Cubism and Futurism
Essay Topic:
Semiotic analysis of visual art does not set out in the first place to produce interpretations of works of art, but rather to investigate how works of art are intelligible to those who view them, the processes by which viewers make sense of what they see (Bal & Bryson, 1991: 184)
Bal and Bryson claim that a semiotic analysis of an art work exposes the pre-existing system of signs through which meaning is created.
With reference to this question and to specific works of art, show how a semiotic analysis of Cubist and Futurist works may reveal the various ways in which Cubist and Futurist artists make it a priority to critique artistic conventions of representation and production.
Essay:
Semiotic analysis of visual art does not set out in the first place to produce interpretations of works of art, but rather to investigate how works of art are intelligible to those who view them, the processes by which viewers make sense of what they see (Bal & Bryson, 1991: 184)
Bal and Bryson claim that a semiotic analysis of an art work exposes the pre-existing system of signs through which meaning is created.
With reference to this question and to specific works of art, show how a semiotic analysis of Cubist and Futurist works may reveal the various ways in which Cubist and Futurist artists make it a priority to critique artistic conventions of representation and production.
Cubism and Futurism is concerned with the process of representation and what it entails in making up a picture and what the picture means or represents, they sought a new pictorial language. Cubists rejected the traditional values and traditions of arts representational codes and sought to show reality as a multifaceted concept that involved vision, reconstruction, salvaging, borrowing, collaging, conception and ultimately making up a sign. The study of signs is referred to as semiotics, this is the construction of the sign in terms of signifier and signified and the
Semiotic analysis of visual art does not set out in the first place to produce interpretations of works of art, but rather to investigate how works of art are intelligible to those who view them, the processes by which viewers make sense of what they see (Bal & Bryson, 1991: 184)
Bal and Bryson claim that a semiotic analysis of an art work exposes the pre-existing system of signs through which meaning is created.
With reference to this question and to specific works of art, show how a semiotic analysis of Cubist and Futurist works may reveal the various ways in which Cubist and Futurist artists make it a priority to critique artistic conventions of representation and production.
Essay:
Semiotic analysis of visual art does not set out in the first place to produce interpretations of works of art, but rather to investigate how works of art are intelligible to those who view them, the processes by which viewers make sense of what they see (Bal & Bryson, 1991: 184)
Bal and Bryson claim that a semiotic analysis of an art work exposes the pre-existing system of signs through which meaning is created.
With reference to this question and to specific works of art, show how a semiotic analysis of Cubist and Futurist works may reveal the various ways in which Cubist and Futurist artists make it a priority to critique artistic conventions of representation and production.
Cubism and Futurism is concerned with the process of representation and what it entails in making up a picture and what the picture means or represents, they sought a new pictorial language. Cubists rejected the traditional values and traditions of arts representational codes and sought to show reality as a multifaceted concept that involved vision, reconstruction, salvaging, borrowing, collaging, conception and ultimately making up a sign. The study of signs is referred to as semiotics, this is the construction of the sign in terms of signifier and signified and the
Cited: 1. Bois, Yve-Alain. 1992, ‘The Semiology of Cubism’, in Rubin, W., Picasso and Braque: A Symposium. New York: The Museum of Modern Art 2. Bronner, I.R. 2010, Cubism and Futurism: Example Tut Answer. Rhodes University. 3. Bronner, I.R. 2011, Cubism and Futurism: Lecture 1. Rhodes University 4. Frascina, Francis. 1993, Chapter 2, ‘Realism and Ideology: An Introduction to Semiotics and Cubism’, in Harrison, C., Franscina, F., and Perry, G. (eds) Primitivism, Cubism, Abstraction: The Early Twentieth Century. Hong Kong: Kwong Fat Offset Printing Co. Ltd. 5. Krauss, Rosalind. 1992, ‘The Motivation of the Sign’, in Rubin, W., Picasso and Braque: A Symposium. New York: The Museum of Modern Art 6. Nash, J.M. 1978, Cubism, Futurism and Constructivism. London: Thames and Hudson Ltd. List of Artworks: 1. Picasso, P. ‘Ma Jolie’ woman with a zither or guitar 1911-2. (oil on canvas, 100x65cm) The Museum of Modern Art, New York. Acquired through the Lillie P. Bliss Bequest. 2. Picasso, P. Les Demoiselles d’Avignon 1907. (oil on canvas, 243.9x 233.7cm) The Museum of Modern Art, New York. Acquired through the Lillie P. Bliss Bequest. 3. Russolo, Dynamism of an Automobile 1911. (oil on canvas,106x140cm ) Musee National d 'Art Moderne, Centre Pompidou, Paris, France.