Cubism: Symbolism in The Painting
Cubism: Symbolism in The Painting
Cubism: Symbolism in The Painting
The basic premise of abstraction - incidentally, a key issue of aesthetics - is that the formal
qualities of a painting (or sculpture) are just as important (if not more so) than its representational
qualities.
Let's start with a very simple illustration. A picture may contain a very bad drawing of a man, but if
its colours are very beautiful, it may nevertheless strike us as being a beautiful picture. This shows
how a formal quality (colour) can override a representational one (drawing).
On the other hand, a photorealist painting of a terraced house may demonstrate exquisite
representationalism, but the subject matter, colour scheme and general composition may be totally
boring.
The philosophical justification for appreciating the value of a work of art's formal qualities stems
from Plato's statement that:
"straight lines and circles are... not only beautiful... but eternally and absolutely beautiful."
cubismnoun [U]
US UK /ˈkjuː.bɪ.zəm/ SPECIALIZED
If you look carefully, you can see one more figure in the painting: a dog
sprawled underneath Pierrot's chair. Although its face is hidden, you can see
parts of its body peeking out from behind the musicians' legs and its shadow
on the wall behind the musicians.
ARMORED TRAIN
Painted in 1915, the year Italy entered World War I, this work
reflects a Futurist declaration of the same year: "War is a
motor for art." Although poor health prevented Severini from
enlisting in the military, he was obsessed by this first fully
mechanized war. Living in Paris, he witnessed the city's
bombardment, and from his studio he had an aerial view of
the Denfert-Rochereau station and trains transporting
soldiers, supplies, and weapons. Here, five faceless figures
crouch in a militarized locomotive car, aiming their rifles in
unison. Smoke from gun and cannon fire eclipse the natural
landscape. Severini celebrated war, which the Futurists
believed could generate a new Italian identity—one of military
and cultural power.
THE CITY
Label:
This painting captures the staccato rhythms of a modern urban
environment, and the broad panorama of its buildings, scaffolding, and
bridges. These architectural elements are punctuated by such signs of
city life as shop window mannequins, rounded plumes of smoke, and a
telephone pole, all rendered in bold, vibrant colors. Léger even included
his own initials, "F L," among the array of stenciled letters, evoking the
colorful billboard posters of the time.