Responces to Cubism, Futurism and Beyond

Natalia Goncharova, Rayonism(blue-green) Forest, 1913

Process of vision based on scientific research. Representation of how people react with the visual world.

Ferdinand Leger, Nudes in the forest, 1910-1911

Sharply jaxtoposed shapes, robotic, parts of pipes, machines. Natural world taken over by industrialization. Increacing power of technology at the dawn of the new era.

Albert Gleizes, woman with phlox, 1910-1911

Conventional subject matter, woman's connection to nature, traditional view of woman's role in society. Ornamental. Space is relatively conventional. Allusion to 3-d

Sonia Delaunay, Blanket, 1911

Early textiles are related to birth of abstruction.

Kazimir Malevich, Black Square, 1915

Final reduction of painting. The end of painting. Creation of a trully democratic painting, removal of the cultirally specific referemces. Spiritual painting. Conceptual. Malevich is interested in the ways of representing 3d space that was not relient on Renaissance tradition. Optimism, belif that artists can change the world.

Giacomo Bella, Dynamism of a dog on a leash, 1912

Inspired bu the early photography

Umberto Boccioni, States of Mind, 1911

Liniar architecture, grid, train, geometric planes. No cohearent light source. Small patches of complimentary colors. Vibrating patterns. Trains took people to thr front in WWI and brought them back. Emotionally charged spaces.

Robert Delaunay, Simultaneous Windows, 1912 Breaking free from Cubism to embrace brilliant color and representations of time and experience, Orphism introduced non-objective painting to French audiences. As one of the earliest styles to approach complete abstraction, Orphism brought together contemporary theories of philosophy and color to create works that immersed the viewer in dynamic expanses of rhythmic form and chromatic scales. Less than a long-term, cohesive movement, however, Orphism was a loosely bound group of artists with the common goals of moving beyond concrete reality to present a flowing vision of simultaneity and flux. It flowered briefly in the years leading to World War I, before fading with the rise of the war in 1914.

Simultaneous contrast. Influenced by color theory, adjecent colors influencing each other.