Impressionism and Cubism: Pioneers of Modern Art
Impressionism: Monet, Renoir, and Degas
The term *Impressionist* was first used by Louis Leroy in a commentary on a landscape by Claude Monet entitled *Impression, Sunrise*, which depicts the birth of the sun. Monet, Renoir, and Degas sought to capture nature as they perceived it, without any underlying moral messages. Their method involved painting outdoors, as opposed to indoors in a workshop. This allowed them to observe how an object changes under different light conditions throughout the day, from dawn to noon and evening. They would rise early and venture out with their easels to find inspiring environments in the forests of Fontainebleau, on the banks of the Seine, or in the streets and cafes of Paris. They were fascinated by technological advancements like the steamship and railway stations, incorporating locomotives and their smoke into their art. Their subject matter was the everyday world, outside the confines of official academic art. They rejected the use of black shadows favored by academics. Their technique involved fragmented brushwork, loose and spontaneous strokes, applying paint directly from the tube to the canvas. This created a vibrant texture that, when viewed up close, might appear unfinished. Leroy criticized this approach, accusing the Impressionists of abandoning proper drawing and contours.
Cubism and Picasso
Cubism breaks down the image into a polyhedral structure, reflecting multiple perspectives. It deconstructs figures, objects, and landscapes. This is a remarkable phenomenon in contemporary art, representing a departure from traditional artistic conventions established in the Italian Quattrocento. This aesthetic revolution was spearheaded by Picasso, whose genius in the 20th century is comparable to Freud’s impact on thought or Einstein’s on science.
Picasso’s Early Life and Influences
Picasso’s father was a drawing professor at the School of Arts and Crafts in Malaga, where Picasso began his artistic training during his childhood and early adulthood.
The Blue Period (1901-1904)
Between 1901 and 1904, Picasso’s *Blue Period* emerged as a reaction against Impressionism. It expressed itself through depictions of impoverished, unhappy, and suffering individuals in their tragic existential condition.
The Rose Period
Later, Picasso moved away from melancholy and brightened his palette, initiating the *Rose Period*. He depicted characters from traveling circuses and small theaters. This period is characterized by lyricism and compositional harmony. During this time, Picasso was also influenced by the work of Cézanne and African masks, which he saw in an exhibition at the Musée de l’Homme.
The Birth of Cubism: *Les Demoiselles d’Avignon*
Picasso’s first Cubist work was *Les Demoiselles d’Avignon*, depicting five prostitutes posing naked in an exhibitionist manner for a client. Their bodies are decomposed into geometric blocks. The painting initially received negative criticism, but Picasso continued to experiment within Cubism.
Analytical Cubism
This phase focused on landscapes and the human figure. The method involved breaking down forms and then reassembling them, abstracting from reality. Notable works from this period include portraits of Ambroise Vollard and Daniel-Henry Kahnweiler. This is also when Picasso discovered collage.
Synthetic Cubism
In this phase, Picasso incorporated real objects into his work, such as newspaper clippings, musical scores, and restaurant menus. He created still lifes like *Still Life with Chair Caning*, where a twisted piece of rubber represents a chair.
Later Cubist Works
Picasso eventually returned to depicting the human figure. He created two versions of *The Three Musicians* and *The Pipes of Pan*. He became a living legend, and this period is considered his most outstanding Cubist phase.