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| A simple complimentary colored cubism project for young art students, ideal for students fourth grade and up. |
Arrange in the center of the classroom a still life that may be viewed in the round. This will enable students to draw it from a wide variety of perspectives. Students should draw their ideas lightly on a heavy piece of white drawing paper with a pencil before deciding upon a design. Encourage your students to walk around the still life and draw parts of it from different view points. Have them draw the elements simply, with basic geometric shapes. After the drawings are done, hand out colored pencils or watercolor trays for the addition of color and pattern. If you wish, you may insist that students choose complimentary colors to complete the assignment. This additional condition helps teachers meet with required standards that teach color combinations from the color wheel.
Cubism comes in three stylized types: Protocubism, Analytical Cubism and Synthetical Cubism.
Protocubism was an intermediary transition phase in the history of art chronologically
extending from 1904 to 1910. Evidence suggests that the production of
proto-Cubist paintings resulted from a wide-ranging series of
experiments, circumstances, influences and conditions, rather than from
one isolated static event, trajectory, artist or discourse. With its
roots stemming from at least the late 19th century this period can be
characterized by a move towards the radical geometrization of form and a
reduction or limitation of the color palette (in comparison with Fauvism). It is essentially the first experimental and exploratory phase of an art movement that would become altogether more extreme, known from the spring of 1911 as Cubism.
Proto-Cubist artworks typically depict objects in geometric schemas of cubic or conic shapes. The illusion of classical perspective
is progressively stripped away from objective representation to reveal
the constructive essence of the physical world (not just as seen). The
term is applied not only to works of this period by Georges Braque and Pablo Picasso, but to a range of art produced in France during the early 1900s, by such artists as Jean Metzinger, Albert Gleizes, Henri le Fauconnier, Robert Delaunay,
and to variants developed elsewhere in Europe. Proto-Cubist works
embrace many disparate styles, and would affect diverse individuals,
groups and movements, ultimately forming a fundamental stage in the
history of Modern art of the 20th-century.
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| The synthetical style which developed out of the two former styles was characterized by the use of collaged elements and a looser interpretation of the elements being portrayed. The elements became flatter and more abstract. |
The term Cubism did not come into general usage until 1911, mainly with reference to Metzinger, Gleizes, Delaunay, and Léger. In 1911, the poet and critic Guillaume Apollinaire
accepted the term on behalf of a group of artists invited to exhibit at
the Brussels Indépendants. The following year, in preparation for the
Salon de la Section d'Or, Metzinger and Gleizes wrote and published Du "Cubisme"
in an effort to dispel the confusion raging around the word, and as a
major defence of Cubism (which had caused a public scandal following the
1911 Salon des Indépendants and the 1912 Salon d'Automne in Paris).
Clarifying their aims as artists, this work was the first theoretical
treatise on Cubism and it still remains the clearest and most
intelligible. The result, not solely a collaboration between its two
authors, reflected discussions by the circle of artists who met in Puteaux and Courbevoie.
It mirrored the attitudes of the "artists of Passy", which included
Picabia and the Duchamp brothers, to whom sections of it were read prior
to publication. The concept developed in Du "Cubisme"
of observing a subject from different points in space and time
simultaneously, i.e., the act of moving around an object to seize it
from several successive angles fused into a single image ('multiple
viewpoints' or 'mobile perspective'), is now a generally recognized
phenomenon of the Cubist style.
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| The analytical cubism describes painted elements with faceted shapes and was most usually painted in monochromatic colors. |
Analytic cubism (1909–1912) is a style of painting Picasso developed along with Georges Braque
using monochrome brownish and neutral colors. Both artists took apart
objects and "analyzed" them in terms of their shapes. Picasso and
Braque’s paintings at this time have many similarities. Synthetic cubism
(1912–1919) was a further development of the genre, in which cut paper
fragments – often wallpaper or portions of newspaper pages – were pasted
into compositions, marking the first use of collage in fine art.
More Art Lessons About Cubism:
My Cultural Heritage Cubist Portrait Lesson
Cubist Drawings
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