CEVIPAZ

VIRGEN DE LA PAZ EDUCATIONAL CENTER

Practical work
Of
History of art

The avant-gardes of the

20th-21st century
Theme: Cubism
Member :
 Ada Godoy Rivas.

Teacher:
 Prof. Lic. Rita E. Caves .

Course:
 1st Year of Teaching in Plastic Arts (Second Semester)

September-2022
Introduction.
Cubism is a cerebral and intellectual art since it places mental subjectivism (what the brain can
freely build or destroy). It is an essential trend as it gives rise to the rest of the European avant-
garde of the 20th century. It is not just another ism, but rather the definitive break with traditional
painting.

Cubism.
Cubism was the first avant-garde pictorial artistic movement of the 20th century to emerge in
France. It was born in 1907 and finished in 1914 by the painters Pablo Picasso, Georges Braque
and Juan Gris. His impact was such that he is considered a precursor of abstraction and artistic
subjectivity in its contemporary sense.

The Cubist movement established, for the first time in history, an authentic break with Western art
which, until then, was based on the imitation of nature and the idea of beauty, which then
represented a great scandal, especially among the most conservative.

General characteristics.

 Cubism represents reality through geometric figures, producing a disruptive and fragmented
visual effect.
 He uses gray, green and brown colors, leaving aside the typical colors of impressionism; in the
first years of this trend, the monochrome palette was the only valid tool for the painter.
 Cubism places objects on the same plane, rejecting the real appearance of things and their
depth.
 On some occasions, Cubism had to use a brief linguistic discourse, which allowed it to explain
the author's proposal, due to the difficulty of interpretation on the part of the viewer.
 Cubism is one of the most important artistic movements of all time. Its aesthetics are
unmatched and it represented an unparalleled conceptual breakthrough.
 The figures are compartmentalized into cubes and prisms so that the compositions can be seen
from all points of view simultaneously.
 The Cubists continued to seek inspiration in references from the past: landscapes, portraits, still
lifes.

Historical context of cubism.

The characteristics of cubism start, like all transformations, from a historical process with political,
economic, cultural and artistic implications. Many things were changing in the late 19th century and
early 20th century.

Technological development had reached a truly transformative point. The invention of the
automobile in 1885 and the airplane in 1903 had changed the perception of distance and time. The
first wireless radio transmissions in 1895 radically changed the parameters of communication. The
creation of the cinematograph in 1896 allowed a new conception of the image to which movement
was incorporated, with many consequences for the visual arts.

As if that were not enough, European monarchical systems began to be replaced by democratic
republics, while socialism and communism grew in the face of the socioeconomic dynamics
generated by capitalism. It was evident that the new era that was making its way, this industrialized
and massive society, was not reflected in the traditional plastic arts, which remained tied to the
imitation of nature and/or content.

Influences of cubism.
The conceptualization of Cubism also responded to the ideas that, both artistically and culturally,
swarmed at the beginning of the 20th century, and that caught the attention of young artists. Not
only were there new ideas, but new ways of looking at the world were available.

Influence of post-impressionism.

Paul Cézanne: Houses in L'Estaque. 1880. Oil on canvas .

The post-impressionists had attracted attention at the beginning of the 20th century. Young artists
residing in Paris were particularly moved by a retrospective exhibition of the French painter Paul
Cézanne, held in 1907. Cézanne was characterized by reducing the volumes of objects to essential
geometric elements such as the cylinder, the cube and the sphere.

Georges Braque: Houses in L'Estaque. 1908. Oil on canvas. 73cm × 59.5cm. Kunstmuseum Bern, Bern.

The new artists were captivated by the saying of the post-impressionist Paul Cézanne, for whom “all
forms in nature start from the sphere, the cone and the cylinder.” Therefore, they began to work on
the observation and analysis of the image, in order to find its essential geometric elements.

Influence of African sculpture and Iberian art.

Left: Iberian sculpture from the 3rd or 2nd century BC Right: African mask.

Influence of technological development.

The two-dimensional image was no longer limited to just capturing a moment. The cinematographic
camera had managed to make the image a temporal narrative possibility thanks to the invention of
the montage technique, introduced by Edwin S. Porter and developed by Griffith. If photography
freed painting from the imitation of nature, cinema freed it from the obligation to tell stories.

Influence of scientific thought.

The artists who developed cubism were influenced by the theories of Albert Einstein. For the well-
known scientist, it was impossible to determine a movement; An object could appear to be still or
move depending on perspective. From there, then, the concept of overlapping perspectives would
result.

The origin of cubism.

Cubism had its origins in an artistic discussion group installed on

the boulevard of Montmartre, in a building they called “Bateau-
Lavoir”. This building was the residence of Pablo Picasso, Georges
Braque, Juan Gris, Max Jacob, Kees Van Dongen, Constantin
Brancusi, Amedeo Modigliani and other artists.

The discussion group even received a visit from the painters Henri
Matisse, who exercised great

Influence on Picasso and Braque, and Diego Rivera. The writers Jean Cocteau and Guillaume
Apollinaire also frequented it, the latter creating the text The Cubist Painters (Les Peintres
cubistes), published in 1913. The researcher Blas Matamoro, in an essay titled Apollinaire, Picasso
and poetic cubism (1988), maintains that:

It is said that Matisse was the one, observing a painting by Braque in 1908, who compared the
composition to a mass of small cubes. The critic Luis Vauxcelles, returning to Matisse, coined the
word cubism when commenting on an exhibition by Braque that year, but it was Apollinaire who
attempted the first conceptual approaches to cubist painting, attributing its paternity to Picasso, of
whom the cubists would be mere and flat. imitators.

(The bold are ours)

The strategic figure who helped the extraordinary spread of Cubism was the writer, art collector and
dealer Daniel Kahnweiler, a staunch defender of Cubism and its most important artists: Pablo
Picasso, Georges Braque, Juan Gris and André Derain, although the latter He was best known for
his Fauvist work. Kahnweiler played a fundamental role in turning his gallery into a center for the
dissemination of Cubism.

Stages of cubism or Types of cubism.

1. Protocubism (Primitive Cubism or Cézannesque period)

Proto-Cubism is the experimental phase between Impressionism and Analytical Cubism that took
place from the beginning of the 20th century until approximately 1906. Proto-Cubism is sometimes
grouped with Cezanian Cubism , a nod to the profound influence of French post-impressionist
painter Paul Cézanne on the birth of the Cubist movement.

Cezanian Cubism refers to Cézanne's angular, geometric paintings and the distinctive style that
united the Impressionist and Cubist styles. Cézanne was interested in simplifying natural forms
down to their geometric foundations using “broken brush strokes” and “constructive brush strokes,”
which were common techniques of Impressionism. Cézanne's method of constructing forms with
fragmented brush strokes and his analytical approach to landscape painting influenced the Cubists,
the Fauves, and successive generations of avant-garde artists.

Characteristics of protocubism.

Many early Cubist paintings also seem to capture the creative essence of the physical world rather
than simply reproducing what is observed in nature. Proto-Cubist paintings, such as those of Paul
Cézanne, achieve this creative appeal because their use of color, form, and perspective deviate
from tradition.

Cézanne constructs shapes and figures within his paintings using modulated colors rather than
continuous lines, and many cubic and conical shapes blend into the scenes depicted. Classical
perspective, generally perceived as the illusion of three-dimensional space, is also gradually
removed from Cézanne's efforts at objective representation, revealing a general flattening of the
picture plane.

Protocubism art.
Pablo Picasso, The Young Ladies of Avignon, 1907 .

Georges Braque, Landscape at La Ciotat, 1907.

. Paul Cézanne, Château Noir, 1903-4.

Proto-cubism artists.

Paul Cézanne was a key figure in the early experiments that led to the birth of Cubism. Cézanne's
almost geometric paintings gave rise to many of the early pictorial experiments of Pablo Picasso
and Georges Braque, which ultimately helped crystallize and unify Cubism as a movement of its
own.

Jean Metzinger, Gino Severini and Robert Delaunay were also among the artists experimenting
with the proto-Cubist style despite having previously worked under the umbrella of Fauvism. The
work of Henri Matisse, Paul Gauguin, André Derain and other Fauves also played an essential role
in the development of Cubism.

2. Analytical cubism or hermetic cubism.

Analytical Cubism is the first phase of the Cubism art movement that developed around 1907 and
lasted until 1912. Analytical Cubism describes the analytical, piece-by-piece approach that artists
used to represent their subjects, as an aesthetic dissection of form.

The experimental style of Picasso and Braque, which took Cézanne's avant-garde approach to
painting one step further, influenced a second important phase of Cubism, called Synthetic Cubism.

Characteristics of analytical cubism.

Analytical Cubism is characterized by paintings that depict a subject from multiple overlapping
points of view within a single pictorial plane. The resulting works have a fragmented, geometric and
abstract appearance and a monochromatic color palette.
Analytical cubism art.

Georges Braque, Still Life (Violin and

Candelabra), 1910

Pablo Picasso, Girl with Mandolin (Fanny Tellier), 1910

Artists of analytical cubism.

Artists Pablo Picasso and Georges Braque were at the forefront of analytical cubism for many
years, along with Juan Gris. Many other artists began to adopt the unconventional methods of
Cubism, such as Albert Gleizes and Jean Metzinger.

3. Synthetic cubism.

Synthetic Cubism is the second phase of the Cubism art movement that lasted from approximately
1912 to 1914.

Synthetic Cubism is characterized by flat representations of everyday objects and compositions that
are bolder and more symbolic than its precursor, Analytical Cubism. The theme of the paintings of
synthetic cubism was less structured than that of analytical cubism. In fact, it bordered on
abstraction and was an important influence on the development of abstract art.

Collé paper, a cutting and pasting technique fundamental to synthetic cubism, is also the precursor
of what we know today as collage.

Characteristics of synthetic cubism.

Unlike the deconstructive process of analytical cubism, artists working in the style of synthetic
cubism depicted their chosen subject matter, usually existing objects and people, using a
combination of everyday materials and oil paint. The colors used in synthetic cubist art are also
varied and more vibrant than the monochromatic palette of analytical cubism.

Synthetic cubism art.

Still life with canvas chair, Pablo Picasso, 1912.

Suze glass and bottle, Pablo Picasso, 1912 .

Artists of synthetic cubism.

Like analytical cubism, synthetic cubism was led by artists Pablo Picasso and Georges Braque. By
1912, many more artists were working alongside Picasso and Braque in the Cubist style, such as
Juan Gris, Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier and Fernand
Léger.

The end of cubism and its importance.

Cubism had a very short life as a movement, as it disappeared in 1914 with the start of the First
World War. Even so, the aesthetic proposal of cubism penetrated the artistic imagination and
became a source of inspiration for artists and visual communicators.

Influence of cubism on contemporary art.

Futurism cube.
Left: Kazimir Malevich: The Knife Grinder (Principle of Glittering). 1913. Oil on canvas. 79.5 x 79.5 cm. University Art Gallery,
Yale.
Right: Marcel Duchamp: Nude descending a staircase No. 2 . 1912. Oil on canvas. 1.47 m x 90 cm. Philadelphia Museum of
Art, Philadelphia.

The first thing to say is that Cubism achieved a fundamental change in Western art: it consolidated
the appreciation of art as a reality autonomous from any content or theme to which it was devoted.

Although Impressionism had opened this path when it turned the subject's attention towards modes
of representation, the imitation of nature was still present. The post-impressionists came closer to
the extent that they gave expression to their inner world, to their particular way of seeing or feeling.

The cubists, on the other hand, went further by completely breaking with the dependence on the
referent and gave another perspective to the evaluation of the concept . That principle of maximum
autonomy and maximum freedom opened the floodgates of creativity and originality in Western art .

The spread of cubism inspired the creation of new groups such as:

 Orphic Cubism or Orphism , by the Frenchman Robert Delaunay, focused on the

importance of color and the use of compositional elements created by the artist.

 Puteaux Group , also related to Orphism. Some artists were Robert Delaunay himself,
Marcel Duchamp, Raymond Duchamp-Villon, Francis Picabia and Alexander Calder.

 Cube Futurism , which involved a combination of Cubism with Italian Futurism. Some
important names of this current were Kazimir Malevich, Oleksandr Arjípenko, Vladimir
Baranoff-Rossine and Sonia Delaunay.

 Neoplasticism of the Dutchman Piet Mondrian.

 Russian Suprematism by Kazimir Malievich.

 Sculptural constructivism by Vladimir Tatlin.

 Purism , a rational and geometric aesthetic movement promoted by the French Amadeé
Ozenfant and Charles Édouard Jeanneret (Le Corbusier).

Influence of cubism on graphic design.

Cassandre: Le Nouvelliste . 1923. Poster, art deco style. The influence of cubism and futurism is perceived.

The most important influence of cubism on graphic design is particularly recorded in typographic
design. This was possible through the invention of collage and the integration of typography into art,
which in addition to producing a formal effect, achieved new meanings through the association of
ideas.

In this way, cubism favored the development of design independent of nature. In its synthetic
phase, it encouraged the use of signs instead of recognizable figures. He also contributed the use
of flat sections of color, urban motifs and precision in angles. Finally, cubism created the challenge
of interpreting the theme through attraction to the new pictorial structure.

Cubism in Architecture.

Cubism had a great influence on architecture, but it did not occur uniformly throughout the territory
where the artistic trend was present. It focuses, above all, on what happened in the Czech
Republic, the cradle of cubist architecture.

Cubism and tradition

The mere incorporation of cubist painting approaches to

architecture seems too speculative: they attempted to
persuade themselves and the public that these designs have
been produced according to the laws of evolution.

Imitation of historic buildings and historicist styles is considered

highly immoral. The study of architectural tradition leads to the
understanding of universal laws and respect for tradition.
Architecture must thus coexist in harmony with the genius loci
(In Roman mythology a genius loci is the protective spirit of a
place, frequently represented as a snake. Today, this term
generally refers to the characteristic or distinctive aspects of a place and not necessarily to a
guardian spirit.)

The baroque inspiration.

– Fara House in Pelhřimov (1913-14) by Pavel

Janák; Reconstructed house in the historic town
center. The façade reflects a new conception of
space and the relationship of matter (as in Picasso's
analytical cubism), where matter is diluted in space,
the surface of architecture – cubist folds, fractures
and waves – became a “mixture of the matter
existing inside and the space outside.”

– Kovařovic Villa (1912-13) by Josef Chochol; The structure is reminiscent

of a baroque residence with avant-body and facades.

Gothic inspiration.

– Neklanova Street Building

(1913-14) by Josef Chochol has a strong, vertical
design. The slender corner column resembles the
interior balcony of a Gothic church; the crystalline forms
have the appearance of a late Gothic diamond vault;
ornamental character of the basement and the main
inclined cornice: “The parts that appear to be ornamental
are… so necessary in the total organism of the work that
in no case is it possible to tear it off entirely.”

Josef Chochol often composed his architecture based on

rhythmically laid out figure guides, which marked the
point at which the surface of his façade fractured.
In decoration: “we change the old detailed decoration for
the more complete and concentrated expression of the
evolving 3D matter.”

Inspiration in neo-classical architecture

– Bohdaneč Spa (1911 to 1912) by Josef Gočár was

inspired by neoclassical architecture of the spas built
in the 2nd half of the 18th century, articulated in an
elegant cubist grammar.
– House of the Black Madonna (1911 to 1912) by Josef Gočár,
originally designed in modern classical style (rational and
transparent structure), but after fundamental revision of the
reinforced concrete skeleton (inspired by Kotěra and his skeletal
compositions) acquired its distinctive cubist elements (the entrance
door, column capitals between the windows); It resembles baroque
creation; Fluted columns between the 3-story windows and the main
cornice create the classic impression.

Historical background:

 Construction of images through a geometric and formal structure.

 Multiplicity of points of view and perspectives executed in a single plane.
 Decomposition of natural and organic shapes, and converting them into figures or orthogonal
shapes.
 Lighting from different points.
 Greater expressiveness in Architecture.
 Monochromaticism based on opaque colors such as browns and grays.
 Straight lines but based on irregular angles.

Main features :

It is against:

 Architecture that is too utilitarian.

 Architecture that is too materialistic.
 Architecture that lacks spiritual beauty.
 Architecture that is not theoretical enough.
 Decoration and additional ornaments.

Cubism claims:

 Architecture must be more poetic.

 Architecture must be more expressive.
 Architecture must be more dramatic.

Architecture must be more artistic (artistic thinking and abstraction will take over practice)
Faced with the existence of matter (monolithic, passive substance, dead), the artist's spirit focuses
on reversing this dead substance, reshaping it (creating a spiritual form), and even desires to
destroy it.
The cubist forms were also the result of speculative reflection on the optical effect of the games of
light and shadow on the facades; Janak's concept of frontality: facade must face several frontal and
lateral views at the same time.
Main cubist architects:

Pavel Janák (1881-1956) was an architect, designer

and leading theorist of the Cubist movement in the
Czech Republic. Pavel Janák (1912): says “The
constructive character of the modern geometric
style reflects the dependence on matter and its
weight. The new cubist style reflects the active
character of the human spirit and its ability to prevail
over matter.

Vlastislav Hofman (1964-1884) was a Czech artist and architect; Although

he was also a painter, set designer, graphic artist, furniture designer and
author, he was strongly influenced by Cubism: he says: “The orthogonal
system of the geometric modern style came to be replaced by a system
whose logic of form consists of composition in diagonal or triangular
planes.”

Josef Gočár (1880 – 1945): He is considered the most important

Czech architect of the 20th century. To expand his knowledge,
Gočár undertook numerous trips abroad. Upon his return to the
former Czechoslovakia (now the Czech Republic), the young artist,
influenced by modern styles, directed the workshop of his teacher
Jan Kotera, who was ill.

Josef Chochol (1880 – 1956): He often

composed his architecture on the basis of rhythmically established
guides in the figure, which marked the point at which the surface of a
façade fractured. “In the decoration, we changed the old detailed
decoration for the more complete and concentrated expression of the
evolving 3D matter.”

Cubism in sculpture .

It developed in parallel with Cubist painting,

beginning in Paris around 1909 with its proto-
Cubist phase, and evolving until the early 1920s.
Like Cubist painting, Cubist sculpture has its roots in Paul Cézanne's
reduction of painted objects into component planes and geometric
solids; cubes, spheres, cylinders and cones. The presentation of
fragments and facets of objects that could be visually interpreted in
different ways had the effect of "revealing the structure" of the object.
Cubist sculpture is essentially the dynamic representation of three-
dimensional objects in the language of non-Euclidean geometry by
changing views of volume or mass in terms of spherical, plane and
hyperbolic surfaces.
Pablo Picasso, head of a woman, 1909

The concept of Cubist sculpture may seem "paradoxical," writes George Heard Hamilton, "because
the fundamental Cubist situation was the representation on a two-dimensional surface of a
multidimensional space at least theoretically impossible to see or represent in the three dimensions
of real space, the “The temptation to go from a pictorial diagram to its spatial realization proved
irresistible.”

Main cubist works made in sculpture.

1. Head of a Woman (1909) - Pablo Picasso.

It is considered the first cubist sculpture in history. Originally made

in clay, the artist later created a bronze version.

Portraying his lover Fernande Olivier, this piece features a strong

geometric language.

2. Walking Woman (1912) - Alexander Archipenko.

Created by Ukrainian sculptor Alexander Archipenko, an artist who

dedicated much of his career to Cubism, this piece presents many different
points of view, expressed through its geometric shapes.

3. Head (1913) – Joseph Csaky.

Made by artist Joseph Csaky, this cubist sculpture represents the bust
of a man and opposes the delicacy of other movements.

Thus, it has a rigid structure and superimposed surface planes.

4. Femme au compotier (1920) – Henri Laurens

Made of terracotta, this sculpture by Henri Laurens presents different

angles and thus surprises the observer with its unique and original
aesthetic.

Cubism in painting.

Cubist Painting or the Cubist movement was the most revolutionary in the mid-15th century. At that
time when the Renaissance proposed three-dimensional painting, it was left behind by Cubism. This
occurs because these dimensions reflect in the paintings an ordered pictorial world but that does
not represent reality at all.

However, what cubist painting aims to do is through this art show the different faces of an object
that if we analyze it, the eye is not able to see them at the same time, but the quality is that it
remains in the memory.

Characteristics of cubist painting.

 Painting in this style is dedicated to representing geometrically shaped objects where they can
be observed from various points of view.
 What it does is divide the elements to turn them into unrecognizable shapes.
 The color tones used are around browns and grays, but not bright.

Main exponents of cubist painting .

Pablo Picasso Source

Picasso was not only the central figure of

Cubism, but an internationally renowned painter
and sculptor, considered one of the most
influential artists of numerous artistic
movements, as well as a cultivator of other
forms of art such as drawing , engraving,
illustration of books, the design of sets and costumes for theatrical productions, and he even had a
very brief literary work .

His most important works:

 The Lady of Avignon, (1907)

 Crying Woman, (1908)
 Self-portrait, (1906)
 Bust of a woman, (1906)
 The Woman with the Fan, (1906)
 The influence of black art.
 Harlequin family.
 Two naked women.

Georges Braque.

He was one of the classic representatives of cubism. Before

he was a house painter, like his father, and a member of
Fauvism, Braque's Cubist Collage included newspaper and
magazine clippings, liquor labels, cigarette packages, colored
papers and all kinds of found objects that the painter
incorporated into the canvas as another pigment. He is
characterized by still life in his creations.

His most important works:

 Still life on tree table.

 Houses on the pond.
 La Roche-Guyon.
 The Portuguese.
 Ceret.
 The roofs.
 The violin man.
 Violin and jug.
 The musician's table.

John Gray.

Spanish painter, maximum representative of synthetic cubism. He

painted his first watercolors at the same time that he published
humorous illustrations in different magazines. With his painting he
introduced the method into cubist praxis; The perfect definition of
work premises to which he remains faithful gives his works a strongly
personal style.

His most important works:

 Composition.
 The smoker.
 The tea cups.
 The lattice.
 Glass and packet of tobacco.
 The sink.

Fernand Leger.
He was one of the main protagonists of the Parisian avant-garde of the first half of the 20th century.
He trained as an architect in Caen, and in 1900 he moved to Paris, where he worked as an
architectural draftsman and attended the painting academies of Gérôme and Gabriel Ferrier.
Fernand Léger's painting was characterized by the confluence with architectural aspects, paying
special importance to the relationships between figures, lines and colors. Furthermore, his
preference for mural painting allowed him to introduce other factors into his works.

His most important works:

 Nudes in the forest ( 1909 - 1910 )
 Contrast of forms ( 1913 )
 On Stairs ( 1914 )
 The City ( 1919 )
 Three Women ( 1921 )

Jacques Villon.

He worked as a cartoonist and illustrator in newspapers and magazines

before settling in Puteaux, on the Ile-de-France, Hauts-de-Seine department.
His pictorial work began in cubism, but he abandoned it to work in realistic
and abstract styles incorporating bright colors and simplified shapes. His
experiments with space, line and color reach their greatest expression in his
work El Espacio (1932). Before that he painted abstract compositions such
as Color Perspective (1922). Throughout the 1920s he earned a living
working for a gallery as an engraver reproducing works by other artists.

His most important works:

 Space (1932)

 Color Perspective (1922)

Robert Delaunay .

He began his pictorial career influenced by the work of

Georges Seurat , then went through a brief Fauvist stage
and later drifted towards his own colorful style, based on
the principles of analytical cubism. He exhaustively
investigated the relationships between form and color: the
works that correspond to his period of maturity are
characterized by the systematic use of circular shapes in
flat colors, in order to provide movement to his compositions, as he learned from the theory of
chromatic simultaneism by Eugène Chevreul .

His most important works:

 Saint Severin, The City and The Eiffel Tower (1909)
 Laon Cathedral (1912)
 Circular disk (1912)
 The Windows (1912)
 The political drama (1914)
 Portuguese women.
 Gypsy in Madrid.

Thus, cubist painting began to proliferate around the world quickly and increasingly from that time
on it began to stand out from other styles. Without a doubt, he has left us superb examples, which
to this day are a source of inspiration and this movement is still valid.

Cubism in crafts (minor arts).

Fernando Llort.

(San Salvador, 1949) Salvadoran artist. Third of the six

children of the marriage between Baltasar Llort and Victoria
Choussy, he graduated from the Liceo Salvadoreño, a
prestigious educational institution administered by the
Congregation of the Marist Brothers, and from the late 1960s
he studied art in France and United States, as well as
theology in Belgium.

In 1973 he returned to El Salvador and settled in the town of

La Palma, a cool area surrounded by mountains located in
the department of Chalatenango, in the north of the country,
which would be selected as the venue for the first dialogue meeting between the government and
the guerrilla, on October 15, 1984. In that town he founded the Integral Development Center, where
he taught art classes, as well as the La Seed of God workshop, which began operating as a
cooperative in 1977 and where dozens of locals learned to make crafts. This cultural and artistic
impulse would give rise to the so-called Palmeño style.

Since 1968 he has held various individual and group exhibitions in France, the United States,
Mexico, Guatemala, Canada, Japan, Germany and Ecuador. Among the most notable works of
Fernando Llort are the colorful mosaics that adorned the façade of the Metropolitan Cathedral of
San Salvador, a monumental construction built during the second half of the last century and
inaugurated in 1999. The mural, titled The Harmony of My People, was made up of almost three
thousand tiles and took a year to assemble, being completed shortly before the inauguration of the
cathedral. However, a controversial decision by the archbishopric caused the mural to be removed
in 2011.

His art, rooted in pre-Columbian forms and

ethnic and indigenous elements, is
nevertheless perceived as open to modern
currents such as modernism and pop art, and manifests a civic, social and religious commitment.
Currently Llort is dedicated to carrying out various works for private collectors or other institutions or
churches that request his services, as well as creating drawings and designs for the artisans of La
Palma. He also promotes local craft products through the El Arbol de Dios cultural house, which he
founded in 1985; Located in the Escalón de San Salvador residential neighborhood, it has become
a point of reference for visitors looking for national crafts.

The influence of Pablo Picasso on the crafts of Fernando Llort.

Everyone who visits Chalatenango has noticed

the characteristic murals of the area; it is
impossible to go unnoticed by the range of
colors and shapes they have. His art has
contributed to the development of a unique
artistic concept and the most universal of the
country's artisanal images are the murals of
Fernando Llor, who was born on April 7, 1949
in San Salvador. Son of Bañtazar Llort,
originally from Spain, and Victoria Choussy, of French origin. Llort has created his own colorful
style, with a background of hills, trees and white houses with red roofs. Some of his works are
compared to the great painter Pablo Picasso. The works of both characters may seem strange, Llor
and Picasso have modernity and the invention of their way of painting in common.

Picasso, on a visit to a museum in Paris, was captivated by observing some African masks, which
gave rise to Cubism (an artistic movement
whose word was invented by the art critic Louis
Vauxcelle that developed from 1907 in France,
its greatest exponents. They are Pablo Picasso
and Braque,). Furthermore, the geometric
shapes of the faces of the different characters
are very similar, giving the sensation of having
some type of mask, they also produce the sensation of being flattened, where there is no longer a
single point of view.

In these paintings, the traditional perspective disappears, which

showed a broad treatment of the architectural setting and
landscape, creating a perfect environment for the harmonious
development of the human figure. This now serves to give depth
to the scene and frame it. The representation of the world
painters have no commitment to the appearance of things from
a certain point of view, but rather to what is known about them.

In these paintings
there is no sense
of depth or accuracy of old paintings like El Greco or
Da Vinci, it is a new style, both works take objects
from nature such as people, houses, landscapes, Llor
paints related religious motifs With Catholicism, his greatest work was adorning the façade of the
Cathedral of San Salvador, whose theme was the harmony of my people, which represented the
people of God, the new man and the new woman, with the instruments they use for their work. .

Cubism is difficult to understand, there is always criticism around this avant-garde, however we
cannot deny that it is an art and that in our country its greatest exponent is Fernando Llort who in
2013 was declared the most deserving son of El Salvador because of his outstanding artistic
career.

Conclusion.

Cubism was a stage in which works of art were represented that expressed art in an abstract way,
in which there was no real dimension of life and there was no depth in the paintings. Thanks to
these artists who shared these riches with us, we can give ourselves the pleasure of delighting in
their wonderful works.
Bibliography.

 https://www.culturagenial.com/es/cubismo/
 https://www.artlex.com/es/artistic-movements/cubism-types/
 https://gabinetee.blogspot.com/2019/10/arquitectura-cubista.html
 https://dossierdearte.wordpress.com/2011/01/09/el-cubismo-y-la-arquitectura
 https://es.wikipedia.org/wiki/Cubism
 https://www.ensayostube.com/ingenieria/arquitectura/Cubismo-arquitectura-pintura94.php

 https://www.artlex.com/es/artistic-movements/cubism-types/
 https://concepto.de/cubismo/#ixzz7gLPb8CIi
 https://www.biografiasyvidas.com/biografia/g/gris.htm

 https://es.wikipedia.org/wiki/Fernand_L%C3%A9ger
 http://elhitoriaro.blogspot.com/2015/06/el-cubismo-y-fernando-llort.html
 https://www.buscabiografias.com/biografia/verDetalle/3793/Robert%20Delaunay
 https://es.wikipedia.org/wiki/Fernand_L%C3%A9ger
Exhibit.