The Artists of Cubism, Futurism, and Constructivism

Within 40 years, the art world was presented with works of art that ranged from Bouguereau’s “The Birth of Venus” (1879) to Malevich’s white square on a white canvas (1918). This rapid change was largely driven by a new emphasis on the importance of The Artist; the artist is no longer just a medium that represents the world, but a source that creates it. During this time, there was a belief among many that artists occupied a special place in society, that they were somehow “different” and superior to other people, and had a “loftier spiritual vision.” The artists were therefore given a special type of power (or perceived power) to affect more than just the art world, and so we see the artist’s persona as well as his moral and social values become almost as important as the art itself. For example, Futurism was not only an art movement but an ideological movement as well (complete with numerous manifestos), so the artists sought to use art to further their ideology. The artist’s persona also adds to the appeal of the art. Nash mentions how Picasso’s image as unpredictable, indifferent, and original was carefully promoted through journalism while the Futurist painters “lived on publicity.”

Rivalries between the artists and the various movements were also a major factor that influenced the surge in innovations in the early 20th Century. Each of the artists of these movements sought to be as original as possible, to be the true “inventors” of their art. However, as Picasso said, “There is no abstract art. You must always start with something.” Nevertheless, the artists continued to strive towards originality and in the process were both influenced by and competed with each other. Through friendship and rivalry, Picasso and Braque took cubism to its greatest heights. Cubism then went on to influence and challenge the Futurists and Constructivists to push the limits and redefine not only art’s aesthetics, but also its value and purpose as well.