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The art Movement

The art Movement Cubism was one of the strongest art movements in the 20th century that gave birth to many other movements such as futurism and suprematism. The Forefathers of this revolutionary way of painting were Pablo Picasso and George Braque. Although it may have seemed to be abstract and geometrical to an untrained eye, cubist art do depict real objects. The shapes are flattened onto canvas so that different sides of each shape can be shown simultaneously from many angles. This new style gave a 3 dimensional look on the canvas. The cubist movement gave rise to an extraordinary reassessment of the interaction between form and space changing the course of western art forever. The groundbreaking Demoiselles d’Avignon was controversial not only for the way the women looked but also for the positions of the women. Although Picasso did not emphasize on detail, he “saw that the rational, often geometric breakdown if the human head and body employed by so many African artists could provide him with the starting point for his own re-appraisal of his subjects”(Cubism 53). “The naked women become inextricably bound up in a flux of shapes or planes which tip backwards and forwards from the two-dimensional surface to produce much the same sensation as an elaborate sculpture…”(Cubism 54). Futurism was an art movement, which was influenced by cubist art. Cubism showed no motion it was futurism that was fascinated with machinery, transport and communications. In paintings and sculpture, angular forms and powerful lines were used to convey a sense of activity, this was a Futurist’s way of showing motion and speed. One of it’s innovator’s was Umberto Boccioni who said “We want represent not the optical or analytical impression but the physical and total experience” (Futurism 101). “They now pinned less faith on the power of new subject matter and strove to complement their colour divisionism with fragmentation of the cubist sort” (Futurism 101). Suprematism was influenced by cubism because of it geometric shapes but “suprematism was not so much a movement in art as it is an attitude…” (Suprematism 138). This non-movement was created by Kasmir Malevich’s , “His elemental forms were designed both to break the artist’s conditioned responses to his environment and create new realities ‘no less significant then the realities of nature herself’” (Suprematism 138). A suprematist work, banishes every trace of subject, it used color and form and there interaction to form a subject. While cubism had definite subject it was also the interaction of color and shape that made the subject. Constructivism was influenced by suprematism, this movement swept away traditional notions about art, believing that it should imitate the forms and processes of modern technology. “Often constructivism was overtly propagandist in nature: sometimes by the placement of simple geometric forms in the kind of literary context which turns such forms into representations…” (Constructivism 161). De Stijl was mostly influenced by painters Piet Mondrian, Theo Van Doesburg and architect Gerrit Rietveld. These men believed that art should strive towards complete harmony, order clarity in a constant process of refinement. The works in this movement were of course geometrical, using mainly square forms. The movement’s forms were deeply philosophical and were rooted in the idea that art should in some way reflect order. All of these movements progressed from cubism (hence my title); they developed from shapes into other worldly meanings. They all branched out to their own ways and fell to their feelings and desirers. All of these movements developed from geometrical objects to seem as a true form such as a body or face then turn into a geometrical form. All of these innovators thought differently, they wanted to change everyone else’s state of mind and with their unlikely way of thinking they have. But we have become so accustomed to it that we do not recognize it and take these powerful shapes and colors for granted. Bibliography: 34. Gwendolyn Midlo Hall, Africans in Colonial Louisiana: the Development of Afro-Creole Culture in the Eighteenth Century (Baton Rouge, 1992). 35. See the excellent studies in Richard M. Price, ed., Maroon Societies: Rebel Slave Communities in the Americas, 2nd ed. (Baltimore, 1979); Patterson, "Slavery and Slave Revolts," 289-325. 36. cf. Monica Schuler, "Akan Slave Rebellions in the British Caribbean", Savacou, 1 (1970), 8-31. Also see Mavis C. Campbell, The Maroons of Jamaica, 1655-1796 (Trenton, N.J., 1990); and Barbara Klamon Kopytoff, "The Development of Jamaican Maroon Ethnicity," Caribbean Quarterly, 22 (1976), 33-50. 37. Eugene D. Genovese, From Rebellion to Revolution: Afro-American Slave Revolts in the Making of the Modern World (Baton Rouge, 1979). 38. C. L. R. James, The Black Jacobins: Toussaint L'Ouverture and the San Domingo Revolution (New York, rev. ed., 1963). 39. John K. Thornton, "`I am the Subject of the King of Congo': African Political Ideology and the Haitian Revolution," Journal of World History, 4:2 (1993), 181-214. 40. João José Reis, Slave Rebellion in Brazil: The Muslim Uprising of 1835 in Bahia (Baltimore, 1993); also see Pierre Verger, "Yoruba Influence in Brazil," ODU: Journal of Yoruba and Related Studies, 1 (1955). 41. See my "Background to Rebellion: The Origins of Muslim Slaves in Bahia", in Paul E. Lovejoy and Nicholas Rogers (eds.), Unfree Labour in the Development of the Atlantic World (London, 1994), 151-180. It should be noted that my interpretation of the African component in the Male Revolt builds on the earlier interpretation of Raymundo Nina Rodrigues, Os Africanos no Brasil (Sao Paulo, 1932), 93-120; and Pierre Verger, Flux et reflux de la traite des nègres entre le golfe du Bénin de Todos os Santos du XVIIe au XIXe siècle (Paris, 1968). 42. See Paul E. Lovejoy, "Origins of Muslim Slaves in Bahia," especially pp. 176-80; and Lovejoy, "The Central Sudan and the Atlantic Slave Trade," in Robert W. Harms, Joseph C. Miller, David S. Newbury, and Michele D. Wagner (eds.), Paths toward the Past: African Historical Studies in Honor of Jan Vansina (Atlanta, 1994), 345-70. 43. There has been little study of resistance to slavery in Africa before the late nineteenth century, but see my "Fugitive Slaves: Resistance to Slavery in the Sokoto Caliphate," in Gary Y. Okihiro, ed., In Resistance: Studies in African, Caribbean, and Afro-American History (Amherst, 1986), 71-95 and "Problems in Slave Control in the Sokoto Caliphate," in Lovejoy, ed., Africans in Bondage: Studies in Slavery and the Slave Trade (Madison, 1986), 235-72. 44. Hilary McD. Beckles, "The Colours of Property: Brown, White and Black Chattels and their Responses to the Colonial Frontier", Slavery and Abolition, 15, 2 (1994), 36-51. 45. David Brion Davis, The Problem of Slavery in Western Culture (Ithaca, 1966). 46. Thornton, "African Political Ideology and the Haitian Revolution," 181-214. 47. Martin A. Klein, "Slavery, the International Labour Market and the Emancipation of Slaves in the Nineteenth Century", in Paul E. Lovejoy and Nicholas Rogers, eds., Unfree Labour in the Development of the Atlantic World (London, 1994), 201. 48. Contrast Hilary McD. Beckles, "Caribbean Anti-Slavery: The Self-Liberation Ethos of Enslaved Blacks", Journal of Caribbean History, 22, 1/2 (1990), 1-19 with Davis, Problem of Slavery in Western Culture or Robin Blackburn, The Overthrow of Colonial Slavery 1776-1848 (London, 1988). Similarly, Seymour Drescher frames his historical questions about abolition in terms that ignore the African contribution to the anti-slavery movement; see Capitalism and Antislavery: British Mobilization in Comparative Perspective (Oxford, 1987). 49. "African", from Peter Tosh, "Equal Rights", 1977.

Word Count: 650