Through his cooperation with Picasso, Georges Braque (1882-1963) stood at the forefront of the development of cubism. He was one of the first artists to apply decorators to painting, and introduced the idea of using unexpected materials in art.
Despite being born in Argenteuil on the outskirts of Paris, Braque grew up in le havre. He trained as his father’s house painter and decorator, as well as an evening course in painting and painting.
In 1902, he moved to Paris to study at various art schools. After visiting salon d ‘automne in 1905, he contributed his Fauvist paintings to his salon des independennes the following year.
In 1907, he was fascinated by Cezanne’s retrospective and Picasso’s new painting, “redi stiles avignon,” who saw the painting in his studio. Abandoning the beast’s prosperity, he and Picasso began making new forms of painting, presenting multiple perspectives on a single canvas.
In 1908, the art critic Louis Vauxcelles mockingly described how the paintings of the house in Estaque were made up of “fantastic cubes”, thus creating cubism.
Braque and Picasso believed that their approach was a more descriptive way of expressing the three-dimensional world on a two-dimensional surface, rather than the existing linear perspective tradition.
However, the resulting images are not always easy to understand, so in order to help explain, braque began to print letters and Numbers on his work. This stage is called analytical cubism.
Since 1912, the two artists began to try to use paper colie, this is a kind of Braque collage technique, by all sorts of all sorts of other objects and materials together fragments to his canvas. He also mixes paint with sand to create texture and USES the wrong visual effects of marble and wood grain he learned while training as a decorator.
This stage is called synthetic cubism. Although Picasso moved from cubism in 1914, braque continued to try throughout his career. In soft colors, this painting is part of his analysis of the cubism. The similarity of color, layer and broken plane makes it difficult to decipher.
Eugene Henri Paul Gauguin (1848-1903) had a profound influence on the development of 20th century art in the late 19th century. Originally a stockbroker, he left his job in his early thirties and abandoned his wife and five children in pursuit of his artistic dream.
As an artist, gao is struggling against public opinion. In master impressionist painting light and the method of moment, he looked at Brittany rural religious groups, later also studies the landscape and the Caribbean community, but also explores the latest scientific color theory.
After two months in the south of France, van gogh’s new synthetic oil painting, which combines symbolism and color theory, grew more strongly.
He marked his style with his own style, but it is also known as Cloisonnism, which describes bold, flat color areas separated by black lines. In addition, his style is often defined as Primitivist, which reflects his admiration for the art of early culture from Africa, Asia, French Polynesia and Europe.
He then inspired Les Nabis, a Hebrew and Arabic “prophet”, a group of young artists following his approach.
This painting was executed when he was living in the Pont-Aven in Brittany. It depicts a pious Breton woman’s imaginative biblical story in response to the sermon they have just heard. In order to show that this is not a realistic narrative, but a mysterious visual, gauguin to both sides of the story as a children’s book or stained glass window, and put the image on the flat red background.
This is his first synthetic or manicure painting, with bold, unnatural colors that look like pinched enamel or stained glass. The theme shows that he is determined not only to paint what he sees, but to draw what he imagines.
After to other artists on display, including Jacob Meyer DE Haan (1852-95), Charles Laval (1862-94), Louis Anquetin (1861-1932), Paul Serusier (1864-1927), Emile Bernard (1868) – 1941) and armand S6guin (1869-1869), gauguin to be a leader in the so-called peng elvin school.