Hi Friendsss,
So today am sharing some information regarding Cubism and Mansoor Rahi.
·
Analytic Cubism (1910- 1912)
In this phase, Cubism developed
in a highly systematic fashion. Later to be known as the Analytic period of the
style, it was based on close observation of objects in their background
contexts, often showing them from various vantage points.
·
Synthetic Cubism (c. 1912 - c. 1914)
In 1912 both Picasso and Braque
began to introduce foreign elements into their compositions, continuing their
experiments with multiple perspectives. Picasso incorporated wall paper, thus
initiating Cubist collage, and Braque began to glue newspaper to his canvases,
beginning the movement's exploration of papier-colle.
·
Crystal Cubism (1915 -1922)
Cubism spread quickly throughout
Europe in the 1910s, as much because of its systematic approach to rendering
imagery as for the openness it offered in depicting objects in new ways.
Critics were split over whether Cubists were concerned with representing
imagery in a more objective manner - revealing more of its essential character
- or whether they were principally interested in distortion and abstraction.
The movement not only spread in Europe but its traces can be seen in artworks
by Pakistani artists.
In the fifties a great change
started to play its role in the art community of Pakistan when the artists took
a great step forward from the orientalism towards the modernism. The next
generation was looking forward to the modern tendencies of art. Just like
Picasso and Braque in Pakistan Shakir Ali and Mansoor Rahi, were one of the
pioneers, who made a daring step forward by introducing modernism to the art of
Pakistan in the shape of cubism.
His work is highly inspired by
Cubism movement and as one can see various sub divisions in Cubism, Rahi's work
is also divided into sub categories according to his artwork.
·
Academic Realism 1957
In this time
period Rahi was doing portraits and landscapes, both in different styles, Here
his landscapes were more carefree and portrait painting more careful.
·
Cubical Analytic Fractionism 1968
In this time
period Rahi was focusing on global subjects such as the world food crisis,
quest for peace and fear of nuclear war.
One of Rahi's
painitng "The Thinker" belongs to his analytical cubism period. In
this artwork one can see all the characteristics like thick outline,
geometrical composition, monochromatic work, focus on the main object and no
sense of perspective.
This painting
is composed of a man sitting in three quarter pose on some platform. The figure
painted here is life size touching the edges of the canvas. The whole figure is
composed on a two dimensional surface and the lack of perspective shows that
artist wanted to focus only on his subject rather than the other details. Apart
from the figure the focal area is the hands of the man which bear the most
light and are humongous in size, though not disturbing the composition. The
colour palette Rahi used here is monochromatic and can be said it belongs to
his "Red Series" just like Picasso had painted numerous series of
single shade. (figure 1)
·
Organical Mysticism 1973
His series of
mysticism is own finding of spiritual concern of knowledge by isolating the
mind from non-organic to spiritual beliefs.
In one of his painting from the Organical
Mysticism series Rahi's dark colour palette was revealed. The composition shows
a lot of movement but there is no flowy line, however the curves at certain
areas are visible to the viewer. Artist has used the same cubist style to build
up his figures but the curves at certain areas of the figure define the female
contours. Colour palette is also monochrome here but tinge of reds and yellows
are also visible which shows Rahi's interest in adding color to his painting as
finishing touches. (figure 2)
·
Rayonistic Cubical Formalism 1979
In this time
period Rahi started painting with geometric shapes, where he created illusion
of values to open vision of free expression with spontaneous use of brush
strokes along with addition of tints and shades.
In one of
Rahi's painting from this series represents two figures standing facing each
other. In this artwork artist has used the background space and created some images but still there is
not much visible sense of perspective. The whole composition is done with
geometric shapes defining the contours of both the figures. Colours which Rahi
was using separately in previous of his artworks like reds and blues, here now
combined creating further shades. As compared to his Organical Mysticism period
in this artwork figures are more solidly drawn and painted.(figure 3)
·
Neo-Precisionist 1990
Artworks from
this period shows vast variety of subject matter and color palette. Rahi was
quiet restricted in this previous artworks as only using monochromatic tones or
a tinge of shades but in this time period artist painted with variety of shades
along with black and white shades which reveals his masterly skill of drawing. In
these artworks subject matter was not only limited to figures, horses were also
to be seen. One of his horse painting represents thick bold strokes, less
geometric shapes. While viewing the painting one can see that blues and reds
are the dominant colours in Rahi's artworks. (figure 4)
One of Rahi's
drawing from 1998 explains about his control on line, thick brush strokes and
flexibility in his hand. (figure 5) This drawing might belong to his practicing
pieces as there is no such background, only the life size figure is done with
brush stroke.
Mansoor
Rahi’s paintings not only create an attitude of transforming new forms and
illusion of values but also open a vision of free expression with spontaneous
use of brush strokes. His present day work titled ‘Resurrect Rock Series’ in
color and black and white starts in USA. It makes a change of vision by
entering into classical realism from the non-evocative abstraction.
Figure 1
The Thinker, 1968
Figure 2
Painting from Organical Mysticism
So today am sharing some information regarding Cubism and Mansoor Rahi.
Mansur Rahi and Cubism
Cubism was one of the most
influential visual art styles of the early twentieth century Avant Guarde art
movement. It was started by Pablo
Picasso and Georges Braque in
Paris between 1907 and 1914. Because of a French art critic Vauxcelles comment
on Brauqe's landscapes in 1908 the movement gained the name "Cubism",
he called those geometric shapes were "cubes".
In Cubist artwork, objects
are analyzed, broken up and reassembled in an abstracted form, instead of depicting objects from one viewpoint,
the artist depicts the subject from a multitude of viewpoints to represent the
subject in a greater context.
Cubist
basically rejected the concept of copying from nature, or creating any
perspective, foreshortening in the painting. Rather they felt that one should
only focus on the main object, the two dimensionality of the canvas should be
treated.
Cubism
was further divided into various periods depending on the paintings made during
that time.
·
Cezannian Cubism (1908 -1909)
This early phase of the
movement came in the wake of the Paul Cézanne retrospective in 1907
·
Analytic Cubism (1910- 1912)
In this phase, Cubism developed
in a highly systematic fashion. Later to be known as the Analytic period of the
style, it was based on close observation of objects in their background
contexts, often showing them from various vantage points.
·
Synthetic Cubism (c. 1912 - c. 1914)
In 1912 both Picasso and Braque
began to introduce foreign elements into their compositions, continuing their
experiments with multiple perspectives. Picasso incorporated wall paper, thus
initiating Cubist collage, and Braque began to glue newspaper to his canvases,
beginning the movement's exploration of papier-colle.
·
Crystal Cubism (1915 -1922)
Cubism spread quickly throughout
Europe in the 1910s, as much because of its systematic approach to rendering
imagery as for the openness it offered in depicting objects in new ways.
Critics were split over whether Cubists were concerned with representing
imagery in a more objective manner - revealing more of its essential character
- or whether they were principally interested in distortion and abstraction.
The movement not only spread in Europe but its traces can be seen in artworks
by Pakistani artists.
In the fifties a great change
started to play its role in the art community of Pakistan when the artists took
a great step forward from the orientalism towards the modernism. The next
generation was looking forward to the modern tendencies of art. Just like
Picasso and Braque in Pakistan Shakir Ali and Mansoor Rahi, were one of the
pioneers, who made a daring step forward by introducing modernism to the art of
Pakistan in the shape of cubism.
Mansur Rahi was born in 1939 in West Bengal and graduated
from Govt. College of Art and Craft in Dhaka. As
the cubism discard traditional perspective theory, in Rahi's work one can
easily spot the subject matter. Traces of cubism in his work can be traced back
to the 1959 period when he did a portrait study. During this time period Rahi was residing in
Karachi and his initial work was inspired by Zain al Abedin, his teacher. Zainul
Abedin was motivated by social and political events and this early period in
Rahi’s career demonstrates a greater focus on thematic content such that social
and political issues also became a major concern for him. According to
him his representational as well as non-representational abstract works manifest
an imitation of his life. Another characteristic that strikes a similar chord
between his work and that of his teacher Zainul Abedin, is the presence of a
bold and clear outline.
In 1983 when Rahi shifted from Karachi to Islamabad that period was marked as the most peaceful of his life as can be seen in his artworks from this period. Subject matter of beauty and romance was to be seen in his artworks.
Rahi’s paintings and drawings depict abstraction yet the visual imagery remains representational, which marks another difference between his early work in Karachi and his later work in Islamabad. Such dissimilarities are amalgamated through an essence of Cubism that runs through his entire body of work, creating interplay of opposites.
In 1983 when Rahi shifted from Karachi to Islamabad that period was marked as the most peaceful of his life as can be seen in his artworks from this period. Subject matter of beauty and romance was to be seen in his artworks.
Rahi’s paintings and drawings depict abstraction yet the visual imagery remains representational, which marks another difference between his early work in Karachi and his later work in Islamabad. Such dissimilarities are amalgamated through an essence of Cubism that runs through his entire body of work, creating interplay of opposites.
One of Rahi's painting titled as "
Peace" dated 1969. In this painting a child and a man is shown in
geometrical shapes. However the background is treated in Synthetic Cubist
manner. Here the flat areas are painted and treated as if cut out from paper
and placed, overlapping each other.
His work is highly inspired by
Cubism movement and as one can see various sub divisions in Cubism, Rahi's work
is also divided into sub categories according to his artwork.
·
Academic Realism 1957
In this time
period Rahi was doing portraits and landscapes, both in different styles, Here
his landscapes were more carefree and portrait painting more careful.
·
Cubical Analytic Fractionism 1968
In this time
period Rahi was focusing on global subjects such as the world food crisis,
quest for peace and fear of nuclear war.
One of Rahi's
painitng "The Thinker" belongs to his analytical cubism period. In
this artwork one can see all the characteristics like thick outline,
geometrical composition, monochromatic work, focus on the main object and no
sense of perspective.
This painting
is composed of a man sitting in three quarter pose on some platform. The figure
painted here is life size touching the edges of the canvas. The whole figure is
composed on a two dimensional surface and the lack of perspective shows that
artist wanted to focus only on his subject rather than the other details. Apart
from the figure the focal area is the hands of the man which bear the most
light and are humongous in size, though not disturbing the composition. The
colour palette Rahi used here is monochromatic and can be said it belongs to
his "Red Series" just like Picasso had painted numerous series of
single shade. (figure 1)
·
Organical Mysticism 1973
His series of
mysticism is own finding of spiritual concern of knowledge by isolating the
mind from non-organic to spiritual beliefs.
In one of his painting from the Organical
Mysticism series Rahi's dark colour palette was revealed. The composition shows
a lot of movement but there is no flowy line, however the curves at certain
areas are visible to the viewer. Artist has used the same cubist style to build
up his figures but the curves at certain areas of the figure define the female
contours. Colour palette is also monochrome here but tinge of reds and yellows
are also visible which shows Rahi's interest in adding color to his painting as
finishing touches. (figure 2)
·
Rayonistic Cubical Formalism 1979
In this time
period Rahi started painting with geometric shapes, where he created illusion
of values to open vision of free expression with spontaneous use of brush
strokes along with addition of tints and shades.
In one of
Rahi's painting from this series represents two figures standing facing each
other. In this artwork artist has used the background space and created some images but still there is
not much visible sense of perspective. The whole composition is done with
geometric shapes defining the contours of both the figures. Colours which Rahi
was using separately in previous of his artworks like reds and blues, here now
combined creating further shades. As compared to his Organical Mysticism period
in this artwork figures are more solidly drawn and painted.(figure 3)
·
Neo-Precisionist 1990
Artworks from
this period shows vast variety of subject matter and color palette. Rahi was
quiet restricted in this previous artworks as only using monochromatic tones or
a tinge of shades but in this time period artist painted with variety of shades
along with black and white shades which reveals his masterly skill of drawing. In
these artworks subject matter was not only limited to figures, horses were also
to be seen. One of his horse painting represents thick bold strokes, less
geometric shapes. While viewing the painting one can see that blues and reds
are the dominant colours in Rahi's artworks. (figure 4)
One of Rahi's
drawing from 1998 explains about his control on line, thick brush strokes and
flexibility in his hand. (figure 5) This drawing might belong to his practicing
pieces as there is no such background, only the life size figure is done with
brush stroke.
Mansoor
Rahi’s paintings not only create an attitude of transforming new forms and
illusion of values but also open a vision of free expression with spontaneous
use of brush strokes. His present day work titled ‘Resurrect Rock Series’ in
color and black and white starts in USA. It makes a change of vision by
entering into classical realism from the non-evocative abstraction.
Figure 1
The Thinker, 1968
Figure 2
Painting from Organical Mysticism
Figure 3
Painting from Rayonistic Cubical Formalism
1987
Figure 4
Painting from Neo-Precisionist
1990
Figure 5
Painting from Neo-Precisionist
1990
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