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AMD-002 - , along with Picasso and Matisse, fundamentally transformed the landscape of 20th-century art. This exploration will focus on Cubism, a defining movement of the period, specifically analyzing Picasso's "Les Demoiselles d'Avignon" and Braque's "Wine Cubism" to uncover Cubism's core essence and repercussions. The Cubist approach is characterized by facetization, a process of breaking down objects into facets to represent them from multiple viewpoints simultaneously, challenging traditional linear perspective. This method emphasizes a flattened, two-dimensional space, diverging from the deep, illusionistic space of Renaissance art. Cubism also utilizes the axiom of the visual wake, attained by decomposing and rearranging the facets of an object, giving rise to a variety of geometrical forms. Notably, this movement rejects arbitrary color application, often preferring a monochromatic palette. Cubism introduced two key phases: Analytic and Synthetic. I'll explore the latter. Synthetic Cubism marks a shift towards collage, introducing elements like paper or sand, reflecting a renewed commitment to the physicality of the object. The discourse will center on the techniques adopted by Picasso and Braque, challenging the conventional narrative that Picasso's "Demoisies" heralded a new artistic epoch. Instead, I'll argue that Braque's "Wine" played a more significant role in Cubism's materialization. Both works highlight the use of mat color in modeling shape and volume, opposing the traditional reliance on chiaroscuro. The approach concentrates on fragmenting objects into facets, a form of facetization transforming the flat canvas plane into an array of angular shapes. This technique reverses the traditional perspective by dividing objects into multifaceted sections that actuate the object's volume and form. This investigation will prioritize the aspect of perspective, imposing an intricate challenge on the viewers' perception of depth and space. Both artists innovatively broke down objects into fragmented sections, achieving the illusion of space through facetization. This examination will also emphasize the binary nature of Synthetic Cubism's use of mat color in estimating shape and volume, diverging from the traditional practice of constructing form through chiaroscuro. Additionally, I will delve into the interaction of these techniques, spotlighting how Matisse and Picasso combined them to create an incisive and agonizing body of work, setting the stage for Cubism's materialization. Through this exploration, I will uncover the essence of Cubism, shedding light on its profound repercussions in the art world.
2018年7月27日
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