Cubism – the modernism direction, made an attempt to model by means of art creativity the specific theory of knowledge consolidated of a presumption of anti-psychologism. Classical representatives of cubism in painting are P. Picasso, F. Lezhe, J. Gris, R. Delone (during the certain period of the creativity) and others. The term “cubism” for the first time has been used by Matisse (1908) concerning the picture of Z. Bruck “At home in Estake”, which has ostensibly reminded him children’s cubes. In the same 1908 in an October critic L.Voksen noticed that modern painting “is based the image of cubes”. In 1907-1908 Cubism was arranged as a direction in; in the end of 1910 French poet A. Salmon has fixed “the beginning of absolutely new art” – both with reference to painting, and with reference to poetry. Genetically Cubism goes back to expressionism (Picasso said: “When we invented a cubism, we were not going to invent it at all. We only wished to express what we have inside).

As well as any modernist current, Cubism shows program methodology and especially reflective installations concerning understanding of art creativity: already in 1912 it was published the conceptual monography of artists A. Glez and Z. Mettsenzhe “About a cubism” and critical work of Salmon “Young painting of the present”. According to critics, cubism can be considered as one of the most radical directions of a modernism as “it bravely breaks off from mostly traditions operating smoothly since an epoch of the Renaissance” (M. Serulaz). According to policy statements of artists-cubists, in the most basis of cubism here is other “new way of representation of things” (J. Gris). According to it, “when cubism has shown conditional character of space as the Renaissance understood it, just as impressionists have shown in due time conditional character of color, – they were met by the same misunderstanding and the insult” (R. Garodi). In 1912 in the Chamber of Deputies of France even was discussed the question on an interdiction of cubist exhibitions; the socialist Breton believed that it is “absolutely inadmissible, that National palaces served as a place for demonstrations of so anti-art and antinational character”; thus, however, the conclusion has been drawn that “it is not necessary to call gendarmes” (the formulation of the deputy Samba). Objectively cubism can be considered as a significant mark in the history of evolution of a modernist paradigm in art: according to art critics, “having dared to proclaim openly the rights to heterodoxy in the field of art and carrying out these rights, despite all obstacles, modern artists became forerunners of the future. Thus, it is impossible to deny their revolutionary role: their moral position has brought today brilliant rehabilitation, in much bigger degree, than their art merits” (R. Lebel). Prevailing emotional tonality of cubism became sharp and sharply catastrophic experience of a boundary of 19-20 centuries, connected with domination of what has been designated as “mechanical forces of a civilization”: the subject world has opened to the world of the person the new person, having put under doubt the former version of its human understanding, having destroyed habitual ontologism of traditional knowledge. Not casually N. Berdyaev saw in cubistic works some kind of portraits of not original life (“it is demonic grimaces of seized spirits of the nature”) that with necessity assumes statement of questions on a world real face, about possibility of this authenticity and about possibility of its image. Owing to reflective judgment of this context Cubism is one of their most philosophically articulated directions of development of a modernist aesthetics, – already in the manifesto “About a cubism” (1912) it was fixed that the picture as that is some kind of a picture (concept) of the world. Cubism actively involves in the reflective judgment of the nature of art creativity of idea of Platon, medieval realism, Hegel – first of all, in aspect of searches of abstract essence (an ideal eidos) object and a philosophical substantiation of a presumption of variability of ontology, funding idea of relative modelling of the possible worlds (it is a question not so much of conceptually-substantial mastering by the academic philosophical tradition, how many about connection of artists to that cultural atmosphere of the beginning of 20 century in which philosophical ideas have appeared in some kind of fashion focus. Anyhow, arrangement on the reflex analysis of creativity as that is one of distinctive (and one of the strongest) sides of cubism.

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