Braque's Synthetic Period:
Braque's works from the period 1917-20 are derived compositionally from synthetic cubism, the second phase of cubism, which began about 1914. Much flatter and more variegated in color, they include brightly dotted decorative passages. Around 1930-31, Braque moved to the coast of Normandy in France. As a result, he changed the subjects of his paintings; bathers, beach scenes, and seascapes were now his favorite themes. Stylistically, he became increasingly interested in ornamentation and patterned surfaces. During the late 1930s and early '40s, Braque was drawn to melancholy themes. From 1945, birds were a dominant subject. Braque's canvases done during the 1950s show a return to the brilliant colors of the Fauve period, as in the Louvre ceiling (1952-53) and the decoration for the villa at Saint Paul-de-Vence (1954). Active until the end of his life, Braque produced an oeuvre that includes sculpture, graphics, book illustration, and decorative art.


Braque's "Bottle and Fishes"

Georges Braque was the only artist ever to collaborate with Picasso as an equal. He admitted that they were "like climbers roped together, each pulling the other up". From 1907 they worked so closely together, exploring the planes and facets of the same subject matter, that some of their work appears almost identical. Although they developed their own natural autonomy as artists, they carried Cubism to another level that was brighter and more legible.

By 1929 however their innate differences were quite clear, for the two had long since parted ways. They had parted in 1914, for at the outbreak of WWI Braque entered the army as an infantry sergeant and served with distinction, being decorated twice in 1914 for bravery. In 1915 he suffered a serious head wound, which was followed by a trepanation, several months in the hospital, and a long period of convalescence at home at Sorgues. During this period he added to the sayings he had been in the habit of scribbling on the margins of drawings, and in 1917 he published a collection of these sayings called "Thoughts and Reflections on Painting."



New means, new subjects. . . . The aim is not to
reconstitute an anecdotal fact, but to constitute a
pictorial fact. . . . To work from nature is to
improvise. . . . The senses deform, the mind forms.
. . . I love the rule that corrects emotion.


Released from further military service, the artist rejoined the Cubist movement, which by then was in its synthetic phase. In 1917-18 he painted, partly under the influence of his friend Juan Gris, the geometric, strongly coloured, nearly abstract "Woman Musician" and some still lifes in a similar manner. Rapidly he moved away from geometry toward forms softened by looser drawing and freer brushwork. An example of the change is the 1919 "Still Life with Playing Cards." From this point onward his style ceased to evolve in the methodical way it had during the successive phases of Cubism; it became a series of personal variations on the stylistic heritage of the eventful years before WWI.

Worlds Youngest Solo Pianist and Vocalist... child Prodigy

this is for fun

Alexandra Nechita - Art Prodigy

From her website:
"Alexandra Nechita's first exhibit was a one-woman (child) show held at a Los Angeles-area public library when she was just eight years old. Her talent was instantly recognized as capacity crowds came to see the "petite Picasso" as the press had labeled her. She was immediately offered an exhibit at the prestigious (non-profit) Mary Paxon Gallery where the exhibit attracted the attention of legitimate art critics and the media who began telling the world about this rarest of child prodigies - an abstract cubist painter who had only recently turned nine years old. "

Joshua Johnson Child Prodigy Artist

Joshua continues to fascinate art collectors by his artwork. At age 14 Josh's original oil paintings are of master quality.

ART WORLD BUZZING ABOUT TODDLER'S PAINTINGS

Cameron Sky Villa: One-Year-Old Artist

My son had his first art show when he was 20 months old. His first paintings were done when he was 18 months. These are the ones you see in the video. To see them in more detail, go to http://www.cameronvilla.com/
He may be the world's youngest abstract artist!

He's two now and having his 2nd show which one painting has already sold for $500. To see newspaper and TV coverage, go to:
http://www.cameronvilla.com

My Kid Could Paint That - 5 Year Old Artist - Movie Trailer

Marla Olmstead

Video publicado en su sitio web de como pinta el cuadro FearyMap.
if you understand this language please post translation in English



In the span of only a few months, 4-year-old Marla Olmstead rocketed from total obscurity into international renown -- and sold over $300,000 dollars worth of paintings. She was compared to Kandinsky and Pollock, and called "a budding Picasso." Inside Edition, The Jane Pauley Show, and NPR did pieces, and The Today Show and Good Morning America got in a bidding war over an appearance by the bashful toddler.

Michael Kimmelman on Art: Part 2 of 2

Michael Kimmelman on Art: Part 1 of 2

DADA-3

By the dawn of World War II, many of the European Dadaists had fled or emigrated to the United States. Some died in death camps under Hitler, who persecuted the kind of "Degenerate art" that Dada represented. The movement became less active as post-World War II optimism led to new movements in art and literature.
Dada is a named influence and reference of various anti-art and political and cultural movements including the Lettrists and the Situationists. Category: News & Politics

DADA-2

According to its proponents, Dada was not art - it was "anti-art". It was anti-art in the sense that Dadaists protested against the contemporary academic and cultured values of art. For everything that art stood for, Dada was to represent the opposite. Where art was concerned with aesthetics, Dada ignored aesthetics. If art were to have at least an implicit or latent message, Dada strove to have no meaning - interpretation of Dada is dependent entirely on the viewer. If art is to appeal to sensibilities, Dada is to offend. Ironically, Dada became an influential movement in modern art, a commentary on order and the carnage Dadaists believed it wreaked. Through their rejection of traditional culture and aesthetics they hoped to destroy them.
A reviewer from the American Art News stated at the time that "The Dada philosophy is the sickest, most paralyzing and most destructive thing that has ever originated from the brain of man." Art historians have described Dada as being, in large part, "in reaction to what many of these artists saw as nothing more than an insane spectacle of collective homicide."
Years later, Dada artists described the movement as "a phenomenon bursting forth in the midst of the postwar economic and moral crisis, a savior, a monster, which would lay waste to everything in its path. It was a systematic work of destruction and demoralization...In the end it became nothing but an act of sacrilege."
While broad, the movement was unstable. By 1924 in Paris, Dada was melding into surrealism, and artists had gone on to other ideas and movements, including surrealism, social realism and other forms of modernism. Some theorists argue that Dada was actually the beginning of postmodern art.