Pablo Picasso, Georges Braque and the Development of Cubism

In a 1923 interview for The Arts Magazine, Picasso offered the following “explanation” as to why the general public continued to experience difficulty understanding advanced or experimental art.  “The fact that for a long time Cubism has not been understood and that even today there are people who cannot see anything in it, means nothing.  I do not read English, an English book is a blank book to me.  This does not mean that the English language does not exist, and why should I blame anybody but myself if I cannot understand what I know nothing about?”  What are your thoughts about Picasso’s “explanation” and do you agree with his assessment?

 

Pablo Picasso, Portrait of D. H. Kahnweiler, 1910

Oskar Kokoschka and the Vienna Secessionist Movemet

In his 1912 “manifesto” entitled On the Nature of Visions, the Vienna Secessionist painter Oskar Kokoschka delved into the mysteries of artistic expression.  Kokoschka recognized the need to abandon not just the past but all imposed dictums in order to truthfully render contemporary life.  Kokoschka stated:  “All that is required of us is to RELEASE CONTROL.  Some pat of ourselves will bring us into unison.  The inquiring spirit rises from state to state, until it encompasses the whole of Nature.  All laws are left behind.  One’s soul is a reverberation of the universe.  Then too, as I believe, one’s perception reaches out towards the Word, towards awareness of the vision.”   What are your thoughts on Kokoschka’s notion of  the necessity of “Releasing Control”?

Oskar Kokoschka, Self Portrait with Alma Mahler Doll, 1921

Adolf Loos and the Vienna Secession

Adolf Loos, a principle player in the development of an early 20th century avant-garde vision in Vienna, had very strong feelings about architecture, ornament and art.  In a series of essays on design, Loos stated:  “Man loves everything that satisfies his comfort. He hates everything that wants to draw him out of his acquired and secured position and that disturbs him. Thus he loves the house and hates art.”   What do you make of Loos’ statement within the context of the Vienna Secession and does his notion still resonate today, nearly 100 years later?  Your thoughts?

Photo of Adolf Loos

Hello and Welcome to Modern Art (ca. 1870s to 1960s)

The artist’s cry for freedom reached a crescendo during the fin de siecle or final years of the 19th century.  As citizens around the western world celebrated the start of a new century, artists were ready to forsake the tradition-bound customs and conventions of realism or naturalism in favor of directing their aesthetic gaze toward the powerful signposts of modernity.  Andre Derain, in a 1901 letter to Maurice Vlaminck, made the following observation:  “I am aware that the realist period is finished.  We have only just begun as far as painting is concerned.”  Why do you think avant-garde artists were willing to turn their backs on the tried and true conventions of the past (i.e., tradition) in favor of a radical shift toward 20th century modernity?  Your thoughts?

Pablo Picasso, 1956