Answer a question about this article:
The Cubism of Picasso, Braque and Gris had more than a technical or formal significance, and the distinct attitudes and intentions of the Salon Cubists produced different kinds of Cubism, rather than a derivative of their work. "It is by no means clear, in any case," wrote Christopher Green, "to what extent these other Cubists depended on Picasso and Braque for their development of such techniques as faceting, 'passage' and multiple perspective; they could well have arrived at such practices with little knowledge of 'true' Cubism in its early stages, guided above all by their own understanding of Cézanne." The works exhibited by these Cubists at the 1911 and 1912 Salons extended beyond the conventional Cézanne-like subjects—the posed model, still-life and landscape—favored by Picasso and Braque to include large-scale modern-life subjects. Aimed at a large public, these works stressed the use of multiple perspective and complex planar faceting for expressive effect while preserving the eloquence of subjects endowed with literary and philosophical connotations.
Whom did Braque and Picasso aim their works at?
large public
Svar på en fråga om denna artikel: Kubismen i Picasso, Braque och Gris hade mer än en teknisk eller formell betydelse, och Salongskubisternas distinkta attityder och avsikter framkallade olika sorters kubism, snarare än ett derivat av deras arbete. "Det är under alla omständigheter inte klart," skrev Christopher Green, "i vilken utsträckning dessa andra kubister var beroende av Picasso och Braque för sin utveckling av sådana tekniker som faceting, 'passage' och flera perspektiv; de kunde mycket väl ha kommit fram till sådana metoder med liten kunskap om 'sann' kubism i dess tidiga skeden, ledda framför allt av sin egen förståelse av Cézanne." De verk som ställdes ut av dessa kubister vid 1911 och 1912 års salonger sträckte sig bortom de konventionella Cézanne-liknande ämnena – den poserade modellen, stilleben och landskapet – som Picasso och Braque hade gynnat och som omfattade storskaliga moderna ämnen. Dessa verk riktade sig mot en stor allmänhet och betonade användningen av flera perspektiv och komplexa planar faceting för uttrycksfull effekt samtidigt som vältaligheten hos ämnen utrustade med litterära och filosofiska konnotationer bevaras. Vem siktade Braque och Picasso sina verk på?
• "It is not clear in any case," wrote Christopher Green, "to what extent these other Cubists depended on Picasso and Braque for their development of such techniques as faceting, 'passage' and several perspectives; they could well have come up with such methods with little knowledge of 'true' Cubism in its early stages, led above all by their own understanding of Cézanne." The works exhibited by these Cubists at the 1911 and 1912 salons extended beyond the conventional Cézanne-like subjects—the posing model, still lifes, and landscape—which Picasso and Braque had favored and which included large-scale modern subjects. These works targeted a large public and emphasized the use of multiple perspectives and complex plane faceting for expressive effect while preserving the eloquence of subjects equipped with literary and philosophical connotations. Who were Braque and Picasso aiming their works at?
Stor allmänhet
General public