Fuck Yeah Cubism!

Umberto Boccioni, “Simultaneous Vision”, 1912

(Source: )

Lyonel Feininger, Gaberndorf II, 1924, oil on canvas mounted on board, at the Nelson-Atkins Museum in Kansas City.

Pablo Picasso, Weeping Woman, 1937, oil on canvas, 60.8 x 50.0 cm, Tate Gallery, London.

from inminds.com:

This is a study of how much pain can be communicated by a human face. It has the features of a specific person, Dora Maar, whom Picasso described as “always weeping”. She was in fact his close collaborator in the time of his life when he was most involved with politics.

chethanee:

Paul Klee, ‘Dream City’, 1921, watercolour and oil

(via ranunculust-deactivated20120115)

nevver:

A slight attack of third dimentia [sic] brought on by excessive study of the much-talked of cubist pictures in the International Exhibition at New York, John Sloan 1913

 Hey, so I made this ‘lil fuck yeah a while back just ‘cause there was no fuck yeah cubism already made. Then this thing called art school happened to me and I ran out of time to ever update it. Point being, if ya wanna be a member/admin of this blog, send a message or something.

eritissimilesdeo:

Albert Einstein, Josef Scharl, 1944

source

bonuspictor:

Pablo Picasso Three Musicians (1921)

I love this painting. It tells so much. You can almost feel the vibe of the music right in the painting.

(via the-calling-deactivated20110207)

stilllifequickheart:

Gladys Milligan

Still Life

1948

worldpaintings:

Albert Gleizes

On the Brooklyn Bridge, 1915, oil on cardboard, 148.1 x 120.4 cm, private collection,

Young Albert Gleizes did not like school and often skipped classes to idle away the time writing poetry and wandering through nearby Montmartre. After completing his secondary schooling, Gleizes spent four years in the French army then began pursuing a career as a painter, primarily doing landscapes. Initially influenced by the Impressionists, he was only twenty-one years of age when his work was exhibited at the Société Nationale des Beaux-Arts in 1902. The following year he was part of the first Salon d’Automne and soon came under the influence of Fernand Léger, Robert Delaunay, Jean Metzinger and Henri Le Fauconnier.

Gleizes’ evolving cubism saw him exhibit at the Salon des Indépendants in Paris in 1910 then collaborate with Jean Metzinger to produce a theoretical essay about cubism that was published in 1912. In the fall of that year, he and Metzinger joined the Puteaux Group led by Jacques Villon and his brother Marcel Duchamp. In February 1913, Gleizes and other artists introduced the new style of painting to an American audience at the Armory Show in New York City.

heidialfonzo:

Homage to Naum Gabo (1946)