1910 – 1950

从立体主义革命到纯粹主义
FROM THE CUBIST REVOLUTION TO PURISM
从立体主义革命到纯粹主义

安-赛琳·卡伦

早在1908年,乔治·布拉克和巴勃罗·毕加索就向意大利文艺复兴以来建立的绘画准则
发起了挑战。他们致力于解构现实,从画中提取多样性,并试图创造出比物体外观更客观的形象。
毕加索不断质疑着自身的绘画和雕塑方式。

由于毕加索1944年的捐赠,《静物:壶、玻璃杯和橙子》成为MAMC+的收藏。与毕加
索一样,立体主义画家如路易斯·马尔库斯经常重现审视静物画的传统,关注日常生活的简单
物品和对象的造型美。

俄罗斯艺术家亚历山德拉·埃克斯特扮演着意大利、法国和德国先锋派间的纽带。在《风
景,房屋》中,她融合立体主义和未来主义的技法。阿梅代·奥占芳在关注立体主义革命的同
时也尝试更精致的线条风格。始于1918年的纯粹主义运动捍卫根植于现实中的艺术,马塞尔·卡
恩在《飞机——飞行的形式》中创造了一个非物质化的世界,作品的每一个组成部分都回应了
某种优越的秩序。
# FROM THE CUBIST REVOLUTION TO PURISM

Anne-Céline Callens

As early as 1908, Georges Braque and Pablo Picasso defied the accepted rules of the organisation of paintings established during the Italian Renaissance which viewd the canvas as an open window on the world. They strived to deconstruct reality in order to extract diversity from their paintings. They thereby sought to create an image that was more objective than the simple appearance of the object. Picasso constantly called his pictorial and sculptural practices into question.

Thanks to a donation made by the artist in 1944, *Still Life: Jug, Glass and an Orange* was added to the collections of the MAMC+. Following in the footsteps of Picasso, cubist painters such as Louis Marcoussis regularly revisited the tradition of still life, focusing on simple everyday objects and the plastic beauty of sketched motifs.

The Russian painter Alexandra Exter, acted as a bridge between the Italian, French and German avant-garde artists. In *Landscape, houses*, she combined cubist and futuristic techniques. Some artists such as Amédée Ozenfant focused on the cubist revolution while adopting a style based on more refined lines. With the Purist movement, initiated in 1918, they defended an art rooted in reality. In *Aeroplane — Aviatic Form*, Marcelle Cahn created a dematerialised world, in which every part of the composition answers to a superior universal order.