cubism, art hidden by geometric figures - Olmedo JEsus

this gallery will discuss the Cubist paintings, where all the parts of an object are represented in the same plane. The representation of the world where there happens to be no compromise with the appearance of things from a particular point of view, but with what is known about them. Thus appeared the same time and in the same plane different views of the object. There is no longer a single point of view. No sense of depth. The details are suppressed, and sometimes just object representing one aspect.

Juan Gris pays tribute to the leaders of the Cubist movement, Picasso and Braque, and even himself as a participant of the findings that emerged within this current. Thus, the reason that the name of this composition (a bottle of this particular type of spirit) the names of three locations linked by one reason or another the three major Cubist (Picasso, Braque and Gris own) are: Badalona , near Barcelona, Paris and Madrid. About the names of the three cities the word "prize" medallions inscribed on the bottle label, Grey term associated with the triumphs of the founders of the movement, identified, in turn, with three locations reads reference.
Here the window opens onto a daytime sky that lets in sunlight and forms clouds. The semitransparent and inclined planes stacked one above another. Along with recognizable icons of style, such as the head of newspaper (this time painted in oil, it will no longer make collage) or the cups, plans are introduced with a new neo pointillist pattern that tested during this and the next year . The most realistic feature is the leaves and branches of a the plant.
In oils as La guitare devant la mer, Juan Gris brings innovative pictorial solutions, although in the case of iconographic compositions like this we must go back to 1915, year of dating the canvas Nature morte et paysage. Place Ravignan (Still life and landscape. Place Ravignan), a key element in the production of the painter. In its efforts to add an element of sensuality to his work, Juan Gris resolved then include in the same table, and in strict cubist code representation inside a studio and urban views of the exterior. The result is an unprecedented kind, even to the genius of Picasso advance, but not to address some years later: still life before an open window.
The study of the female figure takes Juan Gris want to do the same with the male. As Picasso, harlequins and Pierrots chooses as iconographic motifs. These figures substantially alter the previous thematic guidelines for its somewhat melancholy and even tragic character, but they are clearly a transcript of his own person, and I will not abandon until 1925.
In 1916 Juan Gris takes as its starting point some of the most famous paintings of Paul Cézanne. Again unlike Pablo Picasso, Juan Gris does not perform sets of variations on a theme, such as integrating large series of Malaga, but, on the contrary, searches and analyzes the works of the master of Aix to draw lessons that applies to his drawings. In addition to replicas of Cezanne and other masters, from 1915-1916 and until 1921, Juan Gris draws mostly still lifes and portraits of those who are closest to him, mainly friends and family. It is mostly pencil compositions, in which the color is usually absent. The exception, which involves the inclusion of colorful gouaches are made to illustrate the album Au soleil du plafond, Pierre Reverdy, Juan Gris finally did get to see printed, whose frontispiece is precisely this collage: Moulin à café, tasse verre et sur une table (coffee grinder, cup and bowl on a table).
In this painting is explored the three-dimensionality of the objects, which are arranged in two sets. One, formed by guitar and violin, occupying the center of the frame, and another, consisting of a bottle, wallpaper and tablecloth. Gray creates relationships between the two sets, through drawings and guilloche, associated elements represented.
the theme of the open windows was a recurring to combine indoor and outdoor very original and personal way resource. On a table placed a guitar, a score, a bottle and some chestnuts. Behind a window, sea, mountains and a blue sky. The table becomes the sill ventana.Los objects are appearing, getting each other. All are seen from a different point and uses shading to give the feeling of depth. The elements are figurative, they are easily identified.
The composition is created exclusively from earthy colors, punctuated by the vibrant colors of the palette, such as blue, red, yellow and black. The work is a good example of the early days of Cubism, or analytical cubism, where the forms and figures were decomposed to be "tested" in parts. In this portrait, the breakdown of the figure is relatively symmetrical and tidy, allowing us to recognize the features of the protagonist. Later, the Cubists reject this type of system, producing works chaotic and disorganized.
work dedicated to the Gothic church Saint-Séverin, where the painter uses the architectural theme to make an analysis of the procedures and suggest the Cubist movement of the viewer by the pictorial space as well as to represent the dissolution of space through light
Referring to the three graces. Kaleidoscopic vision with intense, bright, polished facets light as the elements themselves box. That multiplication becomes increasingly try to put ourselves at the gates of abstraction. It is the light that marks the different facets, with this technique almost points (analytical cubism). Delaunay is a restless man who was devoted to theoretical color work, especially the law of simultaneous contrast, and through the use of the atmosphere, light and color will be defining the orfista painting.
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