Cubism Influence on contemporary art

The discovery and emergence of science have moderately improved the probabilities of expansion in an artwork. Modern art consequently by a period of institution bear a significant impact on current postmodernism and contemporaries. As such influence as had through the modernist artists, a particular set of similarity is expected to appear between the modern and contemporary merchandise of design but quite adjusted towards more exceptional and relevance to society regarding problem solution.
These periodic transformations had been marked by movements generally characteristic of a renewed approach to artwork and a significant historical match in evolution. Based on the emergence of new technology, hence unique perspective, a radical approach that expands possibilities of art beyond limits became a necessity to create an abstract style of modernism.Overview of CubismJoined by a common interest in Paul Cezanne’s paintings, two great painters, Pablo Picasso and Georges Braque came together to develop the idea of Cubism in Paris during the early years of 1907 (Heywood, 2017). Cubist painters consequently developed a two-dimensional prospect of the canvas to provide an image of space in paintings. Instead of an abstract nature of particular fore view, they reduced and fractured the objects to create geometric forms within a shallow area in relief form. Objects appeared realigned in space and multiple of vantage points included creating contrast.Three phases; Facet or Pre-Cubism, Analytic and Synthetic Cubism occurred in the development of the movement, each characterized by own culture of attributes (Heywood, 2017). In pre-cubism, characters, landscapes and still life were painted and aimed set to reduce the motifs of fundamental geometric forms (Acheampong & Berg, 2015). Analytic phase, on the other hand, was a period of analysis in which natural forms were then reduced to elemental geometric parts on the two-dimensional picture plane, color became almost non-existent with exceptions of monochromatic schemes and general shapes such as spheres, cylinders and cones were focused on representing the natural world.Lastly, Synthetic cubism comparatively to analytical had fewer planar schematism, less shading, flatter space and pushed several objects together unlike pulling them apart into planes in the case of systematic. A great variety of subject matter was merged with a special introduction of surfaces, texture and collage elements on the canvas adding an essential ingredient of elegant design. Two general artworks become ideal for analysis of the influence cubist modernists had on its contemporaries and postmodernists (Ibrahim, 2014).Pablo PicassoAs a modernist, Pablo initiated the significant events that onset the cubists with some paintings that were mostly renowned and borrowed mainly from (Utell, 2016). Two works are acknowledged, among them; The Still Life With Mandolin and Guitar in 1924 and Factory, Horta de Ebbo of 1909.Factory, Horta de Ebbo 1909This piece has a massive draw from Cezanne in form and color. In it, Pablo takes pleasure in painting the topographical view of landscape features (Arnason & Mansfield, 2013). To serve the compositional structure of his work, he decides to include elements not typically present in the village of Horta. Featuring the chimney in the background and the palm trees are, in fact, not really evidently present in the town but represented as situated beyond the factory building. The factory buildings are created advancing through space by sharp cutting edges and lines constructed geometrically to produce facades from a different perspective of angles. The colors used do not show much contrast, but they depict a maximum separation of features and distinction of location within the space.Factory, Horta de Ebbo (1909)Still Life with Mandolin and Guitar (1924)This piece is a derivative of small watercolors exhibited almost immediately after world war I concluded (Ibrahim, 2014). Within, features the view beyond of a clear blue sky against which a thin tart of almond-paste with a crisscross crust to represent a gallery and bottle of wine are set out on open window towards a balcony. The palette produces a picture typical of relaxing Mediterranean ambiance serving somber outplay of colors but with the clarity of effect on objects. Considerably, this piece appears to focus much of its pictorial distinctions on a sharp contrast of color to bring out elements in the foreground against a spatial background. The features correspond well with the advancement of colored space to show the existence of nature around the objects.Still Life with Mandolia and Guitar (1924)Contemporary Cubism Café by Mischi92This piece of work includes a lot of textures and shading, in which there appears to be a designed balance of combined wrinkled paper and cloth fabric (Rand, 2014). The coffee emerges as a liquid out of the spout, and through the grey, triangle comes out as cubes that transform into liquid.The Cubism Cafe In a different life by Mischi92In a different LifeComparison of workContemporary artists have created a design of work primarily on similar features as those by famous modernists, based on objects, places, and people (Basiri & Mousavilar,2017). In contrast, though, their work appears to display multiple views of the subject at a time, done from different angles. A general intention to reconfigure space is methodically done by reconstruction of the elements into a composition of planes, colors, and forms. As a result, the image shown concisely reveals the front, sides, and back of the elements in an interchangeable design. Compared to the works of contemporaries, the modernists removed bright colors from their composition to manifest monochromatic earth tones and focus primarily on structure and simultaneous depiction of different viewpoints.As evidenced in the portrait of Horta by Pablo, in which sharp cutting edges and geometrical bearing of the elements portray reconstruction on an image, a similar outplay of features reveal in a more or less advancement the works of contemporary artists ( Muñiz, Norris & Alan, 2014). In a bid to avoid over-reliance on color, geometrical bearings, and sharp angular edges to depict the spatial location of features, cubist contemporaries focus less on planar composition but more on excellent contrast on the color of natural space against the objects within the display.In most contemporaries, space is not necessarily reconfigured and elements deemed interchangeable in the design as does in modernism but instead views the subject as the occupant of a fixed natural position that cannot be easily altered regarding topographical bearing (Fruscione,2015). As a result, there appears to be a more precise definition of space and perspective of view, necessarily regarding spatial focus by contemporary designers.ConclusionModern and contemporary art can neither be exclusively reliant on unique features nor be regarded as carefully tied to compositional characteristics, but one noticeable feature is the fundamental basis their construction. Whereas modern art began on specific characteristic features, contemporary art either took an adaptive part in development or reactive approach to the inadequacies of current ideas. In such regard, a crosscutting similarity and far-fetching differences are suggesting the idea that modern art has impacted an extent of existence and development of contemporary art.ReferencesAcheampong, A. F., & Berg, A. (2015). Sculptural cubism in product design: using design history as a creative tool. The Design Society.Arnason, H. H., & Mansfield, E. (2013). History of modern art: painting, sculpture, architecture, photography. Pearson.Ashby, M. F., & Johnson, K. (2013). Materials and design: the art and science of material selection in product design. Butterworth-Heinemann.Basiri, F., & Mousavilar, A. (2017). Modernism in Persian Painting And Studying Cubism Art Style In The Art Works Of This Era. Turkish Online Journal of Design Art and Communication, 7(1), 77-86.Fruscione, J. (2015). Teaching Hemingway and Modernism.Heywood, I. (2017). Cubism and the Iconic Turn: A Climate of Practice, the Object and Representation. The Handbook of Visual Culture, 200.Ibrahim, E. S. (2014). Symbolic design in some of the artists work Contemporary art trends and modern Kmather the cultural community in a globalized world. Damietta University Publication, 1(1)Muñiz Jr, A., Norris, T., & Alan Fine, G. (2014). Marketing artistic careers: Pablo Picasso as brand manager. European Journal of Marketing, 48(1/2), 68-88.Rand, P. (2014). Thoughts on design. Chronicle Books.Utell, J. (2016). Picasso: The Great War, Experimentation, and Change, and: Picasso: The Great War, Experimentation, and Change by Pablo Picasso, Mariah.