When high meets low: the decorative means of cubism
Résumé
When talking about artistic innovation in avant-garde movements, art history often focuses on artistic influences neglecting other sources of inspiration. Therefore, until recently cubism historiography didn’t really take in consideration popular culture or applied art contribution to the formal or technical solutions elaborated by Braque and Picasso during their collaboration. This paper aims to revaluate the role of two cubist sources: Braque’s house/decorative painter training, a well-known but scarcely studied influence; ordinary creatives practices using paper and glue to make decorative and usual objects, a recent historical research field full of potentials for art history.
Through this conference I would thus like to stress out the importance of everyday life in creation and the ways common experiences find their ways into art. Artists don’t only find inspiration in hight art and techniques, they draw answers from the common creative culture they are embedded in as they are no real cut between every day, crafting and artistic gestures. The way we use objects or materials doesn’t totally change from one domain of activity to another. It is this circulation of techniques that allowed Braque and Picasso to appropriate decorative craft processes and materials. But while moving from one art world to another, they changed purpose and signification. Braque and Picasso misappropriated these techniques and practices and converted them into art.
Domaines
Art et histoire de l'art
Origine : Fichiers produits par l'(les) auteur(s)