“Facets of Cubism,” a focused, rewarding exhibition at the Museum of Fine Arts (MFA), explores the invention and impact of Cubism, one of the most influential artistic movements of the Twentieth Century. As MFA director Malcolm Rogers puts it, “The birth of Cubism is arguably the most important event in the history of modern art.” Led by pioneers Pablo Picasso and Georges Braque, artists early in the last century broke with longstanding conventions of Western painting by discarding traditional norms of pictorial illusionism and linear perspective in favor of images that reflected fragmented and multifaceted responses to everyday reality. As fellow painters and sculptors, notably Alexander Archipenko, Juan Gris, Henri Laurens, Fernand Leger, Jacques Lipchitz and others followed the Picasso-Braque example, Cubism became a defining moment in Twentieth Century art. By 1920, the new style had transformed painting, watercolor, drawing, printmaking, collage and sculpture, often blurring distinctions among them. Over time Cubism also influenced architecture, furniture, fashion, the cinema and other aspects of popular culture. As Kenneth Wayne, chief curator at the Heckscher Museum of Art, puts it, “What had begun as a rarified pictorial style became a popular language.” Built around major Cubist examples in the MFA collection, some 70 works by a dozen artists are featured in the current exhibition, which runs through April 16. Twenty-seven works are by Picasso. Curated by Tom Rassieur, the MFA’s assistant curator, prints, drawings and photographs, “Facets of Cubism” is presented in honor of major museum benefactor Irving Rabb and in memory of his wife, Dolly. Visitors to the show can follow the friendly, trailblazing competition between Picasso and Braque – from their first geometricizing abstractions of nature, to dissolution of form, to their synthesis of new images from scraps of everyday experience. Examples of Leger’s colorful exuberance and varied sculptural interpretations suggest the independence Cubism encouraged in contemporary artists. Actually, there was no single Cubist style. Rather, themovement stimulated a variety of approaches to art-making thatfreed practitioners from traditional expectations. “When weinvented Cubism,” Picasso said many years later, “we had nointention whatever of inventing Cubism. We wanted simply to expresswhat was in us.” What was in the Spanish genius and his followerswas an appetite for new forms of cultural, intellectual andindustrial life that were shaping the emerging century. In this spirit, movements like Impressionism and Art Nouveau were cast aside for the new ideas of Sigmund Freud and Albert Einstein, offering fresh views of the human psyche and the physical universe. Since photography provided precise views of reality, artists felt freed from having to replicate exactly what they saw. The ringleader of the Cubist movement and the star of the Boston exhibition, the brilliant, prolific and energetic Picasso (1881-1973) is the towering figure of Twentieth Century art. A child prodigy who was born in Malaga, by his early twenties he had become part of the electric Parisian art scene, mingling with Braque and Henri Matisse and meeting collectors/salon hosts Gertrude and Leo Stein. In 1907, he captured the attention of the art world with hisrevolutionary painting, “Les Demoiselles d’Avignon,” oftenconsidered not only the seminal Cubist work but the first”Twentieth Century” painting. Combining the influences of therecently deceased Paul Cezanne and African art with his own”primitivizing” ideas, Picasso flattened figures with masklikefaces, simplified them aggressively with sharp contours, andcompressed them into a very shallow pictorial space. The elongated, ovoid face and exaggerated features of “Head of a Woman,” 1907, a watercolor and tempera study for “Demoiselles,” was based on African masks Picasso had observed in Paris’s extensive ethnographic collections. After meeting in 1907, Picasso and Braque experimented together with abstract forms and flattened space, independent of pure description. They collaborated on some pieces, while at the same time enjoying a friendly and aesthetically challenging rivalry. Picasso’s ink and charcoal “Head of a Man,” 1908-09, with its deep, dramatic black eye cavities that convey an aura of mystery and power, seems hewn from a block of wood. His “Head of a Woman,” 1909, the first Cubist sculpture, is a three-dimensional counterpart to his similarly faceted drawings and paintings of the time. “The rhythmic wave of hair and the bony contours of the face give her a universal quality,” observe the exhibition organizers, “while the down-turned head, deeply shadowed eyes and tightly pursed lips convey an intimate sense of melancholy pensiveness.” This moving portrait of Picasso’s muse and lover Fernande Olivier perhaps hints at Olivier’s premonition that within a couple of years she would be dumped by the artist for another mistress. For Picasso and the Cubists who followed, still life was a favorite subject. It offered an excellent means for exploring dimension and space and was a subject, as opposed to landscape, that the artist could completely control. One of Picasso’s early efforts in this genre, “Still Life with Sugar Bowl and Fan,” 1909-1910, is a virtual homage to Cezanne. The apple motif, shifting perspective and open brushwork of this watercolor suggest the debt the Cubists owed to their revered predecessor. In an oil painting of 1910, “Portrait of a Woman,” Picasso offered a tantalizing but vague view of the subject, whose hair and long face merge with the background but never completely disappear. “Man with a Guitar,” 1913, evolved from a studio experiment that began with a drawing of an abstract figure on a large canvas with a real guitar suspended in front of it. The two elements were linked by adding silhouette arms clipped from a newspaper. A series of sketches show that the artist envisioned this curious construction serving as a model for a wood sculpture, but he apparently changed his mind and depicted it in this oil on canvas instead. By this time, color had been added to Picasso’s Cubist arsenal. Henri Laurens, an underappreciated Frenchman, created some of the most interesting Cubist sculptures, such as “Man with Pipe,” 1919. Collection of Charlotte and Irving W. Rabb. ©Artists Rights Society, New York / ADAGP, Paris. Photograph ©Museum of Fine Arts, Boston. While Picasso continued to work in the Cubistmanner after World War I, he also dabbled in Neoclassicism andSurrealism, sometimes combining all three in one work. Hisrestless, wide-ranging vision led him to try all manner of stylesand subjects for the remainder of his career, but, as thisexhibition documents, his contributions were central to theinvention of Cubism. Braque (1882-1963), Picasso’s ally in launching Cubism, was born into a family of French housepainters. Soon after settling in Paris he joined Andre Derain, Matisse and Maurice de Vlaminck in the Fauve movement, which emphasized painting in bright, intense colors. Braque’s career changed course after he met Picasso in 1907 and viewed “Les Demoiselles d’Avignon” in the Spaniard’s studio. They embarked on the collaborative and inspirational, yet competitive, relationship out of which came Cubism. While working together in the Pyrenees in the summer of 1911, Braque and Picasso evolved a means of clarifying their forms in concentrated, but more legible compositions. “We were like two mountain climbers roped together,” Braque later recalled. When their dealer commissioned each of them to make a large print, they produced complementary pyramidal still lifes of a café table. In Braque’s “Fox,” 1911 (named after a bar in Paris), and Picasso’s “Bottle of Marc,” 1911, both drypoints, a kind of linear scaffolding indicates distance and holds the image together, while an associated structure of cubes and planes adds volume to the composition. The next year Braque elevated collage from folk work to high art when he pasted charcoal and printed paper pieces onto various backgrounds. Utilizing inexpensive, ready-made industrial materials in works such as “Fruit Dish and Glass,” 1912, he contravened the disciplines of academic art. As the exhibition organizers note, “By conflating ‘high’ and ‘low’ culture, Braque helped to initiate a central theme in Twentieth Century art.” After being wounded in World War I, Braque devoted himself solely to Cubism for the rest of his career. By then his association with Picasso was pretty much over. An example of Braque’s postwar work, “Pipe and Basket,” 1919, suggests his increasing tendency to undertake formalist exercises detached from the reality of the world. Another important figure in the exhibition is Leger (1881-1955), born in Normandy, the son of a cattle merchant. While working as an architectural draftsman in Paris, he studied painting and soon came to know a number of future Cubist artists. His art grew out of his admiration for the manner in which Cezanne defined forms and depicted volume in space. After meeting Braque and Picasso in 1910, Leger created a series of paintings that combined Cubism’s planed division of space in images reflecting his fascination with the power and speed of modern machinery. Leger’s awareness of the increasing pace of the mechanized world is reflected in “Still Life,” 1913, an opaque watercolor and oil composition filled with a jumble of loosely drawn blocks and cylinders that pulse with energy. His elevated interest in intense colors is suggested by “The Factory,” 1919, and his continuing concern with rounded tubular forms is reflected in “Two Figures,” 1920. Some of Leger’s most memorable art is characterized by solid sculptural forms and eye-catching colors, executed with riotous enthusiasm of enduring appeal. Some of the most interesting Cubist work was created by threesculptors, Ukrainian-born Alexander Archipenko, Parisian HenriLaurens and Lithuanian native Jacques Lipchitz. Arriving in Parisin 1909, Lipchitz (1877-1964) created decorative figures, but afterencountering Picasso and Gris, he adopted Cubist forms. His early,semiabstract work gave way to less abstract, more legible figures,such as his clarinet-playing “Pierrot,” 1919. Elements of Cubismappeared throughout the sculptor’s long career, which concluded inHastings-on-Hudson, N.Y. Laurens (1885-1954), who was self-taught, learned about Cubism from his close, longtime friend Braque. His direct carving in stone led to fascinating results such as “Man with Pipe,” 1919. In this austere, yet witty, asymmetrical piece, Laurens created an image that combined rounded and faceted forms with intriguing results. Archipenko (1887-1964), another independent spirit with innovative ideas, switched from conventional figurative sculpture to modern, idiosyncratic work a few years after moving to Paris in 1908. His “Two Nude Figures,” 1919, a watercolor, suggests the Cubist manner of his sculptures. After emigrating to the United States, Archipenko established a school and studio in Bearsville, N.Y. “Facets of Cubism” offers rewarding insights into this watershed movement. Picasso, the driving force behind Cubism, said that he wanted people to experience art directly, to see and judge it for themselves. This welcome show offers a focused opportunity to do just that. Other phases of Picasso’s career can be seen in a complementary exhibition, “Degas to Picasso: Modern Masters,” on view through June 18. In conjunction with the two shows, the MFA is offering a series of Modern art lectures starting in late January. They can be attended either as a four-session course or single sessions. The Museum of Fine Arts is at 465 Huntington Avenue. For information, 617-267-9300 or www.mfa.org. .
24 Jan 2006 / 0 Comment
‘Facets Of Cubism’ At The Museum Of Fine Arts, Boston
Published: January 24, 2006
“Pipe and Basket,” 1919, shows Georges Braque at the height of his Cubist powers, following early years of experimentation. Scott M. Black Collection. ©Artists Rights Society, New York / ADAGP, Paris. Photo by Melville D. McLean. Courtesy Portland Museum of Art, Maine. Courtesy Museum of Fine Arts, Boston.
Lithuanian-born Jacques Lipchitz became a convert to Cubism after moving to Paris, as demonstrated by this stone sculpture, “Pierrot,” 1919. Collection of Charlotte and Irving W. Rabb. ©Estate of Jacques Lipchitz, courtesy Marlborough Gallery, New York. Photograph ©Museum of Fine Arts, Boston.
The vivid colors that characterize Fernand Leger’s later work are hinted at in “The Factory,” 1919. Private Collection, Boston. ©Artists Rights Society, New York / ADAGP, Paris. Courtesy Museum of Fine Arts, Boston.
Antiques and The Arts Weekly is the nation’s leading weekly publication on the antiques and the arts trade, and is available both in print and online.
Each issue average between 100-200 pages and includes reporting on auctions, antiques shows and the arts while providing a platform for both buying and selling.
We have been providing breaking news and important information on the world of antiques and the arts since Publisher R. Scudder Smith started Antiques and The Arts Weekly back in 1963.
Contact
LOCATED AT:
5 Church Hill Road / Newtown, CT 06470
HOURS:
Mon - Fri / 8:00 am - 5:01 pm
PHONE:
(203) 426-8036