On October 20, 2014, Cubism: The Leonard A. Lauder Collection opened to the public in seven galleries of New York's Metropolitan Museum of Art. The Dresser tiptoed in that day with a swarm of others eager to see this donated collection of 81 Cubist works mostly spanning 1907 to 1918. More importantly, this exhibition includes 34 pieces by Pablo Picasso, 17 by Georges Braque who initiated this style of artwork, and 15 works each by Juan Gris and Fernand Léger.
The show, curated by Met curator Rebecca Rabinow and art historian Emily Braun who helped Leonard Lauder assemble this collection, organizes the evolution of Cubism, showing how Braque, the Cubism innovator, was surpassed by Picasso in 1913. However, they worked together from about 1908 to the beginning of World War I in 1914, when Braque enlisted with the French army.
Paul Cézanne influenced both Braque and Picasso but Braques painted still lifes while Picasso tended toward figures in motion. Opening the show are three paintings by Braque bridging between Fauvism and Cubism, including "Trees at L'Estaque." The Met Cubism show includes two studies for Picasso's proto-cubist masterpiece "Les Demoiselles d'Avignon."
Represented in the show are works of Analytic Cubism (emphasizing multiple perspectives within an amorphous framework of geometric shapes--this was developed by Braque and Picasso 1909-10 and reached its high point in 1911), Cubism collage (invented by Braque), and Synthetic Cubism (also invented by Picasso and Braque, it features overlapping planes and more subject definition and color). Another development that bridged from Analytic to Synthetic Cubism was the introduction of deconstructed words. Two favorites in this category shown in the exhibition are Picasso's 1914 "Bottle of Bass and Glass" and Braques 1911 "Still Life with Dice."
The Dresser expects she will see this show again and hopefully under less crowded conditions. While she enjoyed the more colorful and manicured works of Gris and Léger, for this review she spent most of her time on pointe with the Picassos and Braques.
With Tender Buttons, a long love poem published in 1914, Gertrude Stein took inspiration from the Cubism of her friends George Braque and Pablo Picasso. The second stanza of "Shoes.", a subpoem of section 1 "Objects" of Tender Buttons seems to point at Braque's "Still Life with Dice"--broken word rose or is that eros, which means erotic love? (Need the Dresser bring further attention to Stein's shallow hole rose on red?) And was Picasso influenced by Stein's diminishment of ale such that Picasso's ale of choice, Bass Ale, has lost an S and what with B highlighted in bright light, the AS standing on its own seemingly suggesting the French word as or ace (the card) in English. Voilà, the ace to the right side of the canvass. And look to the left of the B, there are black and white dice! Ha, baby needs new shoes!
To be a wall with a damper a stream of pounding way and nearly enough choice makes a steady midnight. It is pus.
A shallow hole rose on red, a shallow hole in and in this makes ale less. It shows shine.
by Gertrude Stein
from Tender Buttons, section 1 "Objects"
"Woman In Arm Chair" by Pablo Picasso
"Trees at L'Estaque" by George Braque
"Still Life with Dice" by George Braque
"Bottle of Bass and Glass" by Pablo Picasso