Sample Art Essays on Cubism


Cubism was a ground-breaking style of contemporary art initiated by Picasso together with Braques. This was the original technique of abstract fine art which advanced at the start of the 20th century in reaction to a world that was shifting with extraordinary speed. The Cubists confronted traditional methods of representation, for example perspective, which existed since the Renaissance. The cubist innovations led to rise of numerous other art movements, including futurism, constructivism, and early work of the surrealists. In addition, their adoption of collage technique became key part of 20th-century painting. They intended to develop a fresh way of seeing which mirrored the contemporary age and Picasso’s Les Demoiselles d’Avignon, for example, inaugurated a revolutionary manner of representing reality. This painting disregarded all of the customary rules mainly the one that labeled art as imitation instead of creation. Picasso decided to overlook a fixed point of view and replaced these with various perceptions and distortion.

Futurist writings, images and carvings attempted to express sentiments and feelings experienced in time, using fresh ways of expression, including “lines of force”, which were planned to communicate the directional trends of objects. This was expressed through space, “simultaneity”, which merged memories, current impressions and expectations of future incidents, and “sentimental ambience” in which the artist seeks through linking sympathies between the exterior and interior sentiment.

Mondrian adopted the visual elements of Cubism, and by 1912, he was composing “abstract” canvases of the sides of structures in Paris, which had preserved ghost traces of the constructions built next to it. However, he rejected Cubist content, the life of the artist, for a Universalist content.

Malevich’s idea was founded on all that had accrued in the writing and art of the era. The outcome was the appearance of a new emblematic religion; in which everything would go back to the starting point-zero. He declared his work as the “zero of form” and there was nothing else that painting presented even certain traditional imaging.