Metaphysical painting – (from the Greek meta – after and phisika – nature, metaphysics – the science of spiritual phenomena inaccessible to experienced knowledge, the transcendental principles of the world) – a trend in Italian art that arose in 1916 in Ferrara. Its creators were painters Giorgio De Chirico, Carlo Carra, Giorgio Morandi. Subsequently, Morandi and Carra changed their style and de Chirico remained the only leader, in the paintings of which the geometrization and stiffness of forms symbolized “eternity, the metaphysics of time and space”, irrational connections between externally unrelated objects. Metaphysical art was not widespread, but had a great influence on other artists. It was close to symbolism and became the forerunner of another powerful art movement – surrealism. Continue reading
Cubism (from French cubisme, came from cube – cube) is a modernist trend in painting of the early twentieth century, which highlighted the formal task of constructing volumetric shapes on a plane, minimizing the visual and cognitive functions of art. The word “cubists” was used in 1908 and 1909 by the French critic L. Vossel as a mocking nickname for a group of artists depicting the objective world as a combination of geometric bodies or figures. The most famous artist in this direction of painting: Pablo Picasso (1881-1973).
At the turn of the First World War, the influence of European painting fell sharply. Continue reading
Analytical cubism is the second phase of cubism, characterized by a gradual blurring of the differences between form and space and the disappearance of images of objects. In the paintings of this period appear translucent, iridescent, intersecting planes, the position of which is not clearly defined. The arrangement of forms in space and their relation to large compositional masses are constantly changing. The result is a visual interaction of form and space. Analytical cubism was developed by artists from the Golden Section artistic association: Albert Gleize, Marcel Duchamp, Raymond Duchamp-Villon, Jean Metzinger and Jacques Villon.
In the paintings of this period, iridescent colors appear translucent intersecting planes, the position of which is not clearly defined. Continue reading