RESPONSE TO DISCUSSION BOARD

Discussion Board Weekly by Hannah Lester

Cezanne wanted to “make of Impressionism something solid and durable like the art of the museums.” The basis of hid art was his unique way of studying nature in works such as Monte Sainte-Victoire. He aimed for appearance, rather than truth, and sought a lasting structure behind the formless and fleeting visual information the eyes absorb. Cezanne developed a more analytical
style; his goal was to order the lines, planes, and colors comprising nature. He sought to achieve Poussin’s effect of distance, depth, structure, and solidity not by using traditional perspective and chiaroscuro but by recording the color patterns he deduced from an optical analysis of nature.
Cubism
Georges Braque was a Fauve painter who began to rethink his own painting style, after Picasso showed him Les Demoiselles. Braque and Picasso used the revolutionary elements as a point of departure and formulated Cubism in the belief the art of painting had to move beyond the description of visual reality. Cubists rejected naturalistic depictions, preferring compositions of shapes
and forms abstracted from the conventionally perceived world. They pursued the analysis of form central to Cezanne’s artistic exploration by dissecting everything around them into their many constituent features, which they then recomposed, by a new logic of design, into a coherent, independent aesthetic picture.
Precisionism
Precionists had a fascination with the machine’s “precision” and its importance in modern life. Precitionism expanded beyond the exploration of machine imagery. Many Precitionists gravitated toward Synthetic Cubism’s flat, sharply delineated planes as an appropriate visual idiom for their imagery, adding to the clarity and precision of their work. Precisionism came to be characterized by a merging of familiar native style in American architecture and artifacts with a modernist vocabulary derived largely from Synthetic Cubism.
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