A Treatise on CUBISM by Neal Watkins

Above we have a painting by Georges Braque (1882-1963). He is credited with originating with the first real cubist language - the literal flatness/multiangled/faceted qualities. Picasso is given the majority of the credit and he does deserve the 50% kudos for his bold and innovative approach, however the definitive turning point that gave cubism its fully realized impetus was when Braque first applied the previously mentioned qualities ALONE-no primitivism-no more Cezanne/Cubism. The search had ended. Art would never be the same! The influence has been beyond exponential.

It is well known the time period was one of change. The turn of the century was turbulent and upsetting to many. Others found it exciting and electrifying. As with the impressive scientific, architectural, engineering, and, psychological advancements, the desire to change art and make it just as important was irresisble. Look at all the radically different art of the time. Most of it completely denies the last 1000 years of art. Claims it as passe. Overdone. Bourgeois. This new plastic language spoke for these times. And it still speaks today. Cubism set the standard.

Although Cubism was still considered "Realism" because of its incorporation of everyday life albeit distorted, it broke the ground for others to get as creative as possible-to the point of total abstraction. One always has to respect someone who takes the plunge to do something radically different and in Picassos case he was already mildly successful. He gambled his future as a accepted artist!

I have previously stated that the essential qualities of Cubism are "flatness/multiangled/faceted"(B & P purposely and wisely left Cubisms' definition to others). This is true of course, but within these "guidelines" individual artists developed uniques approaches that more than satisfied the Cubist "requirements" and in some cases brought it to its logical conclusion. Considered the Third Muscateer of Cubism, Juan Gris did just this. His painting are solid, faceted, the reference to reality is very literal, but the viewpoint is from different angles and objects are united in a very effective style. Then in some cases they blend together and even contain a etherial glow-this is a result of Gris's interest in the mysticism that was prevelent at the beginning of the century.

to be continued.............