Analyctical Cubism

Paintings executed during 1910-1912, showed the breaking down and analysis of a form. It was favoured to have right- angels and stright- line constructions some of them appeared sculptural.

Pablo Picasso (1881-1973) "Girl with a Mandolin "

Oil painting on canvas

Simplified, nearly monochromatic colours (brown, gray, cream, green or blue were preferred).

In order not to distract the viewer from the artists primary interest, from the structure form itself.

Giacomo Balla

Giacomo Balla, was part of the first wave of Futurist painters.

Balla´s earlier works were greatly influenced by Seurat, but by 1912 he had joined the Futurist movement. After 1909 Balla´s paintings became more and more concerned with the portrayal of light, speed and movement-this fascination in demonstrated in his works such as the Hand of the Violinist, and the speed of the Motorcycle.
As 
Balla thought to break down elements such as the light to their simplest forms he moved closer to total abstraction in his paintings.

Balla´s paintings and sculptures slowly began to shift to more geometric forms, which he would alternate with figurative abstraction.

"Dynamims of a Dog on a Leash"

Oil on canvas in year 1912.

"Speed of Motorcycle"
 1913 Oil on Canvas

Shape Noise Motorcyclist and Speed of a Motorcycle exemplify the Futurists' insistence that the perceived world is in constant motion. This painting illustrates light, speed and movement, which Balla sought to break down to their simplest forms while moving closer to total abstraction.

Futurism

The Futurism movement, ranging from 1909 to 1944, originated in Italy as an avant-garde movement that took technology, speed and modernity as its inspiration.

Futurism conveyed the technological dynamics of twentieth century life. The futurist style glorified the machine age and war, and favoured the rise of Fascism. In 1909 Filippo Marinetti created his first manifesto of the art style. In bombastically provocative language the manifesto, violently anarchical in tone, announced the birth of a new literary and social movement and called upon the young to flock to the banner,. The general tone of the manifesto with its exaltation of violence and conflict owed much to the influence of Nietzsche, who despite later repudiation had also influenced by Boccioni and the other Futurists, and the passion for movement and change for their own sake derived from Bergson, who at that time enjoyed a vague among the advanced intelligentsia of Italy. Futurist painters had no specific visual style.

" Idea was all in one content" The Futurist practiced in every medium of art, including painting, sculpture, ceramics, graphic design, industrial design, interior design, theatre, film, fashion, textiles, literature, music and architecture.

(Giacomo Balla, Abstract Speed + Sound, 1913-1914)

Oil on millboard with artists painted frame.

It has been proposed that Abstract Speed + Sound was the central section of a narrative triptych suggesting the alteration of landscape by the passage of a car through the atmosphere.¹ The related Abstract Speed, the car has passed would have been the flanking panels. Indications of sky and a single landscape are present in the three paintings; the interpretation of fragmented evocations of the car’s speed varies from panel to panel. Crisscross motifs, representing sound, and a multiplication of the number of lines and planes.

Picasso´s Influences

Picasso was influenced by the simplicity of African and pre- Christian Liberian sculptures and started exploring them in his work. His painting in year 1907 " Les Demoiselles d` Avignon" can be considered this first work of Cubism. He started to use real Materials for his cubist works, a style that came to be called `Collage`.

Pablo Picasso`s Plitical Views

Picasso remained neutral during Worl War, the Spanish Civil War, and World War 2, refusing to fight for any side in Century. some of his contemporaries felt that his Spacifism had more to do with cowardice tha priciple. As a Spanish Citizen Living in France,Picasso was under no compulsion to fight against the invading Germans in World War 2. While Picasso expressed anger and cordemation of Francisco France and fascists through his art, he did not take arms up against them. In 1944 Picasso joined the French Cumminist Party, attended an international peace conference in Poland, and in 1950 received the Lenin Peace Prize from the Soviet government. But party's ctiticism of a portrait of stalin as a insufficiently realistic cooled Picasso's interest in communist Party until his death. He was against the intervention of the united nations. The united nations and the united states in the Korean war and he depicteded it in Massacre in Korea. In 1962 he received the international Lenin Peace Prize.   

The Futurist Manifesto

The Futurist manifesto, written by Filippo Tommaso Marinetti, was published in French in "Le Figaro" on 20th February 1909. It launched as an art movement, futurism that rejected the past, celebrated speed, machinery, violence, youth and industry, and sought the modernisation and cultural rejuvenation of Italy. The founding and manifesto of Futurism allows a sharper comprehension of a cultural evolution in Italy at the beginning of the 20th century, meant as an intellectual avant-garde.

Manifesto

MANIFESTO OF FUTURISM

1.We want to sing the love of danger, the habit of energy and rashness.

2.The essential elements of our poetry will be courage, audacity and revolt.

3.Literature has up to now magnified pensive immobility, ecstasy and slumber. We want to exalt movements of aggression, feverish sleeplessness, the double march, the perilous leap, the slap and the blow with the fist.

4.We declare that the splendor of the world has been enriched by a new beauty: the beauty of speed. A racing automobile with its bonnet adorned with great tubes like serpents with explosive breath ... a roaring motor car which seems to run on machine-gun fire, is more beautiful than the Victory of Samothrace.

5.We want to sing the man at the wheel, the ideal axis of which crosses the earth, itself hurled along its orbit.

6.The poet must spend himself with warmth, glamour and prodigality to increase the enthusiastic fervor of the primordial elements.

7.Beauty exists only in struggle. There is no masterpiece that has not an aggressive character. Poetry must be a violent assault on the forces of the unknown, to force them to bow before man.

8.We are on the extreme promontory of the centuries! What is the use of looking behind at the moment when we must open the mysterious shutters of the impossible? Time and Space died yesterday. We are already living in the absolute, since we have already created eternal, omnipresent speed.

9.We want to glorify war — the only cure for the world — militarism, patriotism, the destructive gesture of the anarchists, the beautiful ideas which kill, and contempt for woman.

10.We want to demolish museums and libraries, fight morality, feminism and all opportunist and utilitarian cowardice.

11.We will sing of the great crowds agitated by work, pleasure and revolt; the multi-colored and polyphonic surf of revolutions in modern capitals: the nocturnal vibration of the arsenals and the workshops beneath their violent electric moons: the gluttonous railway stations devouring smoking serpents; factories suspended from the clouds by the thread of their smoke; bridges with the leap of gymnasts flung across the diabolic cutlery of sunny rivers: adventurous steamers sniffing the horizon; great-breasted locomotives, puffing on the rails like enormous steel horses with long tubes for bridle, and the gliding flight of aeroplanes whose propeller sounds like the flapping of a flag and the applause of enthusiastic crowds.