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| In contrast to Synthetic cubism, Analytic cubists "analyzed" natural forms and reduced the forms into basic geometric parts on the two-dimensional picture plane. Color was almost non-existent except for the use of a monochromatic scheme that often included grey, blue and ochre. Instead of an emphasis on color, Analytic cubists focused on forms like the cylinder, sphere and the cone to represent the natural world. |
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| Whereas analytic cubism was an analysis of the subjects (pulling them apart into planes), synthetic cubism is more of a pushing of several objects together. Picasso, through this movement, was the first to use text in his artwork (to flatten the space), and the use of mixed media—using more than one type of medium in the same piece. Opposed to analytic cubism, synthetic cubism has fewer planar shifts (or schematism), and less shading, creating flatter space. |
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Pablo Picasso, Les Demoiselles d’Avignon, 1907, oil on canvas Style: Cubism Note how the women are ugly, and some are wearing african tribal masks. We were supposed to feel disconnected from these hos. |
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---------Ma Jolie, 1911-1912, oil on canvas Style: Cubism You can definitely tell that this was his lover playing an instrument. |
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--------Glass and Bottle of Suze, 1912, pasted paper, gouache, and charcoal Style: Cubism Important because now we can see that every day objects were able to become art. |
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Kazimir Malevich, Suprematist Painting (Eight Red Rectangles), 1915, oil on canvas Style: Suprematism Suprematism is an art movement focused on fundamental geometric forms (in particular the square and circle) which formed in Russia in 1915-1916. |
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| The term found art—more commonly found object (French: objet trouvé) or readymade—describes art created from the undisguised, but often modified, use of objects that are not normally considered art, often because they already have a mundane, utilitarian function. Marcel Duchamp was the originator of this in the early 20th-century. |
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Marcel Duchamp, Fountain, 1917, porcelain plumbing fixture and enamel paint Style: Dada The movement primarily involved visual arts, literature (poetry, art manifestoes, art theory), theatre, and graphic design, and concentrated its anti war politic through a rejection of the prevailing standards in art through anti-art cultural works. Dada activities included public gatherings, demonstrations, and publication of art/literary journals. Passionate coverage of art, politics, and culture filled their publications. |
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| The Interpretation of Dreams |
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Sigmund Freud, The Interpretation of Dreams, 1900 The Interpretation of Dreams is a book by Sigmund Freud, the first edition of which was first published in German in November 1899 as Die Traumdeutung (though post-dated as 1900 by the publisher). The publication inaugurated the theory of Freudian dream analysis, which Jung referred to as the "royal road to the soul" and the unconscious, but Freud called the subconscious. |
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| Automatism is a surrealist technique involving spontaneous writing, drawing, or the like practiced without conscious aesthetic or moral self-censorship. Automatism has taken on many forms: the automatic writing and drawing initially (and still to this day) practiced by surrealists can be compared to similar, or perhaps parallel phenomena, such as the non-idiomatic improvisation of free jazz |
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Salvador Dali, The Persistence of Memory, 1931, oil/canvas Style: Surrealism The well-known surrealistic piece introduced the image of the soft melting pocket watch. It epitomises Dalí's theory of "softness" and "hardness", which was central to his thinking at the time. Although fundamentally part of Dalí's Freudian phase, the imagery predicts his transition to the scientific phase, which occurred after the dropping of the atomic bomb in 1945. The imagery can be read as a graphic illustration of Einstein's theory of relativity, depicting gravity distorting time. |
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Meret Oppenheim, Luncheon in Fur, 1936, fur-covered cup, saucer, spoon Style: Surrealism This piece by Oppenheim presents a common object removed from its generally accepted function. Even the naming of the object confers an implied limited function. Oppenheim’s humorous application of fur to the cup, spoon and saucer, also conveys a complex manifesto of linguistic relativity. |
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