Suger, friend and confidant of the French Kings, Louis VI and Louis VII, decided in about 1137, to rebuild the great Church of Saint-Denis, attached to an abbey which was also a royal residence. He began with the West Front, reconstructing the original Carolingian façade with its single door. He designed the façade of Saint-Denis to be an echo of the Roman Arch of Constantine with its three-part division and three large portals to ease the problem of congestion. The rose window is the earliest-known example above the West portal in France. The façade combines both round arches and pointed arches of the Gothic style.

Who chose to rebuild the great Church of Saint-Denis in about 1137?

Suger

Which portion the cathedral was the reconstruction of the great Church of Saint-Denis begun?

the West Front

The facade of Saint Denis resembled what other well known structure?

the Roman Arch of Constantine

Why were three large portal used in the construction of the Roman Arch of Constantine?

to ease the problem of congestion

The facade of Saint Denis combines round arches with what other style arch?

pointed arches of the Gothic style

Who chose to rebuild the great Church of Saint-Denis in about 1237?

I'm not sure.

Which portion of the cathedral was involved in the destruction of the great Church of Saint-Denis?

I'm not sure.

What did the facade of Saint Denis resemble as a well known creature?

I'm not sure.

Why were nine large portals used in the construction of the Roman Arch of Constantine?

I'm not sure.

What does the facade of Saint Denis combine pyramids with what other style arch?

I'm not sure.


At the completion of the west front in 1140, Abbot Suger moved on to the reconstruction of the eastern end, leaving the Carolingian nave in use. He designed a choir that would be suffused with light. To achieve his aims, his masons drew on the several new features which evolved or had been introduced to Romanesque architecture, the pointed arch, the ribbed vault, the ambulatory with radiating chapels, the clustered columns supporting ribs springing in different directions and the flying buttresses which enabled the insertion of large clerestory windows.

When was the west front of Saint Denis completed?

in 1140

What portion of the reconstruction of Saint Denis was begun after the completion of the west front?

the eastern end

What style of nave was left unaltered during this portion of the reconstruction of Saint Denis?

the Carolingian nave

What style of columns did Abbott Suger use when reconstructing Saint Denis?

clustered columns

What design element allowed the use of large clerestory windows?

the flying buttresses

When was the south front of Saint Denis removed?

I'm not sure.

What style of columns did Abbott Suger use when destructing Saint Denis?

I'm not sure.

What style of nave was fully altered during this portion of the reconstruction of Saint Denis?

I'm not sure.

What design element allowed the use of small clerestory doors?

I'm not sure.

What portion of the reconstruction of Saint Denis was delayed after the completion of the west front?

I'm not sure.


While many secular buildings exist from the Late Middle Ages, it is in the buildings of cathedrals and great churches that Gothic architecture displays its pertinent structures and characteristics to the fullest advantage. A Gothic cathedral or abbey was, prior to the 20th century, generally the landmark building in its town, rising high above all the domestic structures and often surmounted by one or more towers and pinnacles and perhaps tall spires. These cathedrals were the skyscrapers of that day and would have been the largest buildings by far that Europeans would ever have seen. It is in the architecture of these Gothic churches that a unique combination of existing technologies established the emergence of a new building style. Those technologies were the ogival or pointed arch, the ribbed vault, and the buttress.

What type of buildings most prominently display the design aspects of the Gothic architectural style?

cathedrals and great churches

Prior to the 20th century, a Gothic cathedral was considered to be what type of building in the town in which it was constructed?

the landmark building

What is another name for the pointed arch?

the ogival

What is an example of architectural technology that is seen in Gothic construction?

the ribbed vault

What is another example of architectural technology that is seen in Gothic construction?

the buttress

What type of buildings most prominently hide the design aspects of the Gothic architectural style?

I'm not sure.

What is another name for the twisted arch?

I'm not sure.

What is an example of impossible technology that is seen in Gothic construction?

I'm not sure.

When was it typical that Gothic cathedrals were hidden?

I'm not sure.


The eastern arm shows considerable diversity. In England it is generally long and may have two distinct sections, both choir and presbytery. It is often square ended or has a projecting Lady Chapel, dedicated to the Virgin Mary. In France the eastern end is often polygonal and surrounded by a walkway called an ambulatory and sometimes a ring of chapels called a "chevet". While German churches are often similar to those of France, in Italy, the eastern projection beyond the transept is usually just a shallow apsidal chapel containing the sanctuary, as at Florence Cathedral.

In England, which arm would generally show two distinct sections, choir and presbytery?

The eastern arm

Who is a projecting Lady Chapel dedicated to?

the Virgin Mary

What shape does the eastern end often exhibit in France?

polygonal

What is the ring of chapels found in the eastern end of French chapels known as?

chevet

In Italy, the eastern projection beyond the transept often contains what?

the sanctuary

Which arm in England would generally show no distinct sections?

I'm not sure.

Who was a projecting Lady Chapel meant to harm?

I'm not sure.

What shape does the eastern end rarely exhibit in France?

I'm not sure.

What is the sphere of chapels found in the eastern end of French chapels known as?

I'm not sure.


Contrary to the diffusionist theory, it appears that there was simultaneously a structural evolution towards the pointed arch, for the purpose of vaulting spaces of irregular plan, or to bring transverse vaults to the same height as diagonal vaults. This latter occurs at Durham Cathedral in the nave aisles in 1093. Pointed arches also occur extensively in Romanesque decorative blind arcading, where semi-circular arches overlap each other in a simple decorative pattern, and the points are accidental to the design.

The use of the pointed arch for bringing transverse vaults to the same height diagonal ones, is in disagreement with what theory?

the diffusionist theory

At which cathedral is the pointed arch used to match the heights of transverse and diagonal vaults?

Durham Cathedral

In what type of decorative blind arcading are pointed arches common?

Romanesque

When semicircular arches overlap each other, what type of design is accidentally created?

points

Which cathedral is the twisted arch used to match the heights of transverse and diagonal vaults?

I'm not sure.

What type of decorative blind are curved arches common?

I'm not sure.

When triangular arches overlap each other, what type of design is accidentally created?

I'm not sure.

What theory was not supported by anyone?

I'm not sure.


The Gothic vault, unlike the semi-circular vault of Roman and Romanesque buildings, can be used to roof rectangular and irregularly shaped plans such as trapezoids. The other structural advantage is that the pointed arch channels the weight onto the bearing piers or columns at a steep angle. This enabled architects to raise vaults much higher than was possible in Romanesque architecture. While, structurally, use of the pointed arch gave a greater flexibility to architectural form, it also gave Gothic architecture a very different and more vertical visual character than Romanesque.

Which type of vault can be used for rectangular and trapezoidal shaped roofs?

The Gothic vault

What structural benefit is offered by the Gothic vault?

channels the weight onto the bearing piers or columns at a steep angle

What can architects raise much higher using the Gothic versus the Romanesque variety?

vaults

What type of visual character is achieved by using the pointed arch?

more vertical visual character

Which type of vault can be used for circular and square shaped roofs?

I'm not sure.

What structural danger is offered by the Gothic vault?

I'm not sure.

What can architects raise much lower using the Gothic versus the Romanesque variety?

I'm not sure.

What type of visual character is forgotten by using the pointed arch?

I'm not sure.


Externally, towers and spires are characteristic of Gothic churches both great and small, the number and positioning being one of the greatest variables in Gothic architecture. In Italy, the tower, if present, is almost always detached from the building, as at Florence Cathedral, and is often from an earlier structure. In France and Spain, two towers on the front is the norm. In England, Germany and Scandinavia this is often the arrangement, but an English cathedral may also be surmounted by an enormous tower at the crossing. Smaller churches usually have just one tower, but this may also be the case at larger buildings, such as Salisbury Cathedral or Ulm Minster, which has the tallest spire in the world, slightly exceeding that of Lincoln Cathedral, the tallest which was actually completed during the medieval period, at 160 metres (520 ft).

What is one feature of both large and small Gothic churches?

towers

What is another feature of both large and small Gothic churches?

spires

How many towers are typical on the front of Gothic churches in France and Spain?

two towers

In what country is the tower often found detached from the main building?

Italy

How many towers are found at the Salisbury Chapel?

just one tower

What is one feature of only small Gothic churches?

I'm not sure.

How many riddles are typical on the front of Gothic churches in France and Spain?

I'm not sure.

What country is the tower often vanishing from the main building?

I'm not sure.

How many towers fell at the Salisbury Chapel?

I'm not sure.


On the exterior, the verticality is emphasised in a major way by the towers and spires and in a lesser way by strongly projecting vertical buttresses, by narrow half-columns called attached shafts which often pass through several storeys of the building, by long narrow windows, vertical mouldings around doors and figurative sculpture which emphasises the vertical and is often attenuated. The roofline, gable ends, buttresses and other parts of the building are often terminated by small pinnacles, Milan Cathedral being an extreme example in the use of this form of decoration.

What enhances the vertical look of the exterior of Gothic construction?

the towers and spires

What is one design element of Gothic construction that is often terminated by small pinnacles?

The roofline

What is another design element of Gothic construction that is often terminated by small pinnacles?

gable ends

Which cathedral demonstrates a drastic example of termination with small pinnacles?

Milan Cathedral

What other part of Gothic buildings are often found terminated with small pinnacles?

buttresses

What hinders the vertical look of the exterior of Gothic construction?

I'm not sure.

What is one design element of Gothic construction that is always terminated by small pinnacles?

I'm not sure.

Which cathedral demonstrates an impossible structure of small pinnacles?

I'm not sure.

What part of Gothic buildings are often found terminated with enormous pinnacles?

I'm not sure.


On the interior of the building attached shafts often sweep unbroken from floor to ceiling and meet the ribs of the vault, like a tall tree spreading into branches. The verticals are generally repeated in the treatment of the windows and wall surfaces. In many Gothic churches, particularly in France, and in the Perpendicular period of English Gothic architecture, the treatment of vertical elements in gallery and window tracery creates a strongly unifying feature that counteracts the horizontal divisions of the interior structure.

What is often found sweeping unbroken from floor to ceiling on the interior of Gothic buildings?

attached shafts

Where are the verticals found repeated in the interior of Gothic buildings?

the treatment of the windows and wall surfaces

What sort of feature is created by the use of vertical elements in gallery and window tracery?

a strongly unifying feature

What does the use of vertical elements help to counteract?

horizontal divisions of the interior structure

What is often found completely broken from floor to ceiling on the interior of Gothic buildings?

I'm not sure.

Where are the verticals never repeated in the interior of Gothic buildings?

I'm not sure.

What sort of feature is ruined by the use of vertical elements in gallery and window tracery?

I'm not sure.

What does the use of vertical elements harm the most?

I'm not sure.


Expansive interior light has been a feature of Gothic cathedrals since the first structure was opened. The metaphysics of light in the Middle Ages led to clerical belief in its divinity and the importance of its display in holy settings. Much of this belief was based on the writings of Pseudo-Dionysius, a sixth-century mystic whose book, The Celestial Hierarchy, was popular among monks in France. Pseudo-Dionysius held that all light, even light reflected from metals or streamed through windows, was divine. To promote such faith, the abbot in charge of the Saint-Denis church on the north edge of Paris, the Abbot Suger, encouraged architects remodeling the building to make the interior as bright as possible.

What sort of light has always been characteristic of Gothic cathedrals?

Expansive interior light

Whose writings led to the clerical belief in the divinity of light?

Pseudo-Dionysius

What book became popular with monks in France and had an effect on how light was used in cathedrals?

The Celestial Hierarchy

Who encouraged cathedral architects to allow as much light as possible into the building?

the Abbot Suger

Who held the belief that all light, including light reflected from walls and surfaces was divine?

Pseudo-Dionysius

What sort of ultraviolet light has always been characteristic of Gothic cathedrals?

I'm not sure.

Whose writings led to the clerical belief in the divinity of darkness?

I'm not sure.

What book became unpopular with monks in France and had an effect on how light was used in cathedrals?

I'm not sure.

Who encouraged cathedral architects to allow as little light as possible into the building?

I'm not sure.

Who held the belief that all light, including light reflected from walls and surfaces was fake?

I'm not sure.


Above the main portal there is generally a large window, like that at York Minster, or a group of windows such as those at Ripon Cathedral. In France there is generally a rose window like that at Reims Cathedral. Rose windows are also often found in the façades of churches of Spain and Italy, but are rarer elsewhere and are not found on the façades of any English Cathedrals. The gable is usually richly decorated with arcading or sculpture or, in the case of Italy, may be decorated with the rest of the façade, with polychrome marble and mosaic, as at Orvieto Cathedral.

What size of window is found above the main portal at York Minster?

a large window

What type of window is often found above the main portal at cathedrals in France such as the Reims Cathedral?

a rose window

Where are rose windows never found in the facades of cathedrals?

any English Cathedrals

What portion of Gothic buildings are usually richly decorated with arcading or sculpture?

The gable

Which Italian cathedral displays polychrome marble and mosaic on the gable?

Orvieto Cathedral

What size of hole is found above the main portal at York Minster?

I'm not sure.

What type of window is often found above the main portal at cathedrals in Greece such as the Reims Cathedral?

I'm not sure.

Where are clear windows never found in the facades of cathedrals?

I'm not sure.

What portion of Egyptian buildings are usually richly decorated with arcading or sculpture?

I'm not sure.

Which Italian cathedral displays polychrome marble and mosaic on the floor?

I'm not sure.


The distinctive characteristic of French cathedrals, and those in Germany and Belgium that were strongly influenced by them, is their height and their impression of verticality. Each French cathedral tends to be stylistically unified in appearance when compared with an English cathedral where there is great diversity in almost every building. They are compact, with slight or no projection of the transepts and subsidiary chapels. The west fronts are highly consistent, having three portals surmounted by a rose window, and two large towers. Sometimes there are additional towers on the transept ends. The east end is polygonal with ambulatory and sometimes a chevette of radiating chapels. In the south of France, many of the major churches are without transepts and some are without aisles.

What is the distinguiushing visual design feature of French cathedrals?

their impression of verticality

How many portals are typically found on the west front of French cathedrals?

three portals

How many towers are typically found on the west front of French cathedrals?

two large towers

What shape does the east end of French chapels typically have?

The east end is polygonal

What do many major churches in Southern France often lack?

transepts

What is the only visual design feature of French cathedrals?

I'm not sure.

How many wormholes are typically found on the west front of French cathedrals?

I'm not sure.

What do many major churches in Southern France often require?

I'm not sure.

What shape does the east end of French chapels typically forbid?

I'm not sure.


The distinctive characteristic of English cathedrals is their extreme length, and their internal emphasis upon the horizontal, which may be emphasised visually as much or more than the vertical lines. Each English cathedral (with the exception of Salisbury) has an extraordinary degree of stylistic diversity, when compared with most French, German and Italian cathedrals. It is not unusual for every part of the building to have been built in a different century and in a different style, with no attempt at creating a stylistic unity. Unlike French cathedrals, English cathedrals sprawl across their sites, with double transepts projecting strongly and Lady Chapels tacked on at a later date, such as at Westminster Abbey. In the west front, the doors are not as significant as in France, the usual congregational entrance being through a side porch. The West window is very large and never a rose, which are reserved for the transept gables. The west front may have two towers like a French Cathedral, or none. There is nearly always a tower at the crossing and it may be very large and surmounted by a spire. The distinctive English east end is square, but it may take a completely different form. Both internally and externally, the stonework is often richly decorated with carvings, particularly the capitals.

What is the unique design feature of English cathedrals?

their extreme length

What type of transepts do English cathedrals often feature?

double transepts

What size of window is typically featured on the west end of English cathedrals?

very large

Where are rose windows used on English cathedrals?

the transept gables

On English cathedrals, where is a tower almost always found?

at the crossing

What is the worst design feature of English cathedrals?

I'm not sure.

What type of transepts do English cathedrals often lack?

I'm not sure.

What size of cat is typically featured on the west end of English cathedrals?

I'm not sure.

Where are blackened windows used on English cathedrals?

I'm not sure.

Where is a tower almost never found on Greek cathedrals?

I'm not sure.


Romanesque architecture in Germany, Poland, the Czech Lands and Austria is characterised by its massive and modular nature. This is expressed in the Gothic architecture of Central Europe in the huge size of the towers and spires, often projected, but not always completed. The west front generally follows the French formula, but the towers are very much taller and, if complete, are surmounted by enormous openwork spires that are a regional feature. Because of the size of the towers, the section of the façade between them may appear narrow and compressed. The eastern end follows the French form. The distinctive character of the interior of German Gothic cathedrals is their breadth and openness. This is the case even when, as at Cologne, they have been modelled upon a French cathedral. German cathedrals, like the French, tend not to have strongly projecting transepts. There are also many hall churches (Hallenkirchen) without clerestory windows.

In Germany, Poland and Austria Romanesque architecture is defined by its massive size and what other design element?

modular nature

What design style does Romanesque architecture in Germany, Poland, and Austria normally follow?

the French formula

What does the eastern end of German Romanesque cathedrals typically emulate?

follows the French form

What is the distinguishing design element in German Gothic cathedrals?

their breadth and openness

What are hall churches in German cathedrals known as?

Hallenkirchen

What design style does Romanesque architecture in Germany, Poland, and Australia rarely follow?

I'm not sure.

What does the eastern end of German Romanesque cathedrals typically avoid?

I'm not sure.

What is the only design element in German Gothic cathedrals?

I'm not sure.

What are hall churches in German cathedrals no longer known as?

I'm not sure.


The distinctive characteristic of Gothic cathedrals of the Iberian Peninsula is their spatial complexity, with many areas of different shapes leading from each other. They are comparatively wide, and often have very tall arcades surmounted by low clerestories, giving a similar spacious appearance to the 'Hallenkirche of Germany, as at the Church of the Batalha Monastery in Portugal. Many of the cathedrals are completely surrounded by chapels. Like English cathedrals, each is often stylistically diverse. This expresses itself both in the addition of chapels and in the application of decorative details drawn from different sources. Among the influences on both decoration and form are Islamic architecture and, towards the end of the period, Renaissance details combined with the Gothic in a distinctive manner. The West front, as at Leon Cathedral, typically resembles a French west front, but wider in proportion to height and often with greater diversity of detail and a combination of intricate ornament with broad plain surfaces. At Burgos Cathedral there are spires of German style. The roofline often has pierced parapets with comparatively few pinnacles. There are often towers and domes of a great variety of shapes and structural invention rising above the roof.

What is the distinctive design element of Gothic cathedrals of the Iberian Peninsula?

their spatial complexity

What size are the arcades of Gothic cathedrals of the Iberian Peninsula?

very tall arcades

What type of architecture is a prominent influence on the design and form of Gothic cathedrals from the Iberian Peninsula?

Islamic architecture

What type of West front does the Leon Cathedral resemble?

a French west front

What style are the spires at Burgos Cathedral?

German style

What is the distinctive design element of Gothic cathedrals of the Iberian continent?

I'm not sure.

What size are the arcades of Gothic malls of the Iberian Peninsula?

I'm not sure.

What type of West front does the Leon Cathedral resent?

I'm not sure.

What style are the spirals at Burgos Cathedral?

I'm not sure.

What type of architecture lost influence on the design and form of Gothic cathedrals from the Iberian Peninsula?

I'm not sure.


The distinctive characteristic of Italian Gothic is the use of polychrome decoration, both externally as marble veneer on the brick façade and also internally where the arches are often made of alternating black and white segments, and where the columns may be painted red, the walls decorated with frescoes and the apse with mosaic. The plan is usually regular and symmetrical, Italian cathedrals have few and widely spaced columns. The proportions are generally mathematically equilibrated, based on the square and the concept of "armonìa", and except in Venice where they loved flamboyant arches, the arches are almost always equilateral. Colours and moldings define the architectural units rather than blending them. Italian cathedral façades are often polychrome and may include mosaics in the lunettes over the doors. The façades have projecting open porches and occular or wheel windows rather than roses, and do not usually have a tower. The crossing is usually surmounted by a dome. There is often a free-standing tower and baptistry. The eastern end usually has an apse of comparatively low projection. The windows are not as large as in northern Europe and, although stained glass windows are often found, the favourite narrative medium for the interior is the fresco.

What is the unique characteristic of Italian Gothic design?

the use of polychrome decoration

What color are the columns of Italian Gothic cathedrals often painted?

the columns may be painted red

What type of arches do they love to use in Venice?

they loved flamboyant arches

Instead of rose windows, what type of windows do Italian cathedral facades usually feature?

occular or wheel windows

What is the preferred narrative medium for the interior of Italian cathedrals?

the fresco

What is the worst characteristic of Italian Gothic design?

I'm not sure.

What color are the columns of Italian Gothic cathedrals always painted?

I'm not sure.

What type of arches do they never use in Venice?

I'm not sure.

What type of windows do Italian cathedral facades usually forbid?

I'm not sure.

What is the preferred narrative medium for the interior of Italian cinemas?

I'm not sure.


The Palais des Papes in Avignon is the best complete large royal palace, alongside the Royal palace of Olite, built during the 13th and 14th centuries for the kings of Navarre. The Malbork Castle built for the master of the Teutonic order is an example of Brick Gothic architecture. Partial survivals of former royal residences include the Doge's Palace of Venice, the Palau de la Generalitat in Barcelona, built in the 15th century for the kings of Aragon, or the famous Conciergerie, former palace of the kings of France, in Paris.

Who was the Royal palace of Olite built for?

the kings of Navarre

Who was the Malbork Castle built for?

the master of the Teutonic order

What type of Gothic architecture is the Malbork Castle an example of?

Brick Gothic architecture

What is the name of the royal residence built for the kings of France in Paris?

the famous Conciergerie

When was the Palau de la Generalitat in Barcelona constructed?

built in the 15th century

Who was the Royal palace of Olite pillaged for?

I'm not sure.

Who was the Malbork Castle burned for?

I'm not sure.

What type of Gothic architecture is the Malbork Castle a poor example of?

I'm not sure.

When was the Palau de la Generalitat in Barcelona deconstructed?

I'm not sure.

What is the name of the special residence built for the citizens of France in Paris?

I'm not sure.


Secular Gothic architecture can also be found in a number of public buildings such as town halls, universities, markets or hospitals. The Gdańsk, Wrocław and Stralsund town halls are remarkable examples of northern Brick Gothic built in the late 14th centuries. The Belfry of Bruges or Brussels Town Hall, built during the 15th century, are associated to the increasing wealth and power of the bourgeoisie in the late Middle Ages; by the 15th century, the traders of the trade cities of Burgundy had acquired such wealth and influence that they could afford to express their power by funding lavishly decorated buildings of vast proportions. This kind of expressions of secular and economic power are also found in other late mediaeval commercial cities, including the Llotja de la Seda of Valencia, Spain, a purpose built silk exchange dating from the 15th century, in the partial remains of Westminster Hall in the Houses of Parliament in London, or the Palazzo Pubblico in Siena, Italy, a 13th-century town hall built to host the offices of the then prosperous republic of Siena. Other Italian cities such as Florence (Palazzo Vecchio), Mantua or Venice also host remarkable examples of secular public architecture.

What is an example of secular Northern Brick Gothic architecture from the 14th century?

Stralsund town halls

When was Brussels Town Hall built?

built during the 15th century

What is the name of the secular building in Spain which was constructed for the purpose of silk exchange?

the Llotja de la Seda of Valencia

What is the name of the 13th-century town hall constructed to host the offices of the republic of Siena?

the Palazzo Pubblico

Impressive public secular architecture can also be found in what other Italian city?

Florence

What is an example of secular Northern Brick Gothic architecture from the 12th century?

I'm not sure.

When was Brussels Town Hall hidden?

I'm not sure.

What is the name of the secular building in space which was constructed for the purpose of silk exchange?

I'm not sure.

What is the name of the 18th-century town hall constructed to host the offices of the republic of Siena?

I'm not sure.

What is the only Italian city with public secular architecture?

I'm not sure.


By the late Middle Ages university towns had grown in wealth and importance as well, and this was reflected in the buildings of some of Europe's ancient universities. Particularly remarkable examples still standing nowadays include the Collegio di Spagna in the University of Bologna, built during the 14th and 15th centuries; the Collegium Carolinum of the University of Prague in Bohemia; the Escuelas mayores of the University of Salamanca in Spain; the chapel of King's College, Cambridge; or the Collegium Maius of the Jagiellonian University in Kraków, Poland.

In what era had university towns grown in wealth and importance?

the late Middle Ages

What is the name of the university building in Bologna, built in the 14th and 15th centuries?

the Collegio di Spagna

What is the name of the building at University of Prague in Bohemia?

the Collegium Carolinum

What is the name of the secular building at the University of Salamanca in Spain?

the Escuelas mayores

What is the name of the secular building at the Jagiellonian University in Kraków, Poland?

the Collegium Maius

What era had university towns lost wealth and importance?

I'm not sure.

What is the name of the university building in Bologna, built in the 14th and 17th centuries?

I'm not sure.

What is the name of the building at University of Prague in Bahamas?

I'm not sure.

When was the Escuelas mayores building of the University of Salamanca in Spain destroyed?

I'm not sure.

What is no longer the name of the building at the Jagiellonian University in Kraków, Poland?

I'm not sure.


Other cities with a concentration of secular Gothic include Bruges and Siena. Most surviving small secular buildings are relatively plain and straightforward; most windows are flat-topped with mullions, with pointed arches and vaulted ceilings often only found at a few focal points. The country-houses of the nobility were slow to abandon the appearance of being a castle, even in parts of Europe, like England, where defence had ceased to be a real concern. The living and working parts of many monastic buildings survive, for example at Mont Saint-Michel.

What is one city with an accumulation of secular Gothic structures?

Bruges

What is another city with an accumulation of secular Gothic structures?

Siena

What style are most windows on secular Gothic structures?

flat-topped with mullions

Where are pointed arches and vaulted ceilings found on most secular Gothic structures?

a few focal points

What is the name of the surviving monastic building in England?

Mont Saint-Michel

What is the only city with an accumulation of secular Gothic structures?

I'm not sure.

What style are all windows on secular Gothic structures?

I'm not sure.

Where are pointed arches and vaulted ceilings concealed on most secular Gothic structures?

I'm not sure.

What is the name of the surviving monastic building in Egypt?

I'm not sure.


In 1663 at the Archbishop of Canterbury's residence, Lambeth Palace, a Gothic hammerbeam roof was built to replace that destroyed when the building was sacked during the English Civil War. Also in the late 17th century, some discrete Gothic details appeared on new construction at Oxford University and Cambridge University, notably on Tom Tower at Christ Church, Oxford, by Christopher Wren. It is not easy to decide whether these instances were Gothic survival or early appearances of Gothic revival.

What is the name of the Archbishop of Canterbury's residence?

Lambeth Palace

In what year was a Gothic hammerbeam roof installed on the Archbishop of Canterbury's residence?

In 1663

In what century were distinct Gothic details used on new construction at Oxford and Cambridge?

the late 17th century

Who used Gothic details in construction of Tom Tower, Oxford?

Christopher Wren

What is the location of the Archbishop of Canterbury's dentist?

I'm not sure.

What year was a Gothic hammerbeam roof stolen on the Archbishop of Canterbury's residence?

I'm not sure.

What century were vague Gothic details used on new construction at Oxford and Yale?

I'm not sure.

Who avoided Gothic details in construction of Tom Tower, Oxford?

I'm not sure.


In England, partly in response to a philosophy propounded by the Oxford Movement and others associated with the emerging revival of 'high church' or Anglo-Catholic ideas during the second quarter of the 19th century, neo-Gothic began to become promoted by influential establishment figures as the preferred style for ecclesiastical, civic and institutional architecture. The appeal of this Gothic revival (which after 1837, in Britain, is sometimes termed Victorian Gothic), gradually widened to encompass "low church" as well as "high church" clients. This period of more universal appeal, spanning 1855–1885, is known in Britain as High Victorian Gothic.

When was neo-Gothic popularized by influential figures?

during the second quarter of the 19th century

In Britain after 1837, what was the Gothic revival known as?

Victorian Gothic

During what years was the High Victorian Gothic period in Britain?

What movement was responsible for the philosophy which led to the revival of Anglo Catholic ideas?

the Oxford Movement

Besides ecclesiastical and civic architecture, what other style of architecture did influential figures of the 19th century prefer to use Victorian Gothic for?

institutional architecture

When was neo-Gothic forgotten by influential figures?

I'm not sure.

What was the Gothic death known as in Britain after 1827?

I'm not sure.

What year was the High Victorian Gothic period in Africa?

I'm not sure.

What movement was responsible for the philosophy which led to the end of Anglo Catholic ideas?

I'm not sure.

What other style of architecture did influential figures of the 14th century prefer to use Victorian Gothic for?

I'm not sure.


The Houses of Parliament in London by Sir Charles Barry with interiors by a major exponent of the early Gothic Revival, Augustus Welby Pugin, is an example of the Gothic revival style from its earlier period in the second quarter of the 19th century. Examples from the High Victorian Gothic period include George Gilbert Scott's design for the Albert Memorial in London, and William Butterfield's chapel at Keble College, Oxford. From the second half of the 19th century onwards it became more common in Britain for neo-Gothic to be used in the design of non-ecclesiastical and non-governmental buildings types. Gothic details even began to appear in working-class housing schemes subsidised by philanthropy, though given the expense, less frequently than in the design of upper and middle-class housing.

Who was the exterior architect of the Houses of Parliament?

Sir Charles Barry

Who was the interior architect of the Houses of Parliament?

Augustus Welby Pugin

What style of architecture does the Houses of Parliament exemplify?

the Gothic revival style

Who designed the Albert Memorial in London?

George Gilbert Scott

Who designed the chapel at Keble College, Oxford?

William Butterfield

Who was the failed architect of the Houses of Parliament?

I'm not sure.

Who was the cook of the Houses of Parliament?

I'm not sure.

What style of architecture does the Houses of Parliament mock?

I'm not sure.

Who designed the Albert Memorial in Germany?

I'm not sure.

Who destroyed the chapel at Keble College, Oxford?

I'm not sure.


In France, simultaneously, the towering figure of the Gothic Revival was Eugène Viollet-le-Duc, who outdid historical Gothic constructions to create a Gothic as it ought to have been, notably at the fortified city of Carcassonne in the south of France and in some richly fortified keeps for industrial magnates. Viollet-le-Duc compiled and coordinated an Encyclopédie médiévale that was a rich repertory his contemporaries mined for architectural details. He effected vigorous restoration of crumbling detail of French cathedrals, including the Abbey of Saint-Denis and famously at Notre Dame de Paris, where many of whose most "Gothic" gargoyles are Viollet-le-Duc's. He taught a generation of reform-Gothic designers and showed how to apply Gothic style to modern structural materials, especially cast iron.

Who was the main figure of the Gothic Revival in France?

Eugène Viollet-le-Duc

What famous French cathedral was restored and reconstructed by Viollet-le-Duc?

the Abbey of Saint-Denis

What modern building material did Viollet-le-Duc teach reform Gothic designers to work with?

cast iron

In what fortified city in Southern France did Viollet-le-Duc recreate historical Gothic constructions?

Carcassonne

What other famous French cathedral did Viollet-le-Duc work on?

Notre Dame de Paris

Who was the villain of the Gothic Revival in France?

I'm not sure.

What famous French cathedral was ruined by Viollet-le-Duc?

I'm not sure.

What modern building material did Viollet-le-Duc teach reform Gothic designers to avoid?

I'm not sure.

What other famous American cathedral did Viollet-le-Duc work on?

I'm not sure.

What empty city in Northern France did Viollet-le-Duc recreate historical Gothic constructions?

I'm not sure.


The movement was pioneered by Georges Braque and Pablo Picasso, joined by Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris. A primary influence that led to Cubism was the representation of three-dimensional form in the late works of Paul Cézanne. A retrospective of Cézanne's paintings had been held at the Salon d'Automne of 1904, current works were displayed at the 1905 and 1906 Salon d'Automne, followed by two commemorative retrospectives after his death in 1907.

Name the 8 peopl who began the movement

Georges Braque and Pablo Picasso, joined by Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris.

Which person  was the most influential in beginning the movement with is three dimensional forms?

Paul Cézanne

What year's were Cezannes painting's displayed at Salon d'Automne? Not including the retrospectives.

1905 and 1906

What movement did Picasso not participate in?

I'm not sure.

What movement did Braque not participate in?

I'm not sure.

What happened in 1903?

I'm not sure.

Which person was the least influential in beginning the movement with is three dimensional forms?

I'm not sure.

What year's were Cezannes painting's not displayed at Salon d'Automne?

I'm not sure.


In France, offshoots of Cubism developed, including Orphism, Abstract art and later Purism. In other countries Futurism, Suprematism, Dada, Constructivism and De Stijl developed in response to Cubism. Early Futurist paintings hold in common with Cubism the fusing of the past and the present, the representation of different views of the subject pictured at the same time, also called multiple perspective, simultaneity or multiplicity, while Constructivism was influenced by Picasso's technique of constructing sculpture from separate elements. Other common threads between these disparate movements include the faceting or simplification of geometric forms, and the association of mechanization and modern life.

What were the three offshoots of Cubism formed in France?

Orphism, Abstract art and later Purism

What were the other offshoots formed in countries other than France?

Futurism, Suprematism, Dada, Constructivism and De Stijl

Which offshoot had little in common with Cubism?

Futurist

Which offshoot of cubism was influenced by Picasso?

Constructivism

What were the four offshoots of Cubism formed in France?

I'm not sure.

What were the other offshoots formed in France?

I'm not sure.

Which offshoot had everything in common with Cubism?

I'm not sure.

Which offshoot of cubism was not influenced by Picasso?

I'm not sure.


Cubism began between 1907 and 1911. Pablo Picasso's 1907 painting Les Demoiselles d'Avignon has often been considered a proto-Cubist work. Georges Braque's 1908 Houses at L’Estaque (and related works) prompted the critic Louis Vauxcelles to refer to bizarreries cubiques (cubic oddities). Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro, as the first Cubist paintings. The first organized group exhibition by Cubists took place at the Salon des Indépendants in Paris during the spring of 1911 in a room called 'Salle 41'; it included works by Jean Metzinger, Albert Gleizes, Fernand Léger, Robert Delaunay and Henri Le Fauconnier, yet no works by Picasso or Braque were exhibited.

Between what years did cubism begin?

1907 and 1911

In the spring of what year did the first organized exhibition by cubist appear?

What was the name of the room that the first exhibition of Cubists took place?

Salle 41

Who mentioned the landscapes made by Picasso in the first Cubist paintings?

Gertrude Stein

In what city did the first exhibition of Cubists take place?

Paris

What happened in 1906?

I'm not sure.

What painting did Picasso paint in 1908?

I'm not sure.

What painting did Braque paint in 1907?

I'm not sure.

What was the name of the room that the last exhibition of Cubists took place?

I'm not sure.

In what city did the last exhibition of Cubists take place?

I'm not sure.


Historians have divided the history of Cubism into phases. In one scheme, the first phase of Cubism, known as Analytic Cubism, a phrase coined by Juan Gris a posteriori, was both radical and influential as a short but highly significant art movement between 1910 and 1912 in France. A second phase, Synthetic Cubism, remained vital until around 1919, when the Surrealist movement gained popularity. English art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch. According to Cooper there was "Early Cubism", (from 1906 to 1908) when the movement was initially developed in the studios of Picasso and Braque; the second phase being called "High Cubism", (from 1909 to 1914) during which time Juan Gris emerged as an important exponent (after 1911); and finally Cooper referred to "Late Cubism" (from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement. Douglas Cooper's restrictive use of these terms to distinguish the work of Braque, Picasso, Gris (from 1911) and Léger (to a lesser extent) implied an intentional value judgement.

What was the first phase of Cubism known as?

Analytic Cubism

Who coined the phrase Analytic Cubsim?

Juan Gris

What was the second phase of Cubism called?

Synthetic Cubism

From what years did High Cubism take place?

1909 to 1914

From what years did Late Cubism take place?

1914 to 1921

What was the last phase of Cubism known as?

I'm not sure.

Who coined the term non-analytic cubism?

I'm not sure.

From what years did Low Cubism take place?

I'm not sure.

From what years did Post Cubism take place?

I'm not sure.


The assertion that the Cubist depiction of space, mass, time, and volume supports (rather than contradicts) the flatness of the canvas was made by Daniel-Henry Kahnweiler as early as 1920, but it was subject to criticism in the 1950s and 1960s, especially by Clement Greenberg. Contemporary views of Cubism are complex, formed to some extent in response to the "Salle 41" Cubists, whose methods were too distinct from those of Picasso and Braque to be considered merely secondary to them. Alternative interpretations of Cubism have therefore developed. Wider views of Cubism include artists who were later associated with the "Salle 41" artists, e.g., Francis Picabia; the brothers Jacques Villon, Raymond Duchamp-Villon and Marcel Duchamp, who beginning in late 1911 formed the core of the Section d'Or (or the Puteaux Group); the sculptors Alexander Archipenko, Joseph Csaky and Ossip Zadkine as well as Jacques Lipchitz and Henri Laurens; and painters such as Louis Marcoussis, Roger de La Fresnaye, František Kupka, Diego Rivera, Léopold Survage, Auguste Herbin, André Lhote, Gino Severini (after 1916), María Blanchard (after 1916) and Georges Valmier (after 1918). More fundamentally, Christopher Green argues that Douglas Cooper's terms were "later undermined by interpretations of the work of Picasso, Braque, Gris and Léger that stress iconographic and ideological questions rather than methods of representation."

Who asserted that the flat canvas supported Cubism?

Daniel-Henry Kahnweiler

In what year was the assertion made that the flat canvas supported Cubism?

early as 1920

When was the assertion that the flat canvas supported Cubism put into debate?

1950s and 1960s,

Who was the main opponent that began to argue that the flat canvas did not support Cubism?

Clement Greenberg.

Who's work undermined Douglass  Coopers terms describing Cubism?

Picasso, Braque, Gris and Léger

Who disagreed that the flat canvas supported Cubism?

I'm not sure.

In what year was the assertion made that the flat canvas did not support Cubism?

I'm not sure.

When was the assertion that the flat canvas did not support Cubism put into debate?

I'm not sure.

Who was the main opponent that began to agree that the flat canvas did not support Cubism?

I'm not sure.

Who's work undermined Douglass Coopers terms in not describing Cubism?

I'm not sure.


During the late 19th and early 20th centuries, Europeans were discovering African, Polynesian, Micronesian and Native American art. Artists such as Paul Gauguin, Henri Matisse, and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures. Around 1906, Picasso met Matisse through Gertrude Stein, at a time when both artists had recently acquired an interest in primitivism, Iberian sculpture, African art and African tribal masks. They became friendly rivals and competed with each other throughout their careers, perhaps leading to Picasso entering a new period in his work by 1907, marked by the influence of Greek, Iberian and African art. Picasso's paintings of 1907 have been characterized as Protocubism, as notably seen in Les Demoiselles d'Avignon, the antecedent of Cubism.

Which artists in the early 19th and 20th century inspired by the newly discovered African, Native American, Micro and Polynesian art?

Paul Gauguin, Henri Matisse, and Pablo Picasso

What about the Native cultures art inspired Matisse, Picasso, and Gauguin?

stark power and simplicity

Who did Picasso meet around 1906 that had also recenelty learned about Primitivism?

Gertrude Stein,

What were Picasso's 1907 paintings usually characterized by?

Protocubism

Which artists in the early 21st century inspired by the newly discovered African, Native American, Micro and Polynesian art?

I'm not sure.

What about the Native cultures art did not inspire Matisse, Picasso, and Gauguin?

I'm not sure.

Who did Picasso meet around 1960 that had also recently learned about Primitivism?

I'm not sure.

What were Picasso's 1970 paintings usually characterized by?

I'm not sure.


The art historian Douglas Cooper states that Paul Gauguin and Paul Cézanne "were particularly influential to the formation of Cubism and especially important to the paintings of Picasso during 1906 and 1907". Cooper goes on to say: "The Demoiselles is generally referred to as the first Cubist picture. This is an exaggeration, for although it was a major first step towards Cubism it is not yet Cubist. The disruptive, expressionist element in it is even contrary to the spirit of Cubism, which looked at the world in a detached, realistic spirit. Nevertheless, the Demoiselles is the logical picture to take as the starting point for Cubism, because it marks the birth of a new pictorial idiom, because in it Picasso violently overturned established conventions and because all that followed grew out of it."

Which two artists did Douglass Cooper say were very important to the forming of Cubism?

Paul Gauguin and Paul Cézanne

What does Cooper say is the first  Cubist picture?

The Demoiselles

Is it true that the first Cubist picture is The Demoiselles?

although it was a major first step towards Cubism it is not yet Cubist.

Which two artists did Douglass Cooper say were not important to the forming of Cubism?

I'm not sure.

What does Cooper say is the last Cubist picture?

I'm not sure.

What style is The Desmoiselles?

I'm not sure.

Who said The disruptive, expressionist element in it is not at all contrary to the spirit of Cubism"

I'm not sure.


The most serious objection to regarding the Demoiselles as the origin of Cubism, with its evident influence of primitive art, is that "such deductions are unhistorical", wrote the art historian Daniel Robbins. This familiar explanation "fails to give adequate consideration to the complexities of a flourishing art that existed just before and during the period when Picasso's new painting developed." Between 1905 and 1908, a conscious search for a new style caused rapid changes in art across France, Germany, Holland, Italy, and Russia. The Impressionists had used a double point of view, and both Les Nabis and the Symbolists (who also admired Cézanne) flattened the picture plane, reducing their subjects to simple geometric forms. Neo-Impressionist structure and subject matter, most notably to be seen in the works of Georges Seurat (e.g., Parade de Cirque, Le Chahut and Le Cirque), was another important influence. There were also parallels in the development of literature and social thought.

What did Daniel Robbins say about Demoiselles being the beginning of Cubism?

such deductions are unhistorical

During which years did the conscious begin to look for a new style in Germany, Italy, Russia, and Holland?

1905 and 1908,

Which impressionist movements were also influenced by Cubism?

Les Nabis and the Symbolists

Which technique did the Impressionists use to make their subjects simple forms?

double point of view

What did Daniel Robbins say about Demoiselles being the end of Cubism?

I'm not sure.

During which years did the conscious begin to look for a old style in Germany, Italy, Russia, and Holland?

I'm not sure.

Which impressionist movements were not influenced by Cubism?

I'm not sure.

Which technique did the Impressionists use to not make their subjects simple forms?

I'm not sure.


In addition to Seurat, the roots of cubism are to be found in the two distinct tendencies of Cézanne's later work: first his breaking of the painted surface into small multifaceted areas of paint, thereby emphasizing the plural viewpoint given by binocular vision, and second his interest in the simplification of natural forms into cylinders, spheres, and cones. However, the cubists explored this concept further than Cézanne. They represented all the surfaces of depicted objects in a single picture plane, as if the objects had all their faces visible at the same time. This new kind of depiction revolutionized the way objects could be visualized in painting and art.

Besides Seurat where else are the beginnigs of Cubism found?

in the two distinct tendencies of Cézanne's later work

Cubists exploration of the concept of the simplification of forms into cones cylinders and spheres was further explored by whom?

Cézanne

Cubism revolutionized the way things could be seen in art how?

all the surfaces of depicted objects in a single picture plane, as if the objects had all their faces visible at the same time.

Besides Seurat where else are the end of Cubism found?

I'm not sure.

Cubists exploration of the concept of the simplification of forms into cones cylinders and spheres was further not explored by whom?

I'm not sure.

Cubism revolutionized the way things could not be seen in art how?

I'm not sure.


The historical study of Cubism began in the late 1920s, drawing at first from sources of limited data, namely the opinions of Guillaume Apollinaire. It came to rely heavily on Daniel-Henry Kahnweiler's book Der Weg zum Kubismus (published in 1920), which centered on the developments of Picasso, Braque, Léger, and Gris. The terms "analytical" and "synthetic" which subsequently emerged have been widely accepted since the mid-1930s. Both terms are historical impositions that occurred after the facts they identify. Neither phase was designated as such at the time corresponding works were created. "If Kahnweiler considers Cubism as Picasso and Braque," wrote Daniel Robbins, "our only fault is in subjecting other Cubists' works to the rigors of that limited definition."

When did the historical study of Cubism begin?

in the late 1920s

On who's opinions were the beginnings of the this historical study of Cubism based?

Guillaume Apollinaire

On which book and who was the author was one of the main sources of the historical study of Cubism based?

Daniel-Henry Kahnweiler's book Der Weg zum Kubismus

When did the historical study of Cubism end?

I'm not sure.

What happened in the early 1920s?

I'm not sure.

On whose opinions were the end of the this historical study of Cubism based?

I'm not sure.

On which book and who was the author was one of the main sources of the historical study of non-Cubism based?

I'm not sure.


The traditional interpretation of "Cubism", formulated post facto as a means of understanding the works of Braque and Picasso, has affected our appreciation of other twentieth-century artists. It is difficult to apply to painters such as Jean Metzinger, Albert Gleizes, Robert Delaunay and Henri Le Fauconnier, whose fundamental differences from traditional Cubism compelled Kahnweiler to question their right to be called Cubists at all. According to Daniel Robbins, "To suggest that merely because these artists developed differently or varied from the traditional pattern they deserved to be relegated to a secondary or satellite role in Cubism is a profound mistake."

Understanding who's work was the tradition meaning of Cubism formed on?

Braque and Picasso

Who suggested that the artists other than Braque and Picasso's relgation to a distant role in Cubism was a mistake?

Daniel Robbins

What other painters were not thought of as being as Cubist as Braque and Picasso?

Jean Metzinger, Albert Gleizes, Robert Delaunay and Henri Le Fauconnier

Understanding whose work was the tradition meaning of non-Cubism formed on?

I'm not sure.

Who suggested that the artists other than Braque and Picasso's relgation to a close role in Cubism was a mistake?

I'm not sure.

What other painters were thought of as being as Cubist as Braque and Picasso?

I'm not sure.

Who said "o suggest that merely because these artists developed same as the traditional pattern"

I'm not sure.


The term Cubism did not come into general usage until 1911, mainly with reference to Metzinger, Gleizes, Delaunay, and Léger. In 1911, the poet and critic Guillaume Apollinaire accepted the term on behalf of a group of artists invited to exhibit at the Brussels Indépendants. The following year, in preparation for the Salon de la Section d'Or, Metzinger and Gleizes wrote and published Du "Cubisme" in an effort to dispel the confusion raging around the word, and as a major defence of Cubism (which had caused a public scandal following the 1911 Salon des Indépendants and the 1912 Salon d'Automne in Paris). Clarifying their aims as artists, this work was the first theoretical treatise on Cubism and it still remains the clearest and most intelligible. The result, not solely a collaboration between its two authors, reflected discussions by the circle of artists who met in Puteaux and Courbevoie. It mirrored the attitudes of the "artists of Passy", which included Picabia and the Duchamp brothers, to whom sections of it were read prior to publication. The concept developed in Du "Cubisme" of observing a subject from different points in space and time simultaneously, i.e., the act of moving around an object to seize it from several successive angles fused into a single image (multiple viewpoints, mobile perspective, simultaneity or multiplicity), is a generally recognized device used by the Cubists.

What year did the term Cubism become used more?

Which poet critic in 1911 with a group of poets accepted the term Cubism?

Guillaume Apollinaire

The artists of Passy included which two people?

Picabia and the Duchamp brothers

What year did the term Cubism become used less?

I'm not sure.

What happened in 1910?

I'm not sure.

Which poet critic in 1911 with a group of poets rejected the term Cubism?

I'm not sure.

The artists of Passy included which three people?

I'm not sure.


There was a distinct difference between Kahnweiler’s Cubists and the Salon Cubists. Prior to 1914, Picasso, Braque, Gris and Léger (to a lesser extent) gained the support of a single committed art dealer in Paris, Daniel-Henry Kahnweiler, who guaranteed them an annual income for the exclusive right to buy their works. Kahnweiler sold only to a small circle of connoisseurs. His support gave his artists the freedom to experiment in relative privacy. Picasso worked in Montmartre until 1912, while Braque and Gris remained there until after the First World War. Léger was based in Montparnasse.

Where did Picassos work until 1912?

Montmartre

Where did Braque and Gris stay until the end of the World War I?

Montmartre

Where was Leger based around 1912?

Montparnasse

Where did Picassos work until 1911?

I'm not sure.

Where did Braque and Gris move to at the end of the World War I?

I'm not sure.

Where was Leger not based around 1912?

I'm not sure.


In contrast, the Salon Cubists built their reputation primarily by exhibiting regularly at the Salon d'Automne and the Salon des Indépendants, both major non-academic Salons in Paris. They were inevitably more aware of public response and the need to communicate. Already in 1910 a group began to form which included Metzinger, Gleizes, Delaunay and Léger. They met regularly at Henri le Fauconnier's studio near the Boulevard de Montparnasse. These soirées often included writers such as Guillaume Apollinaire and André Salmon. Together with other young artists, the group wanted to emphasise a research into form, in opposition to the Neo-Impressionist emphasis on color.

Which four people usually met at Fauconnier's studio in 1910?

Metzinger, Gleizes, Delaunay and Léger

Where was Fauconnier's studio located?

Boulevard de Montparnasse

What did the group meeting at Fauconnier's studio want to focus on?

research into form, in opposition to the Neo-Impressionist emphasis on color.

Which five people usually met at Fauconnier's studio in 1910?

I'm not sure.

Where was Fauconnier's studio destroyed?

I'm not sure.

What did the group meeting at Fauconnier's studio not want to focus on?

I'm not sure.

What group formed in 1911?

I'm not sure.


At the Salon d'Automne of the same year, in addition to the Indépendants group of Salle 41, were exhibited works by André Lhote, Marcel Duchamp, Jacques Villon, Roger de La Fresnaye, André Dunoyer de Segonzac and František Kupka. The exhibition was reviewed in the October 8, 1911 issue of The New York Times. This article was published a year after Gelett Burgess' The Wild Men of Paris, and two years prior to the Armory Show, which introduced astonished Americans, accustomed to realistic art, to the experimental styles of the European avant garde, including Fauvism, Cubism, and Futurism. The 1911 New York Times article portrayed works by Picasso, Matisse, Derain, Metzinger and others dated before 1909; not exhibited at the 1911 Salon. The article was titled The "Cubists" Dominate Paris' Fall Salon and subtitled Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition - What Its Followers Attempt to Do.

In what year did the New York Times review the Salon d'Automne?

October 8, 1911

What was the subtitle of the article published in 1911 in New York TImes about Cubism?

Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition - What Its Followers Attempt to Do

List the artists who were featured in the Salon d'Automne?

André Lhote, Marcel Duchamp, Jacques Villon, Roger de La Fresnaye, André Dunoyer de Segonzac and František Kupka

In what year did the New York Times not review the Salon d'Automne?

I'm not sure.

What happened October 9 1911?

I'm not sure.

What was the subtitle of the article not published in 1911 in New York TImes about Cubism?

I'm not sure.

List the artists who weren't featured in the Salon d'Automne?

I'm not sure.


The subsequent 1912 Salon des Indépendants was marked by the presentation of Marcel Duchamp's Nude Descending a Staircase, No. 2, which itself caused a scandal, even amongst the Cubists. It was in fact rejected by the hanging committee, which included his brothers and other Cubists. Although the work was shown in the Salon de la Section d'Or in October 1912 and the 1913 Armory Show in New York, Duchamp never forgave his brothers and former colleagues for censoring his work. Juan Gris, a new addition to the Salon scene, exhibited his Portrait of Picasso (Art Institute of Chicago), while Metzinger's two showings included La Femme au Cheval (Woman with a horse) 1911-1912 (National Gallery of Denmark). Delaunay's monumental La Ville de Paris (Musée d'art moderne de la Ville de Paris) and Léger's La Noce, The Wedding (Musée National d'Art Moderne, Paris) were also exhibited.

Which Duchamp presentation was displayed in the 1912 Salon des Independants?

Nude Descending a Staircase, No. 2

Was Duchamp's work considered controversial when displayed in 1912?

caused a scandal

What were one of  Metzingers two showings in 1912's Salon des Independants?

La Femme au Cheval (Woman with a horse) 1911-1912

Which Duchamp presentation was displayed in the 1913 Salon des Independants?

I'm not sure.

What painting of Duchamp's was not controversial?

I'm not sure.

What were one of Metzingers two showings in 1913's Salon des Independants?

I'm not sure.

Where was Woman with a Door displayed?

I'm not sure.

Where was La Ville de Rome featured?

I'm not sure.


The Cubist contribution to the 1912 Salon d'Automne created scandal regarding the use of government owned buildings, such as the Grand Palais, to exhibit such artwork. The indignation of the politician Jean Pierre Philippe Lampué made the front page of Le Journal, 5 October 1912. The controversy spread to the Municipal Council of Paris, leading to a debate in the Chambre des Députés about the use of public funds to provide the venue for such art. The Cubists were defended by the Socialist deputy, Marcel Sembat.

Which politician made the front page of Le Journa in 1912 for his indignation?

Jean Pierre Philippe Lampué

Who defended the Cubists in the controversy of 1912?

Socialist deputy, Marcel Sembat.

Towards which social topic did the Cubists  at the Salon d'Automne creat contrevesy towards?

the use of government owned buildings,

Which politician made the front page of Le Journa in 1913 for his indignation?

I'm not sure.

Who defended the Cubists in the controversy of 1915?

I'm not sure.

Towards which social topic did the Cubists at the Salon d'Automne not create controversy towards?

I'm not sure.

What happened in 1911?

I'm not sure.


It was against this background of public anger that Jean Metzinger and Albert Gleizes wrote Du "Cubisme" (published by Eugène Figuière in 1912, translated to English and Russian in 1913). Among the works exhibited were Le Fauconnier's vast composition Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears) now at Rhode Island School of Design Museum, Joseph Csaky's Deux Femme, Two Women (a sculpture now lost), in addition to the highly abstract paintings by Kupka, Amorpha (The National Gallery, Prague), and Picabia, La Source, The Spring (Museum of Modern Art, New York).

What against did Metzinger and Gleizes write Du "Cubsime"?

public anger

Who published Du "Cubisme"?

Eugène Figuière

In what year was  Du "Cubisme" published?

What did Metzinger and Gleizes write Du "Cubsime" in support of?

I'm not sure.

Who wrote Du "Squarism"?

I'm not sure.

In what year was Du "Squarism" published?

I'm not sure.

Who published Du "Squarism"?

I'm not sure.

Where was Kupka's paintings not displayed?

I'm not sure.


The most extreme forms of Cubism were not those practiced by Picasso and Braque, who resisted total abstraction. Other Cubists, by contrast, especially František Kupka, and those considered Orphists by Apollinaire (Delaunay, Léger, Picabia and Duchamp), accepted abstraction by removing visible subject matter entirely. Kupka’s two entries at the 1912 Salon d'Automne, Amorpha-Fugue à deux couleurs and Amorpha chromatique chaude, were highly abstract (or nonrepresentational) and metaphysical in orientation. Both Duchamp in 1912 and Picabia from 1912 to 1914 developed an expressive and allusive abstraction dedicated to complex emotional and sexual themes. Beginning in 1912 Delaunay painted a series of paintings entitled Simultaneous Windows, followed by a series entitled Formes Circulaires, in which he combined planar structures with bright prismatic hues; based on the optical characteristics of juxtaposed colors his departure from reality in the depiction of imagery was quasi-complete. In 1913–14 Léger produced a series entitled Contrasts of Forms, giving a similar stress to color, line and form. His Cubism, despite its abstract qualities, was associated with themes of mechanization and modern life. Apollinaire supported these early developments of abstract Cubism in Les Peintres cubistes (1913), writing of a new "pure" painting in which the subject was vacated. But in spite of his use of the term Orphism these works were so different that they defy attempts to place them in a single category.

What were Kupka's two entries at the Salon d'Automne?

Amorpha-Fugue à deux couleurs and Amorpha chromatique chaude

What were the titles of Delaunay's paintings in 1912?

Simultaneous Windows,

During what years did  Leger produce Contrasts of Forms?

What were Kupka's three entries at the Salon d'Automne?

I'm not sure.

What were the titles of Delaunay's paintings in 1914?

I'm not sure.

During what years did Leger not produce Contrasts of Forms?

I'm not sure.

Who produced the series called Non-contrast of Forms?

I'm not sure.


Also labeled an Orphist by Apollinaire, Marcel Duchamp was responsible for another extreme development inspired by Cubism. The ready-made arose from a joint consideration that the work itself is considered an object (just as a painting), and that it uses the material detritus of the world (as collage and papier collé in the Cubist construction and Assemblage). The next logical step, for Duchamp, was to present an ordinary object as a self-sufficient work of art representing only itself. In 1913 he attached a bicycle wheel to a kitchen stool and in 1914 selected a bottle-drying rack as a sculpture in its own right.

By whom was Marcel Duchamp labeled an Orphanist?

Apollinaire

What two items did Duchamp attach together in 1913?

a bicycle wheel to a kitchen stool

What object did Duchamp select in 1914 as a scuplture by itself?

bottle-drying rack

By whom was Marcel Duchamp labeled not an Orphanist?

I'm not sure.

What three items did Duchamp attach together in 1913?

I'm not sure.

What object did Duchamp select in 1912 as a scuplture by itself?

I'm not sure.

What was Duchamp not responsible for?

I'm not sure.


The Section d'Or, also known as Groupe de Puteaux, founded by some of the most conspicuous Cubists, was a collective of painters, sculptors and critics associated with Cubism and Orphism, active from 1911 through about 1914, coming to prominence in the wake of their controversial showing at the 1911 Salon des Indépendants. The Salon de la Section d'Or at the Galerie La Boétie in Paris, October 1912, was arguably the most important pre-World War I Cubist exhibition; exposing Cubism to a wide audience. Over 200 works were displayed, and the fact that many of the artists showed artworks representative of their development from 1909 to 1912 gave the exhibition the allure of a Cubist retrospective.

How many works displayed at The Salon de la Section d'Or at the Galerie La Boétie in Paris, October 1912?

Over 200

How many works displayed at The Salon de la Section d'Or at the Galerie La Boétie in Paris, October 1922?

I'm not sure.

What was also known as Non-Groupe de Puteaux?

I'm not sure.

What's another term for The Section d'voures?

I'm not sure.

What was developed in 1913?

I'm not sure.


The fact that the 1912 exhibition had been curated to show the successive stages through which Cubism had transited, and that Du "Cubisme" had been published for the occasion, indicates the artists' intention of making their work comprehensible to a wide audience (art critics, art collectors, art dealers and the general public). Undoubtedly, due to the great success of the exhibition, Cubism became recognized as a tendency, genre or style in art with a specific common philosophy or goal: a new avant-garde movement.

What did the 1912 exhiibtion of Cubism show?

indicates the artists' intention of making their work comprehensible to a wide audience

What did the 1912 exhibtion of Cubism not show?

I'm not sure.

What type of audience did the exhibition not appeal to?

I'm not sure.

What came out of the exhibit failing?

I'm not sure.

What did not become a genre after the exhibition?

I'm not sure.

What wasn't a new avant-garde style?

I'm not sure.


The Cubism of Picasso, Braque and Gris had more than a technical or formal significance, and the distinct attitudes and intentions of the Salon Cubists produced different kinds of Cubism, rather than a derivative of their work. "It is by no means clear, in any case," wrote Christopher Green, "to what extent these other Cubists depended on Picasso and Braque for their development of such techniques as faceting, 'passage' and multiple perspective; they could well have arrived at such practices with little knowledge of 'true' Cubism in its early stages, guided above all by their own understanding of Cézanne." The works exhibited by these Cubists at the 1911 and 1912 Salons extended beyond the conventional Cézanne-like subjects—the posed model, still-life and landscape—favored by Picasso and Braque to include large-scale modern-life subjects. Aimed at a large public, these works stressed the use of multiple perspective and complex planar faceting for expressive effect while preserving the eloquence of subjects endowed with literary and philosophical connotations.

What did Christopher Green say of the difference between traditional cubist and Salon Cubists?

It is by no means clear, in any case

Whom did Braque and Picasso aim their works at?

large public

What did Christopher Green say of the similarities between traditional cubist and Salon Cubists?

I'm not sure.

Who said "It is clear, in any case"?

I'm not sure.

Whom did Braque and Picasso not aim their works at?

I'm not sure.

What happened in 1913?

I'm not sure.


In Du "Cubisme" Metzinger and Gleizes explicitly related the sense of time to multiple perspective, giving symbolic expression to the notion of ‘duration’ proposed by the philosopher Henri Bergson according to which life is subjectively experienced as a continuum, with the past flowing into the present and the present merging into the future. The Salon Cubists used the faceted treatment of solid and space and effects of multiple viewpoints to convey a physical and psychological sense of the fluidity of consciousness, blurring the distinctions between past, present and future. One of the major theoretical innovations made by the Salon Cubists, independently of Picasso and Braque, was that of simultaneity, drawing to greater or lesser extent on theories of Henri Poincaré, Ernst Mach, Charles Henry, Maurice Princet, and Henri Bergson. With simultaneity, the concept of separate spatial and temporal dimensions was comprehensively challenged. Linear perspective developed during the Renaissance was vacated. The subject matter was no longer considered from a specific point of view at a moment in time, but built following a selection of successive viewpoints, i.e., as if viewed simultaneously from numerous angles (and in multiple dimensions) with the eye free to roam from one to the other.

In Du Cubisme who so Metzinger and Gleizes  relate the sense of time to?

Henri Bergson

The Cubist used what kind of treatment of space and time?

The Salon Cubists

In Du Cubisme who so Metzinger and Gleizes not relate the sense of time to?

I'm not sure.

The Cubist didn't use what kind of treatment of space and time?

I'm not sure.

What was not a symbolic expression?

I'm not sure.

What type of philosopher was Henri Bergson?

I'm not sure.


This technique of representing simultaneity, multiple viewpoints (or relative motion) is pushed to a high degree of complexity in Gleizes' monumental Le Dépiquage des Moissons (Harvest Threshing), exhibited at the 1912 Salon de la Section d'Or, Le Fauconnier’s Abundance shown at the Indépendants of 1911, and Delaunay's City of Paris, shown at the Indépendants in 1912. These ambitious works are some of the largest paintings in the history of Cubism. Léger’s The Wedding, also shown at the Salon des Indépendants in 1912, gave form to the notion of simultaneity by presenting different motifs as occurring within a single temporal frame, where responses to the past and present interpenetrate with collective force. The conjunction of such subject matter with simultaneity aligns Salon Cubism with early Futurist paintings by Umberto Boccioni, Gino Severini and Carlo Carrà; themselves made in response to early Cubism.

What did the technique in Gliezes' piece Le Depiquage represent?

relative motion)

Who painted the Wedding, show at Salon des Independants in 1912?

Léger

Which of Gliezes pieces was featured at Salon de la Section d'Or?

Le Dépiquage des Moissons (Harvest Threshing)

What did the technique in Gliezes' piece Le Depiquage not represent?

I'm not sure.

Who painted the Wedding, show at Salon des Independants in 1913?

I'm not sure.

Which of Gliezes pieces was not featured at Salon de la Section d'Or?

I'm not sure.

Who did not make a response in early cubism?

I'm not sure.

What did not give form to the notion of simultaneity?

I'm not sure.


Cubism and modern European art was introduced into the United States at the now legendary 1913 Armory Show in New York City, which then traveled to Chicago and Boston. In the Armory show Pablo Picasso exhibited La Femme au pot de moutarde (1910), the sculpture Head of a Woman (Fernande) (1909–10), Les Arbres (1907) amongst other cubist works. Jacques Villon exhibited seven important and large drypoints, his brother Marcel Duchamp shocked the American public with his painting Nude Descending a Staircase, No. 2 (1912). Francis Picabia exhibited his abstractions La Danse à la source and La Procession, Seville (both of 1912). Albert Gleizes exhibited La Femme aux phlox (1910) and L'Homme au balcon (1912), two highly stylized and faceted cubist works. Georges Braque, Fernand Léger, Raymond Duchamp-Villon, Roger de La Fresnaye and Alexander Archipenko also contributed examples of their cubist works.

What was the name of the show that introduced Cubism to the USA?

Armory Show

In what city did the show that introduced Cubism to the USA take place?

New York City

Which 1907 piece did Picasso present in the show that introduced Cubism to the USA?

Les Arbres

What 1910 piece did Albert Gleizes present in that show that introduced Cubism to the USA?

La Femme aux phlox

What was the name of the show that introduced Cubism to China?

I'm not sure.

In what city did the show that introduced Cubism to Canada take place?

I'm not sure.

Where did the show go after Boston?

I'm not sure.

Where did the show go before New York?

I'm not sure.

Which 1907 piece did Picasso present in the show that introduced Cubism to China?

I'm not sure.


Cubist sculpture developed in parallel to Cubist painting. During the autumn of 1909 Picasso sculpted Head of a Woman (Fernande) with positive features depicted by negative space and vice versa. According to Douglas Cooper: "The first true Cubist sculpture was Picasso's impressive Woman's Head, modeled in 1909–10, a counterpart in three dimensions to many similar analytical and faceted heads in his paintings at the time." These positive/negative reversals were ambitiously exploited by Alexander Archipenko in 1912–13, for example in Woman Walking. Joseph Csaky, after Archipenko, was the first sculptor in Paris to join the Cubists, with whom he exhibited from 1911 onwards. They were followed by Raymond Duchamp-Villon and then in 1914 by Jacques Lipchitz, Henri Laurens and Ossip Zadkine.

What was the name of the 1909 Cubist sculpture Picassos created?

Head of a Woman

What Douglas Cooper call Picasso's 1909 Cubist sculpture?

The first true Cubist sculpture

Which  Alexander Archipenko piece was similar to other Cubist scupltures of that time?

Woman Walking

What was the name of the 1907 Cubist sculpture Picassos created?

I'm not sure.

Who sculpted arm of a woman?

I'm not sure.

When was Leg of a Woman sculpted?

I'm not sure.

Which Alexander Archipenko piece was different from other Cubist scupltures of that time?

I'm not sure.

What did Alexander Archipenko paint in 1915?

I'm not sure.


A significant modification of Cubism between 1914 and 1916 was signaled by a shift towards a strong emphasis on large overlapping geometric planes and flat surface activity. This grouping of styles of painting and sculpture, especially significant between 1917 and 1920, was practiced by several artists; particularly those under contract with the art dealer and collector Léonce Rosenberg. The tightening of the compositions, the clarity and sense of order reflected in these works, led to its being referred to by the critic Maurice Raynal (fr) as 'crystal' Cubism. Considerations manifested by Cubists prior to the outset of World War I—such as the fourth dimension, dynamism of modern life, the occult, and Henri Bergson's concept of duration—had now been vacated, replaced by a purely formal frame of reference.

What did the critic Maurice Raynal begin to refer to Cubism in around 1917-1920?

'crystal' Cubism

Who's concept of duration was left  behind for a for more concrete frame's of references?

Henri Bergson's

What was the first time period that a significant change began to happen in Cubism?

1914 and 1916

What was the second time period that a significant change began to happen in Cubism?

between 1917 and 1920

What did the critic Maurice Raynal stop referring to Cubism in around 1917-1920?

I'm not sure.

Whose concept of duration was not left behind for a for more concrete frame's of references?

I'm not sure.

What was the first time period that no change began to happen in Cubism?

I'm not sure.

What was the last time period that a significant change did not happen in Cubism?

I'm not sure.


The most innovative period of Cubism was before 1914. After World War I, with the support given by the dealer Léonce Rosenberg, Cubism returned as a central issue for artists, and continued as such until the mid-1920s when its avant-garde status was rendered questionable by the emergence of geometric abstraction and Surrealism in Paris. Many Cubists, including Picasso, Braque, Gris, Léger, Gleizes, and Metzinger, while developing other styles, returned periodically to Cubism, even well after 1925. Cubism reemerged during the 1920s and the 1930s in the work of the American Stuart Davis and the Englishman Ben Nicholson. In France, however, Cubism experienced a decline beginning in about 1925. Léonce Rosenberg exhibited not only the artists stranded by Kahnweiler’s exile but others including Laurens, Lipchitz, Metzinger, Gleizes, Csaky, Herbin and Severini. In 1918 Rosenberg presented a series of Cubist exhibitions at his Galerie de l’Effort Moderne in Paris. Attempts were made by Louis Vauxcelles to claim that Cubism was dead, but these exhibitions, along with a well-organized Cubist show at the 1920 Salon des Indépendants and a revival of the Salon de la Section d’Or in the same year, demonstrated it was still alive.

Before what year was Cubism considered the most innovative?

With the assistance of what dealer did Cubism return as  a central consideration for artists after World War I?

Léonce Rosenberg

In what year did Rosenberg exhibit Cubist works at  Galerie de l’Effort Moderne?

In which city did Galerie de l’Effort Moderne take place?

Paris

Before what year was Cubism considered the least innovative?

I'm not sure.

With the assistance of what dealer did Cubism return as a central consideration for artists after World War II?

I'm not sure.

What did not decline in 1925?

I'm not sure.

In what year did Rosenberg refuse to exhibit Cubist works at Galerie de l’Effort Moderne?

I'm not sure.

In which city was Galerie de l’Effort Moderne banned from?

I'm not sure.


The reemergence of Cubism coincided with the appearance from about 1917–24 of a coherent body of theoretical writing by Pierre Reverdy, Maurice Raynal and Daniel-Henry Kahnweiler and, among the artists, by Gris, Léger and Gleizes. The occasional return to classicism—figurative work either exclusively or alongside Cubist work—experienced by many artists during this period (called Neoclassicism) has been linked to the tendency to evade the realities of the war and also to the cultural dominance of a classical or Latin image of France during and immediately following the war. Cubism after 1918 can be seen as part of a wide ideological shift towards conservatism in both French society and culture. Yet, Cubism itself remained evolutionary both within the oeuvre of individual artists, such as Gris and Metzinger, and across the work of artists as different from each other as Braque, Léger and Gleizes. Cubism as a publicly debated movement became relatively unified and open to definition. Its theoretical purity made it a gauge against which such diverse tendencies as Realism or Naturalism, Dada, Surrealism and abstraction could be compared.

Name the three artists who were in part resonsible for the reemergence of Cubism between 1917 and 1924.

Gris, Léger and Gleizes

Name the three writers who were in part resonsible for the reemergence of Cubism between 1917 and 1924.

Pierre Reverdy, Maurice Raynal and Daniel-Henry Kahnweiler

In 1918 which way did the French idealogies shift that effected Cubism?

conservatism

Name the four artists who were in part resonsible for the reemergence of Cubism between 1917 and 1924.

I'm not sure.

In 1919 which way did the French idealogies shift that effected Cubism?

I'm not sure.

What did not remain evolutionary?

I'm not sure.

What happened to Cubism before 1918?

I'm not sure.


Cubism formed an important link between early-20th-century art and architecture. The historical, theoretical, and socio-political relationships between avant-garde practices in painting, sculpture and architecture had early ramifications in France, Germany, the Netherlands and Czechoslovakia. Though there are many points of intersection between Cubism and architecture, only a few direct links between them can be drawn. Most often the connections are made by reference to shared formal characteristics: faceting of form, spatial ambiguity, transparency, and multiplicity.

What two things did Cubism in the early 20th century form an important link between?

art and architecture.

What are the four formal characteristics that are usually connected with Cubism?

faceting of form, spatial ambiguity, transparency, and multiplicity.

In which four countries were the impacts of avant garde art particularly strong?

France, Germany, the Netherlands and Czechoslovakia

What four things did Cubism in the early 20th century form an important link between?

I'm not sure.

What two things did Cubism in the early 19th century form an important link between?

I'm not sure.

What are the four formal characteristics that are never connected with Cubism?

I'm not sure.

In which four countries were the impacts of avant garde art particularly weak?

I'm not sure.

What was the reception like in Italy?

I'm not sure.


Architectural interest in Cubism centered on the dissolution and reconstitution of three-dimensional form, using simple geometric shapes, juxtaposed without the illusions of classical perspective. Diverse elements could be superimposed, made transparent or penetrate one another, while retaining their spatial relationships. Cubism had become an influential factor in the development of modern architecture from 1912 (La Maison Cubiste, by Raymond Duchamp-Villon and André Mare) onwards, developing in parallel with architects such as Peter Behrens and Walter Gropius, with the simplification of building design, the use of materials appropriate to industrial production, and the increased use of glass.

In Cubism what was architechtural interested base on?

the dissolution and reconstitution of three-dimensional form

Who said that Cubism was becoming an influetial aspect in modern architecture ?

Raymond Duchamp-Villon and André Mare

Increased use of what material marked Cubism influence in architecture?

glass

In Cubism what was not architechtural interested base on?

I'm not sure.

Who said that Cubism was not becoming an influetial aspect in modern architecture ?

I'm not sure.

Increased use of what material marked Cubism non-influence in architecture?

I'm not sure.


Cubism was relevant to an architecture seeking a style that needed not refer to the past. Thus, what had become a revolution in both painting and sculpture was applied as part of "a profound reorientation towards a changed world". The Cubo-Futurist ideas of Filippo Tommaso Marinetti influenced attitudes in avant-garde architecture. The influential De Stijl movement embraced the aesthetic principles of Neo-plasticism developed by Piet Mondrian under the influence of Cubism in Paris. De Stijl was also linked by Gino Severini to Cubist theory through the writings of Albert Gleizes. However, the linking of basic geometric forms with inherent beauty and ease of industrial application—which had been prefigured by Marcel Duchamp from 1914—was left to the founders of Purism, Amédée Ozenfant and Charles-Édouard Jeanneret (better known as Le Corbusier,) who exhibited paintings together in Paris and published Après le cubisme in 1918. Le Corbusier's ambition had been to translate the properties of his own style of Cubism to architecture. Between 1918 and 1922, Le Corbusier concentrated his efforts on Purist theory and painting. In 1922, Le Corbusier and his cousin Jeanneret opened a studio in Paris at 35 rue de Sèvres. His theoretical studies soon advanced into many different architectural projects.

The ideas of which Cubo Futurist influenced the avant-garde in architecture?

Filippo Tommaso Marinetti

The De Stijl movement took part in the aesthetic principles of what?

Neo-plasticism

Who developed Neo Plasticism?

Piet Mondrian

Who linked De Stijl to Cubist theory?

Gino Severini

Who did Le Corbusier open his Paris studio with in 1922?

his cousin Jeanneret

The ideas of which Cubo Futurist did not influence the avant-garde in architecture?

I'm not sure.

Who wrote squarist theory?

I'm not sure.

What was prefigured by Duchamp in 1915?

I'm not sure.

What years did Le Corbusier not concentrate his efforts?

I'm not sure.

What happened in 1912?

I'm not sure.


At the 1912 Salon d'Automne an architectural installation was exhibited that quickly became known as Maison Cubiste (Cubist House), signed Raymond Duchamp-Villon and André Mare along with a group of collaborators. Metzinger and Gleizes in Du "Cubisme", written during the assemblage of the "Maison Cubiste", wrote about the autonomous nature of art, stressing the point that decorative considerations should not govern the spirit of art. Decorative work, to them, was the "antithesis of the picture". "The true picture" wrote Metzinger and Gleizes, "bears its raison d'être within itself. It can be moved from a church to a drawing-room, from a museum to a study. Essentially independent, necessarily complete, it need not immediately satisfy the mind: on the contrary, it should lead it, little by little, towards the fictitious depths in which the coordinative light resides. It does not harmonize with this or that ensemble; it harmonizes with things in general, with the universe: it is an organism...". "Mare's ensembles were accepted as frames for Cubist works because they allowed paintings and sculptures their independence", writes Christopher Green, "creating a play of contrasts, hence the involvement not only of Gleizes and Metzinger themselves, but of Marie Laurencin, the Duchamp brothers (Raymond Duchamp-Villon designed the facade) and Mare's old friends Léger and Roger La Fresnaye". La Maison Cubiste was a fully furnished house, with a staircase, wrought iron banisters, a living room—the Salon Bourgeois, where paintings by Marcel Duchamp, Metzinger (Woman with a Fan), Gleizes, Laurencin and Léger were hung—and a bedroom. It was an example of L'art décoratif, a home within which Cubist art could be displayed in the comfort and style of modern, bourgeois life. Spectators at the Salon d'Automne passed through the full-scale 10-by-3-meter plaster model of the ground floor of the facade, designed by Duchamp-Villon. This architectural installation was subsequently exhibited at the 1913 Armory Show, New York, Chicago and Boston, listed in the catalogue of the New York exhibit as Raymond Duchamp-Villon, number 609, and entitled "Facade architectural, plaster" (Façade architecturale).

What was La Maison Cubiste ?

a fully furnished house

Which Metzinger piece was hung in La Maison Cubiste?

Woman with a Fan

How big was the model of La Maison Cubiste?

What type of boat was La Maison Cubist?

I'm not sure.

Which Metzinger piece was not hung in La Maison Cubiste?

I'm not sure.

How big was the model of Be Maison Cubiste?

I'm not sure.


The original Cubist architecture is very rare. There is only one country in the world where Cubism was really applied to architecture – namely Bohemia (today Czech Republic) and especially its capital, Prague. Czech architects were the first and only ones in the world to ever design original Cubist buildings. Cubist architecture flourished for the most part between 1910–1914, but the Cubist or Cubism-influenced buildings were also built after the World War I. After the war, the architectural style called Rondo-Cubism was developed in Prague fusing the Cubist architecture with round shapes.

Is original Cubist architecture rare?

Cubist architecture is very rare

Which country applied Cubism to architecture the most?

Bohemia (today Czech Republic

What was for the form of architectural Cubism in Prague called?

Rondo-Cubism

What was for the form of architectural Cubism in France called?

I'm not sure.

What was built after World War II?

I'm not sure.

What was built before WWI?

I'm not sure.

Which country did not apply Cubism to architecture the most?

I'm not sure.


In their theoretical rules, the Cubist architects expressed the requirement of dynamism, which would surmount the matter and calm contained in it, through a creative idea, so that the result would evoke feelings of dynamism and expressive plasticity in the viewer. This should be achieved by shapes derived from pyramids, cubes and prisms, by arrangements and compositions of oblique surfaces, mainly triangular, sculpted facades in protruding crystal-like units, reminiscent of the so-called diamond cut, or even cavernous that are reminiscent of the late Gothic architecture. In this way, the entire surfaces of the facades including even the gables and dormers are sculpted. The grilles as well as other architectural ornaments attain a three-dimensional form. Thus, new forms of windows and doors were also created, e. g. hexagonal windows. Czech Cubist architects also designed Cubist furniture.

What was the essential piece Cubist architects explained in their theoretical rules?

dynamism

What's  window shapes di Czech Cubist architects use?

hexagonal

What feelings should Cubist architecture evoke in viewer?

dynamism and expressive plasticity

What was the essential piece Cubist architects explained in their non-theoretical rules?

I'm not sure.

What's window shapes di Czech Cubist architects not use?

I'm not sure.

What feelings should Cubist architecture not evoke in viewer?

I'm not sure.

What type of doors were not used?

I'm not sure.


The leading Cubist architects were Pavel Janák, Josef Gočár, Vlastislav Hofman, Emil Králíček and Josef Chochol. They worked mostly in Prague but also in other Bohemian towns. The best-known Cubist building is the House of the Black Madonna in the Old Town of Prague built in 1912 by Josef Gočár with the only Cubist café in the world, Grand Café Orient. Vlastislav Hofman built the entrance pavilions of Ďáblice Cemetery in 1912–1914, Josef Chochol designed several residential houses under Vyšehrad. A Cubist streetlamp has also been preserved near the Wenceslas Square, designed by Emil Králíček in 1912, who also built the Diamond House in the New Town of Prague around 1913.

Who were the leading Cubist architects?

Pavel Janák, Josef Gočár, Vlastislav Hofman, Emil Králíček and Josef Chochol

Where did the leading Cubist architects work?

Prague

What is the best known Cubist architecture building?

House of the Black Madonna

Where is the House of the Black Madonna located?

Old Town of Prague

Who built the House of the Black Madonna?

Vlastislav Hofman

Who weren't the leading Cubist architects?

I'm not sure.

Where did the leading Cubist architects study?

I'm not sure.

What is the least known Cubist architecture building?

I'm not sure.

Where is the House of the White Madonna located?

I'm not sure.

Who built the House of the White Madonna?

I'm not sure.


The influence of cubism extended to other artistic fields, outside painting and sculpture. In literature, the written works of Gertrude Stein employ repetition and repetitive phrases as building blocks in both passages and whole chapters. Most of Stein's important works utilize this technique, including the novel The Making of Americans (1906–08). Not only were they the first important patrons of Cubism, Gertrude Stein and her brother Leo were also important influences on Cubism as well. Picasso in turn was an important influence on Stein's writing.

Did cubism influence other fields outside of painting and scuplture?

The influence of cubism extended to other artistic fields,

Who's written works used repitition that was similar to Cubist art?

Gertrude Stein

What was Gertrude Stein's brother's name?

Leo

What was the title of Gertrude Stein's 1906-1908 book?

The Making of Americans

What artistic fields did not inspire other cubism work?

I'm not sure.

What novel came out in 2008?

I'm not sure.

Who wrote The Making of French?

I'm not sure.

Who was not influencial on Cubism?

I'm not sure.


The poets generally associated with Cubism are Guillaume Apollinaire, Blaise Cendrars, Jean Cocteau, Max Jacob, André Salmon and Pierre Reverdy. As American poet Kenneth Rexroth explains, Cubism in poetry "is the conscious, deliberate dissociation and recombination of elements into a new artistic entity made self-sufficient by its rigorous architecture. This is quite different from the free association of the Surrealists and the combination of unconscious utterance and political nihilism of Dada." Nonetheless, the Cubist poets' influence on both Cubism and the later movements of Dada and Surrealism was profound; Louis Aragon, founding member of Surrealism, said that for Breton, Soupault, Éluard and himself, Reverdy was "our immediate elder, the exemplary poet." Though not as well remembered as the Cubist painters, these poets continue to influence and inspire; American poets John Ashbery and Ron Padgett have recently produced new translations of Reverdy's work. Wallace Stevens' "Thirteen Ways of Looking at a Blackbird" is also said to demonstrate how cubism's multiple perspectives can be translated into poetry.

Which poets are closely alligned with Cubism?

Guillaume Apollinaire, Blaise Cendrars, Jean Cocteau, Max Jacob, André Salmon and Pierre Reverdy

What is the name of the american Poet who is associated with talking about the rigiorous architecture of Cubism?

Kenneth Rexroth

Which two American poets have recently created new traslations of Reverdy's work?

John Ashbery and Ron Padgett

What is the name of Wallace Steven's work that explains how cubism can be translated into poetry?

Thirteen Ways of Looking at a Blackbird

Which poets are not aligned with Cubism?

I'm not sure.

What is the name of the american Poet who is not associated with talking about the rigiorous architecture of Cubism?

I'm not sure.

Which three American poets have recently created new traslations of Reverdy's work?

I'm not sure.

Who wrote Fifteen ways of Looking at Blackbird?

I'm not sure.