What Picasso and Braque didn't know - A 'MANIFESTO'
linsi-art of St. Helena Island, S.A.O. and of Basle, Switzerland
My works mirror the ’ZEITGEIST’, the ‘SPIRIT OF OUR TIMES’ !
When PICASSO and BRAQUE created CUBISM at the beginning of the 20. Century and, like Galileo with his telescope, invited us to See Our World In A New Way, they were, in fact, following their ‘Gut Feelings’ and making us aware of ‘The Changing Face of Reality’.
With THE CREATION OF CUBISM we witnessed what is designated:
'THE BIRTH OF A STYLE OF AN AGE’
In every generation, barely perceptible thoughts and ideas, of varying vigour and intensity, arise and surface. These develop silently and progressively. Slowly and persistently, over long periods of time, perhaps even over centuries, they evolve and mutate.
Then, abruptly and unexpectedly, there is a:
T R A N S M U T A T I O N
‘Modern Art’ is closely connected with the ‘collective thinking’ of the 20.century.
It mirrors what has been a gradual change in the deeper psyche of the universal consciousness of humanity. This trend can be observed in all the arts and sciences.
The ‘reality awareness’ of mankind has slowly but indisputably been newly determined …….
We have only to look at our EVERYDAY LIFE – Space Travel, computers, television, mobile ‘phones, and, and, and …..
Planck’s Quantum Theory and Einstein’s Relativity Theory changed our sense of TRUTH
Quantum Physics established that everything that exists, visible or invisible, when broken down into its most basic structure, consists of but one substance:
‘Consciousness’, a ‘Vibratory Energy’, a ‘No-Thing-Ness’
In this electronic age in which we ‘live’, it is incomprehensible that there are still many intelligent, educated people who cannot, or do not want to, comprehend that we live in an ocean, a veritable homogenous soup, of vibrating energy.
Our five physical senses have been wholly discredited, it appears they are in fact mere ‘antennae’ for these vibrations. Our eyes are not really windows through which we look at the world. Rather they are ‘cameras’ that send electrical impulses of the ‘physical world’ to the brain.
Like a ‘Beanstalk’ our awareness of ‘being’ is rapidly growing.
We have been made aware that ‘CORE PRINCIPLES’ such as time, space, material, energy, gravitation, etc. are ‘relative’ and are coloured by our human/worldly consciousness and views.
Even the light that makes things visible is disputed!
It is impossible to draw a picture of this ‘NEW REALITY’ that can be measured in ‘worldly/human’ terms.
We are faced with: A NEW REALITY - A NEW WORLD PARADIGM !
WHAT IS THE SIGNIFICANCE OF THIS REVELATION FOR ARTISTS AND PAINTING?
When Picasso and Braque invited us to see the world in a new way, they insisted that although ‘CUBISM’, with fragmented flat surfaces, permitted the viewer to see all sides of an object at the same time it was, nonetheless, ‘TRUE TO NATURE’
In the light of new disclosures, however, everything in our physical world had to be redefined and we are compelled to review our concept of ‘NATURE’ and ‘REALITY’
THINGS and SPACE, fixed points of reference for the artist, have lost their solid character and have become ‘variable and dynamic’.
Since there was no longer a tangible or visible object to be mimicked, paintings lost their ‘miming’ function and another ‘duty’ had to be established.
The human Ego adjusted itself to this ‘NEW REALITY’.
A category of painting to pictorially unite the ‘SUBSTANCE’ with the solidity of ‘THING AND SPACE had to be imagined. Painting was challenged with a ‘Quantum Leap’.
With the termination of their ‘mimetic’ character, and the shifting of their graphic assignment, paintings transmuted from ‘descriptive’ to ‘evocative’ images.
THE CUBIST MOVEMENT may be said to have begun in 1907 and to have ended with the outbreak of war in 1914. However, it persisted as an influence in architecture and the decorative arts well into the 20. century, long after the artists involved had abandoned or transformed the style.
Once it was accepted that the plastic imagination has at its command the free association of any visual element, whether derived from nature or constructed a priori – the way was open to a new ‘consciousness’.
These ‘NEW’ pictures mirror the inner values of the artist.
The recognition of the principle of free association of images leaves the artist a wide choice.
As the roots of the rosebush, that nurture the plant, bear little similarity to the sweet smelling flowers that bloom ‘above the earth’, so my works e.g. ‘Tribute to a Blue Delahaye’ or ‘My Blue Angel’ retain scant resemblance to the 1938 Delahaye which inspired them !! So, also, Modern Art bears little semblance to ‘Paintings’ of the past.
Picasso, like most artistic prodigies, had an assortment of influences in the early phases of his development – Romanesque art of his native Catalonia, Gothic art in general, sixteenth-century Spanish painting, and the work of his immediate predecessors, such as Cezanne and Toulouse-Lautrec. The most profound and permanent influence on his work was, however, that of Cezanne. In 1907 a memorial exhibition, consisting of 56 paintings by the esteemed Master, was held in Paris and was certainly seen by Picasso.
In the autumn of 1907 he was introduced to a young painter by the name of George Braque, from LeHavre. The following year, in 1908, a group of young painters, including Braque, called Group de Bateau-Lavoir –after a tenement block nicknamed ‘the floating laundry’- where Picasso had been living since 1904, began to take shape. In the same year Fernand Léger was introduced to the Group – though it was not until 1910 that he came into personal contact with Picasso and Braque.
There were several new recruits in 1909 – including Robert Delaunay.
New recruits were constantly joining the Cubist movement. The individual contributions made to the formation of the style by the various members of the group are difficult to extricate. However, It would be an error to look on Picasso as the central stimulus of this assemblage.
Whereas Braque maintained a stylistic integrity throughout his career, the same cannot be said of Picasso. When Picasso held an exhibition of the pictures he had painted during the summer of 1909 it was immediately obvious that for him Cubism had acquired a new meaning.
In 1912 Piet Mondrian who had come to Paris from Holland in 1910, and Diego Rivera, who came from Mexico, joined the group. But the more the ‘Cubists’ increased in number the more evident it became that the movement included distinct stylistic contradictions and individualities with which Picasso and Braque could not conform.
Since the creation of ‘Cubism’ at the beginning of the 20. Century, the painting of Reality/Nature had been systematically distorted and reduced. Nothing remained but a bare canvas that had been slashed with a knife !!!
Painting has been ‘reduced’ to such an extent that a picture of a Urinal – A PISS POT – was exalted to the status of a Work of Art…….
AND IT IS GOOD SO!
The consequences of Picasso’s and Braque’s act of perception are incalculable.
Are you asking what the faces in my works symbolize? - PLEASE LOOK AGAIN!
There are no ‘faces’ !
There are just a few ‘empty’ ‘squiggles’ – which apparently evoke emotion…….as when an emotion is ’evoked’ when a complete stranger smiles or scowls at you on the street……… Then, too, there is a DIRECT COMMUNICATION OF EMOTIONS – between the giver and the receiver – as between the artist and the observer – if they are on the same ‘wavelength’ and are ‘tuned in’.
These simple ‘squiggles’ impart to the ‘nonfigurative colour illustrations’ a personified quality to which we humans can relate. They communicate an impression and illustrate the fullness of vibratory energy in seemingly ‘empty space’.
After 36 years of serious altercation with myself, my PAINTINGS, the NEW WORLD PARADIGM - and my striving for personal development and spiritual growth - I believe I have learned : The Secret of the New Perception Of Reality.
In daring to illustrate NO-THING-NESS observing ILLUSORY REALITY and portraying the ‘ZEITGEIST’, ‘THE SPIRIT OF OUR TIMES’ I leave it to the art-historians to resolve what place my ‘WORKS’ will take in the annals of ART.
P.S. In conclusion, I would like to say that these pictures ‘revealed themselves’ to me on the canvas - I only had to 'put in the colours'.