Wednesday, October 1, 2008

While each of the Cubist, Futurist, and Constructivist movements are distinguished by style, technique and a fundamental set of values, all great works are influenced by the styles that preceded them. And it is through this mode of reasoning that we are able to draw connections and trace major influences between movements. However, each artist credited with championing a "revolution" is of remarkably different character lending themselves to very different environments and social values, setting each movement apart from the rest.

By the times of Futurism and Constructivism, Cubism had a foot firmly planted in the door of modern art. Although one can easily trace the influence of Cubism in these subsequent movements, it is the personal and social implications that lead to the use of Cubism in alternate forms of expression that I am interested in. If we were to group Cubism, Futurism, and Constructivism under the umbrella of "modern art" we might want to explore, what in psychology is called equifinality. To use the term loosely, equifinality is when multiple people have different life experiences that ultimately lead them to the same place. I am in no way suggesting that these styles of art are analagous, I am merely hoping to highlight the unique backgrounds that give way to such styles.

Each movement has a monumentally different foundation with a distinguished individual at the core. The ideals and techniques set in place by these individuals are representative of their specific styles which were occassionally borrowed or replicated by others. At the root of modern art, we find Cubism. This private art form was developed with an exclusive group of friends centered around a poor painter named Picasso. The author of the text, J.M. Nash, explains the "...heart of true Cubism..."(216) as spontaneous and witty. If this is, in fact, the case- how can it so easily translate to Futurism whose core values glorify violence and the destruction of knowledge? This overtly aggressive movement is characterized by a wealthy Marinetti's manifestos calling the people of Italy to action.

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