shapes. Sometimes the vision of the artist violates space and time. By crushing the whole on geometric shapes, the artists tried to penetrate the essence of things.

Works characteristic of the analytical period are considered the most significant for the Cubism - in many precisely with such canvases are associated with all the direction. The most famous examples of analytical cubism - work Pablo Picasso "Bottle and Books", "Architect's Table", "Man with Clarinet", "Man with a Violin".

Development

The synthetic period (1913 - 1914) is a period of developed cubism. Pictures are becoming more expressive, bright, decorative. The founder of this direction is considered Juan Gras. The time of appearance is 1912, but the most fully style revealed in 1913. Creators sought to transfer self-sufficient, and not the illusory object in the picture. The most developed genre is still life.

Conceptualism as style in painting

The image is flat, combined with stickers, inscriptions. Popular collages from non-scattered geometric shapes, colored paper or newspapers, some artists fully painted them without using additional materials. Representatives of synthetic cubism - Pablo Picasso, George Marriage.

Colors and volume have lost their usual value. With the development of cubism, shades have become schematic: to transfer protruding objects in still life or other genre, depicted in the foreground, used light, warm tones for remote items - dark shades.

After World War II, marriage and Picasso, who worked together, ceased cooperation. The work of each of them had a noticeable influence on futurism, purism, vorticism.

Famous canvas

"Mandor", J. Marriage

An example of cubism of the early analytical stage, still life, presented in neutral, dark colors. The picture shows the musical instrument - Mandor. Specialists call a picture of breaking work with gloomy tones. The artist decided to abandon bright colors, stopping attention to the compositions, details.

"Three musicians in masks", P. Picasso

Work represents synthetic cubism, written shortly before reorienting the painter on surrealism. Bright colors are used, clear geometric shapes. The central characters of the canvas are similar to the applique of colored paper pasted on canvas.

Minimalism as style in painting

"Phantom", H.Gries

Art is required for the development of techniques to create collages. Abstract images are intertwined with newspaper and magazine cuttings. Fantomas is a vivid example of synthetic cubism. It was GRIES who was the first to begin to use bright tones in the works - it had an impact on the work of Pablo Picasso and George Marriage.

"Man in a cafe", H.Gries

Painter successfully use bright colors and textures. The picture can be called a representative sample of synthetic cubism - the technique of creating a collage is used.

"Lady in Blue", F. Leszh

The image is made using bright colors. The canvas belong to both synthetic cubism and early abstraction. The main idea is leshing - to convey the character, the inner world of a woman, without stopping at the detail of its appearance.

1. Introduction.

2. The emergence of cubism.

3. Innormance of cubists.

4. Creativity George Marriage.

5. Pablo Ruiz Picasso.

5.1. Education. Barcelona.

5.2. First trips to Paris. "Blue" and "pink" periods.

5.3. On the eve of the cubism.

5.4. Cubism.

5.5. Further life and creativity.

5.6. "Avignon girls."

6. Poets of cubism.

7. Influence of cubism on art.

8. Cubism in Russia.

9. Artist Kazimir Malevich.

10. Conclusion.

11. List of used literature.

"We must be able to choose. One

and the same thing can not be

and truthful, and plausible. "

Georges marriage

1. Introduction.

Kybism - (FPANC. Cubisme, from Cube - Kyb) Direction in the art of the first one XX VEK. PLACTICHECK LANGUAGE CUMBS was based on the deformation and decomposition of NA items geometric planes, plastic shift FOPs.

Cubism denies the image of objects as we represent them. He seeks to find a way to express their essence. Cubism reduces the form to the main geometric schemes, lays items on the component parts and combines them into an abstract whole flat decorative image.

Pablo Picasso, one of the first cubist artists, belongs to the following words: "I am writing objects with such as I think, and not as I see them." After all, in reality, when we look at the human face in the profile, we see only one eye, one eyebrow. And perceive the object in all the integrity, which is concerned that he, of course, has a second eye. On the cubist portrait, whether it is a FAS or profile, the object appears before we seen by the author immediately from several points. The author combines them in the same way. The artists of the Cubists did their first steps in the genres of portrait, still life, landscape. As a rule, these were monochrome canvas.

Many Russian artists have passed through the passion of cubism, often connecting its principles with the techniques of other modern artistic directions - futurism and the primitivism. A specific embodiment of the interpretation of cubism in Russian soil was kybofytypism.

The influence of cubism in the visual arts continued until the 1960s. K. Malevich can be attributed to Russian cubaceurists with his famous picture "Black Square"

In my work, I will talk about the origins of this direction in art, about the prominent artists of the Cubism, who stopped in detail on the work of George Marriage and Pablo Picasso, as well as the Russian artist Casimir Malevich; Much attention is paid to the painting of the Picasso "Avignon girls", as well as I will try to see the world through the eyes of these mysterious and attractive masters of his mysterious and attractive art.

2. The emergence of cubism.

From the middle of the XIX century, the waste from dominant at this time in the visual art of naturalistic tradition is sharply accelerated. Painting, graphics, sculpture appeal to what is not available to direct ("literal") playback. Testing of new visual funds, striving for typing, increased expression, creating universal symbols,

compressed plastic formulas are directed, on the one hand, to display the inner world of a person, its condition (mental, emotional), on the other - on the strengthening of expressiveness, informativeness of the "body" structure of things, updating the visual world vision, up to the task of creating "independent pictorial (fine ) Fact ", constructing" new reality ".

Women standing figure. P. Pikasso. 1907 year

The last exhibition of impressionists in 1886 marks the end of the classical period of European art. Since that time, in European painting, numerous currents arise in European painting, existing more or less long time: Yuggendistil, ex-pressing, neo-imagressionism, attribution, symbolism, cubism, fusism.
"In anarchy of emotional values \u200b\u200bat the end of the last century," wrote the Austrian painter Wolfgang Paren, "people who appealing to the art as the last subfestrian, begin to understand that the inner nature of things is as significant as the external. That is why Syur, Cezanne, Van Gogh and Gaugen open a new era in painting: Syra - his desire for structural unity, to the objective method, Van Gogh - its color that ceases to play a descriptive role, Gauguen - a bold way out beyond Western aesthetics and especially Cezanne - solving spatial tasks. " Palayen compressed characterized the most important stages of the artistic process, directly preceding the discovery of primitive art and the fracture, which is planned in European art around 1907.

The year 1907 is considered to be swivel in relation to the traditional, primarily African art, at the same time this line is from which the newest artistic directions originate. 1906 - the year of death Cezanna - marks the beginning of a particularly deep influence on the whole generation of artists. Later, this period was named by the historians of the art "Cesannovsky", or "Negritansky".

Analyzing creativity Cezanne and especially his latest works in which it is closest to solving the spatial tasks, comparing them with the most characteristic samples of African plastics, which are sometimes ideal examples of the implementation of these spatial decisions, can be said with confidence that it was Cezann that it became The latter and, possibly, decisive in a number of factors who have forced a new look at primitive art.

Tangible weight of the images, which sought to reach Cezanne, trying through the identification of rhythmic, geometric structures to penetrate the essence of things and phenomena and reflect this essence, is, according to general recognition, the main quality of African plastics. Thus, Cezanna's creativity, the former logical result of the entire previous development of European painting, in a certain sense close to the work of Van Gogh, Gaugugen and Syra, played a decisive role in creating objective conditions under which African art was included in the global artistic process.

The moment comes compatibility: An alien aesthetic system is not only recognized, but also "adopted" artistic practice. Moreover, primitive art itself has become a discovery tool, and this is the deep essence of the process under consideration. It opened his eyes to artists who discovered where they were least expected to be a new system of artistic values, fundamentally different from the one that the millennia followed European art.

Thus, the basis of the concept of cubism was the "pagan" culture, which at one time caused the art of antiquity, and later gave new sprouts in the revival era. She freed artistic creativity from salon lightness, returned him to disclose the essence of things and phenomena, making art in accordance with the trend of time tool of knowledge. In its consecutive manifestations, the new course, conditionally received the name "Cubism", was the audience of the structure, as if exposing skeletons of objects.

The feelings of the viewer, which was at the exhibition in front of the clutters of cubists, can be compared with the sensations of a person who gathered to make a pleasant journey, and instead, received an invitation to participate in the laying of new paths.

The reaction of the public proved that the transition to the new direction occurred hopping, despite the long preparatory period, during which the capital European viewer would have to significantly expand his horizons. After the recognition of Van Gogh could no longer be considered the smoothness and naturalistic color of the color with an indispensable condition for "good painting"; The life and work of Gauguen attracted attention to "primitive" cultures and taught to see not so much their immaturity, as much as their state of their condition, which had a lot of valuable and instructive; Ciro's work was an example of the possibility of using scientific methods to solve artistic problems; Finally, the creative method of Cezanne, especially the technique of its latest works, so close to the technique of early chicketers of marriage, it seemed to be promoted if not an understanding, then at least recognition of the right to the existence of this experiment, which is called the most brave in the history of art. And yet the works of marriage, as the subsequent works of the cubists, were rejected by the jury and became a long time for criticism and the subject of the scandal for the general public.

A new direction in the pictorial art and literature, born in the opening era of "L'Art Negre" (the art of blacks) and closely connected with him, of course, was not the only horizon, where the alloy of a new artistic culture was created.

The connection of cubism with the opening of African sculpture is obvious. Although the question of who is precisely the open-ender of the African sculpture remains controversial, no one is in doubt that her lesson was first thoroughly perceived by young, but already well known at the time by the Spanish painter Pablo Picasso.

3. Innormance of cubists.

If the painting of the impressionists proclaimed the conditional nature of the color, then the cubists expressed a new approach to reality through the conditional nature of the space. J. Marriage wrote: "Do not even try to try

imitate things that transit and constantly change, and which we mistakenly accept for something unchanged. " American art historian J. Holding wrote that cubism is "the most complete and radical artistic revolution since Renaissance."

Juan Gras. Fruit vase and decanter. 1914.

This course, one of the first embodies the leading trends of the further development of the art of the twentieth century. One of these trends was the domination of the concept over the artistic intrinsicness of the painting. Shegel (1770-1831) was noticed that the art of the new time is increasingly penetrated by reflexes, the figurative thinking is displaced by abstract, so that the line between art historia and practical creativity becomes too thin. If this trend in the cubism was present in the infancy, then in the art of postmodernism, it becomes bonding.