Nash: Cubism, Futurism and Constructivism

In “Cubism, Futurism and Constructivism” J.M. Nash explains the history behind all the art movements, as well as the main art contributors. Each movement had its own characteristics that set them apart, but they also had many similarities. Each movement evolved from the ideas and style of the previous movement, yet each was willing to criticize their predecessors.
The paintings Demoiselles d’ Avignon and Nude, by Picasso and Braque, defined the characteristics of Cubism. Both took on the human form and defied the nature contours and shape that had previously been seen. “It was the ugliness of the faces that froze with horror the half-converted.” (Nash 12). Like some previous work the raw sexual aspect of the figures disturbed audiences, Picasso paints a woman with her legs wide open, invited anyone to her. Braque’s painting has a woman looking over her shoulder almost invitingly, this is odd because the eyes are hollow yet her stance looks inviting. With these new disfigured models art began to take a more abstract form moving into the 20th century. Although this new style emerged it has influence from Cézanne, Cubism had a geometric aspect to it. It formed rigid lines that broke down shapes and had obvious outlines, unlike the Impressionists who strove to get rid of lines. Cubism began with a very private circle; it was not for the public. Picasso was not setting out to change art for the world nor find “eternal truth”, his art was for him to just express. Cubism evolved into making fake textures, that eventually as adapted into the Futurism style. Futurist painters emphasized the change in moods in every painting, often trying to capture opposite moods. The Futurists movement lived off of publicity that ended with WWI; they owed much more to the Cubists than they ever wanted to admit, but were still able to make themselves original. The Constructivist movement began after the Russian Revolution, by Tatlin who became inspired by Picasso’s collage style. They wanted to change the old art world, as Picasso’s art became much more known the original purpose and intended meaning were lost. The preceding movements were not meant to be private; they were in fact very public. Lissitsky’s geometrical layouts and typography were seen as revolutionary that created “new types of spatial relationships, new inventions of forms, new visual laws” (Nash 201). As the time periods shifted each became much more geometrical, mechanized and abstract.