The Bohemian Grove
Influence of Cubism through the 20th Century
Beginning in the twentieth century, the art world would never be the same as unique styles evolved from revolutionary movements such as Cubism. Pablo Picasso introduced the world to new forms of representation by developing Cubism with Georges Braque, shocking viewers with a new style of painting. Cubism influenced art by giving artists a new ways of painting, assuring that infinite possibilities exist in representation of human forms, landscapes, and objects through “essence”.
The Bauhaus movement further challenged traditional forms of representation with its no-nonsense approach to art. One can see how Cubism influenced Bauhaus stylistically, with artists such as Oskar Schlemmer employing block-like geometric forms in painting and focusing on functional form in architecture. Artists begin to focus on what is essential in representation, ignoring excessive elements and creating something unique.
Neo-Concretism takes non-figurative painting a step further, with inspiration coming from artists such as Bauhaus’ Wassily Kandinsky. Rationalism inspired an incline towards reform and the artists began to focus on geometric work that could relate to the human experience. Lygia Clark and Helio Oiticica drew inspiration from artists such Kasimir Malevich to create abstract geometric forms that become increasingly flat.
Hard-Edge panting takes essential flatness to the next level. Painting becomes about color and draws direct inspiration from artists such as Josef Albers of Bauhaus and Piet Mondrian whose was inspired by Cubism himself. Geometric and organic forms become the subjects and directly address issues of form, arrangement and color.
Last but not least, Digital art takes on a completely different form of representing form as Cubism did in its time at the beginning of the century. Artists explored the interconnectedness of the Internet and dispersal of digital art. John F. Simon Jr. digitally illustrates flat forms of color while other artists use digital symbols to create equally flat abstract images.
Together these movements show a gradual shift from representational forms to depicting what is most crucial and essential in art form, with digital art ushering a new age of technological creativity. The innovative and blocky art of Cubism influenced each of these movements not only in their style, but also in the encouragement of evolving art.
Les Demoiselles d'Avignon
Pablo Picasso, 1907, Oil on canvas, 8'x7'8"
This work very well could be explained as the first recognized source of not only cubism but 20th century art as a whole. Picasso embraced the rejection of the norm and reverted back to Primitism. In, Picasso’s Les Demoiselles d’Avignon he deconstructs the human form then radically restructures it in a form with angular shapes and planes. The adoption of primitism combined with a rejection of perception lead to the cubist movement and the departure from classical European painting. This leap of style set the tone for years to come.
Violin and Candlestick
Georges Braque, 1910, Oil on canvas, 24” x 19 ¾”
Furthering Picasso’s abandonment traditional form Georges Braque quickly became another key role in Cubism. Enhancing angles and geometrics form, Braque also transformed and set the tone for years to come. Because of the Cubist movement, art was now infiltrated with jagged lines, block-like shapes and distinct transitions of color and form. This replaced the realistic, smooth, air-brush-like quality to early European painting. This shift of mindset was echoed throughout the 20th century as you can see in our gallery.
Figurines In Space
Oskar Schlemmer, 1924, Gouache, ink, and cut-and-pasted gelatin silver prints on black paper
Figurines in Space by Oskar Schlemmer shows three human figures, made of and using rounded forms. Two of these human figures are from photographs by Schlemmer and he uses each to provide a sense of depth within the work. Not only this but each figure is positioned as if they were acting out a play.
Black Relationship
Wassily Kandinsky, 1924, Watercolor and Indian ink and pencil on paper
Shape and color play off one another in this composition. Contrast is found within as the round black circle floats above the jagged scramble of shapes and colors causing slight tension. Painting was deeply spiritual for Kandinsky, however music was said to be superior. Kandinsky viewed music as the most transcendent form of non-objective art.
Metasquema
Oiticica, 1958. Gouache on cardboard
Oiticica’s Metasquemas series included over 350 small scale paintings on cardboard. Only using empty geometric forms, these shapes nudge and squeeze to produce a feeling of uncertainty. The paintings drew on inspiration from cubist Kasimir Malevich and de stijl artist Piet Mondrian. As a rejection of Concrete art of the time, greater freedom emerged that challenged any artwork conveying scientific principles. As though laid on an irregular grid, Oiticica continues to use geometric abstraction throughout his work.
Lygia Clark, 1957, Formica and industrial paint on wood, 39 ¼ x 39 ¼”
Lygia Clark is regarded as a co-founder of the neo-concrete movement in Brazil and would play a large role in its ideas. This work is the second in a series titled ‘Superficie Modulada,’ in which painted wood was abstracted to form a 3D perspective. Clark often produced works that invited viewers to manipulate parts of the sculpture. Here dark shapes produce an inorganic form laid on a flat surface.
Planos Em Superficie Modulada
Unfolding Object
John F. Simon Jr., 2002
Born in Louisiana, John F. Simon Jr. created a collaborative sculpture through the use of an interactive networked code and a web page. Being known to draw inspiration from cubist artist Paul Klee, Simon creates a work of art with the potential of becoming something new with each touch. Starting with a blank square, the viewers are invited to pull and tug at the facets revealing a brightly colored layer which darkens over time.
Hyena Stomp
Frank Stella, 1962, Alkyd paint on canvas, Tate Collection
Hyena Stomp by Frank Stella is a geometric abstraction that is divided into four triangular sectors that contain thick colored lines, with its diagonals offset from one another, that come together to create a complex arrangement of colors at first glance. Looking closer, beginning with the upper-right corner and following the outer line clockwise, the arrangement of lines becomes a cubic spiral that displays a rhythm of color that pulls the viewer in.
Portrait of Natalie Bookchin
Heath Bunting, 1998
In 1998, british born artist Heath Bunting created this online portrait of artist Natalie Bookchin. Both artists were formally associated with the net.art movement, an offshoot of networked art. In this portrait Bunting pays tribute to a friend using the keyboard as his paintbrush by adding meaningless characters to form characteristics of a face. By moving around the image the viewer is offered new perspectives as the shapes and densities of the characters form a two-dimensional image of the artist.
Untitled (Red and Gray)
Ad Reinhardt, 1950, oil on canvas
Here, Reinhardt creates a pattern of geometric abstraction that appears almost systematic in its displays of contrast between the colors red and blue, and the varying cubic forms he creates. The work is very open, yet closed, in how its geometric shapes create many pathways that turn and expand like a maze. In this, Ad Reinhardt shows a transition between his paintings of geometrical abstraction of the 1940s, and his monochrome paintings of the 1950s.