31 Facts About Crystal Cubism

Crystal Cubism is a distilled form of Cubism consistent with a shift, between 1915 and 1916, towards a strong emphasis on flat surface activity and large overlapping geometric planes.

Crystal Cubism was the culmination of a continuous narrowing of scope in the name of a return to order; based upon the observation of the artists relation to nature, rather than on the nature of reality itself.

Crystal Cubism's work became bolder, more arbitrary, more dynamic and increasingly nonrepresentational.

At the 1913 Salon d'Automne, a salon in which the predominating tendency was Crystal Cubism, Metzinger exhibited En Canot; Gleizes Les Bateaux de Peche; and Roger de La Fresnaye La Conquete de l'Air.

Crystal Cubism evolved as much a result of an evasion of the inconceivable atrocities of war as of nationalistic pressures.

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Divers Cubist considerations manifested prior to World War I—such as the fourth dimension, dynamism of modern life, and Henri Bergson's concept of duration—had now been replaced by a formal reference frame which constituted the second phase of Crystal Cubism, based upon an elementary set of principles that formed a cohesive Cubist aesthetic.

Crystal Cubism coincided with the emergence of a methodical framework of theoretical essays on the topic, by Albert Gleizes, Juan Gris, Fernand Leger, Gino Severini, Pierre Reverdy, Daniel-Henry Kahnweiler, and Maurice Raynal.

Metzinger, the Crystal Cubism period was synonymous with a return to "a simple, robust art".

Crystal Cubism's belief was that technique should be simplified and that the "trickery" of chiaroscuro should abandoned, along with the "artifices of the palette".

Crystal Cubism felt the need to do without the "multiplication of tints and detailing of forms without reason, by feeling":.

Crystal Cubism's entry at the 1912 Salon des Independants, Hommage a Pablo Picasso, was an homage to Metzinger's Le gouter.

From 1915 to late 1916, Gris transited through three different styles of Crystal Cubism, writes Green: "starting with a solid extrapolation of the structures and materials of objects, moving into the placement of brilliant coloured dots drifting across flat signs for still-life objects, and culminating in a flattened 'chiaroscoro' realised in planar contrasts of a monochromatic palette".

The geometric structure of Juan Gris's Crystal Cubism period is already palpable in Still Life before an Open Window, Place Ravignan.

Crystal Cubism worked 'deductively' on the global concept first, then consecrated on the perceptive details.

Csaky's polychrome reliefs of the early 1920s display an affinity with Purism—an extreme form of the Cubism aesthetic developing at the time—in their rigorous economy of architectonic symbols and the use of crystalline geometric structures.

Crystal Cubism had just published Le Neo-Plasticisme—a collection of writings by Mondrian—and Theo van Doesburg's Classique-Baroque-Moderne.

Csaky's works of the early 1920s reflect a distinct form of Crystal Cubism, and were produced in a wide variety of materials, including marble, onyx and rock crystal.

Two more former advocates of Crystal Cubism had defected, Roger Allard and Blaise Cendrars, joining the ranks of Vauxcelles in frontline attacks on Crystal Cubism.

Crystal Cubism had been in close contact with the Cubists prior to the war, and in 1917 joined forces with two other poets who shared his points of view: Paul Dermee and Vicente Huidobro.

Nonetheless, according to Christopher Green, "this was an astonishingly complete demonstration that Crystal Cubism had not only continued between 1914 and 1917, having survived the war, but was still developing in 1918 and 1919 in its "new collective form" marked by "intellectual rigor".

Crystal Cubism has not ended, in humanizing itself it holds its promises.

Ozenfant and Jeanneret felt that Crystal Cubism had become too decorative, practiced by so many individuals that it lacked unity, it had become too fashionable.

Some of the works exhibited related directly to the Crystal Cubism practiced during the war, with flattened planar structures and varying degrees of multiple perspective.

Ozenfant and Jeanneret only Crystal Cubism had conserved the geometric rigor of the early Cubist revolution.

Crystal Cubism Cubists embraced the stability of everyday life, the enduring and the pure, but too the classical, with all that it signified respecting art and ideal.

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These same sentiments observable from the outset of Crystal Cubism were now essential and prevailing to an extent never before seen.

Crystal Cubism had now undertaken a path that lead to 'synthesis', with its starting point in 'unity'.

For Gleizes, Crystal Cubism was a means to arrive not only at a new mode of expression but above all a new way of thinking.

The new Cubism that emerged, the Cubism of Picasso, Laurens, Gris, Metzinger and Lipchitz most obviously of all, has come to be known as "crystal Cubism".

Only after 1914 did Crystal Cubism come almost exclusively to be identified with a single-minded insistence on the isolation of the art-object in a special category with its own laws and its own experience to offer, a category considered above life.

These works, or works by these artists created during the same period, according to Christopher Green, are associated with Crystal Cubism, or were precursors in varying degrees to the style.