Task 2

Design 1: Gothic Revival (1820-1870)

This started for several reasons mainly moral and philosophical reasons. The widespread neoclassical style was associated with paganism and the architects Augustus Welby Northmore Pugin {The True Principles of Pointed or Christian Architecture (1841)}, and John Ruskin {Seven Lamps of Architecture (1849) and Stones of Venice (1853)} both believed that the Gothic architecture represented the values of Christianity and were the product of a purer society. Besides, authors like Horace Walpole and especially Sir Walter Scott helped to bring a sense of nostalgia to the middle ages by setting their stories in those times. Another factor is the political: neoclassicism was associated with republicanism and liberalism while Gothic was associated with monarchism and conservatism.

One of the earliest Gothic revival buildings is Horace Walpole’s residence at Strawberry Hill (1750) taking many of the decorative elements of exterior medieval Gothic and moving them to the interior of the house. However the greatest example of authentic Gothic Revival is the Palace of Westminster (The Houses of Parliament). This was rebuilt by Sir Charles Barry and A.W. N. Pugin after a fire destroyed the old buildings in 1834. While Barry oversaw the construction, much of the design is Pugin's, which he carried out in exacting Perpendicular Gothic style both on the inside and outside. In the same period architects like William Butterfield who built Keble College Chapel, Oxford and Sir George Gilbert Scott famous for The Albert Memorial, London built numerous buildings in this style.

In the USA, Gothic revival was first promoted by Alexander Jackson Davis in Baltimore 1832 in his book ‘Rural Residences’ mainly for country and suburban residences. The Gothic Revival style was also popular for churches. Examples of which is Richard Upjohn’s Trinity Church (New York City, 1840) and Renwick’s St. Patrick’s Cathedral (New York City, 1859–79).

All the features of Gothic style can be seen in these buildings. These are exuberant forms and decoration, pointed arches, poly-chrome brickwork, finials, hood moldings and label stops, front facing gables with vergeboards, lancet windows, castle like towers with parapets, and steeply pitched roofs.

Of interest is how one can distinguish between Gothic and Gothic revival. In the nineteenth century there were not enough craftsmen to carry out the necessary work so they used mass produced work which was too perfect compared to rough, hand made, laborious work of the medieval ages.

Gothic revival continued to a much lesser extent up to the middle of the twentieth century mainly with churches and universities especially due to the influence of the Christian religion but it was the advent of new materials for building and concern with space especially in urban areas that brought its ending.

                                        Figure 1: Strawberry Hill House in Twickenham, London

  

Figure 2: Houses of Parliament, London an example of perpendicular Gothic because it emphasizes vertical lines. Note the large windows, sometimes reaching immense size and having narrow stone mullions

Figure 3: Sir George Gilbert Scott’s Albert Memorial located in Kensington Gardens showing Prince Albert  holding the catalogue of the Great Exhibition which he inspired and helped to organize.

Figure 4: William Butterfield’s Keble College Chapel in Oxford. Note the multi chrome bricks, hood moulding and pointed arches.  

Figure 5: Alexander Jackson’s design of a Gothic Revival style house in USA. This style was promoted for country houses because  it was thought that it was not fit for city centres.

Figure 6: Richard Upjohn’s Trinity Church 1843 located in lower Manhattan is an example of the first phase of Gothic Revival in USA which is rich in style but less scholarly than St Patrick’s Cathedral (see picture below) which is a good example of the more archaeologically correct style of Gothic Revival.

Figure 7: James Renwick’s St. Patrick’s Cathedral in New York City. This gem of a building has all the features of a typical Gothic Revival building.

Lastly I like to mention that in Malta we have a few beautiful examples of Gothic Revival including Emmanuele Luigi Galizia's, Addolarata Cemetery, the Carmelite Church in Balluta Bay and the Church of Our Lady of Lourdes in Mgarr Gozo.

Figure 8: Emmanuel Galizia's The Church of Our Lady of Lourdes in Mgarr, Gozo. The church is made out of Maltese limestone.

References:

Architectural Styles of America and Europe. [No Date]. Gothic Revival. [Online].

Available from: http://architecturestyles.org/gothic-revival/

[Accessed 7 December 2015].

Borg, V. P. [No Date]. Development of Maltese Architecture. [Online].
Available from: http://www.victorborg.com/maltese-architecture-history-baroque.html

[Accessed 30 January 2016].

Encyclopedia Britannica. 2015. Gothic Revival. [Online].

Available from: http://www.britannica.com/art/Gothic-Revival

[Accessed 6 December 2015].

From Wikipedia, the free encyclopedia. 2003. Gothic Revival architecture. [Online].

Available from: https://en.wikipedia.org/wiki/Gothic_Revival_architecture

[Accessed 6 December 2015].

From Wikipedia, the free encyclopedia. 2011. Strawberry Hill House. [Online].

Available from: https://en.wikipedia.org/wiki/Strawberry_Hill_House

[Accessed 6 December 2015].

Glossary of Medieval Art and Architecture. [No Date]. Hood Mouldings. [Online].

Available from: http://www.pitt.edu/~medart/menuglossary/hoodmolding.htm

[Accessed 6 December 2015].

Manco, J., Researching Historic Buildings in the British Isles. 2013. Gothic Revival architecture. [Online].

Available from: http://www.buildinghistory.org/style/gothicrevival.shtml

[Accessed 6 December 2015].

New York Architecture. [No Date]. St. Patrick’s Cathedral (RC). [Online].

Available from: http://nyc-architecture.com/MID/MID054.htm

[Accessed 7 December 2015].

Pennsylvania Historical and Museum Commission. [No Date]. Gothic Revival Style 1830 – 1860. [Online].

Available from: http://www.phmc.state.pa.us/portal/communities/architecture/styles/gothic-revival.html

[Accessed 7 December 2015].

Ross, D., Britain Express. [No Date]. Gothic Revival Architecture. [Online].

Available from: http://www.britainexpress.com/architecture/gothic-revival.htm

[Accessed 6 December 2015].

References for Images:

Architectural Styles of America and Europe. [No Date]. Alexander Jackson’s design of a Gothic Revival style house in USA. [Image Online].
Available at: https://architecturestyles.files.wordpress.com/2011/10/copy-3-of-img_0766.jpg
[Accessed 7 December 2015].

e-architect. 2015. Sir George Gilbert Scott’s Albert Memorial. [Image Online].
Available at: http://www.e-architect.co.uk/images/jpgs/london/albert_memorial_nw120709_2.jpg
[Accessed 6 December 2015].

From Wikipedia, the free encyclopedia. 2001. Houses of Parliament. [Image Online].
Available at: https://en.wikipedia.org/wiki/Palace_of_Westminster#/media/File:London_Parliament_2007-1.jpg
[Accessed 6 December 2015].

From Wikipedia, the free encyclopedia. 2011. Strawberry Hill House. [Image Online].
Available at: https://en.wikipedia.org/wiki/Strawberry_Hill_House#/media/File:Strawberry_Hill_House_from_garden_in_2012_after_restoration.jpg

[Accessed 6 December 2015].

New York Architecture. [No Date]. James Renwick’s St. Patrick’s Cathedral. [Image Online].
Available at: http://nyc-architecture.com/MID/NewYorkStPatrick03.jpg
[Accessed  6 December 2015].

Richard Upjohn: Biography of American Architect, Gothic Revival Style. [No Date]. Richard Upjohn’s Trinity Church. [Image Online].
Available at: http://www.visual-arts-cork.com/images-applied-art/trinity-church-new-york.JPG
[Accessed 6 December 2015].

Speaker, A. 2013. William Butterfield’s Keble College Chapel. [Image Online].
Available at: https://austinspeaker.files.wordpress.com/2013/05/image_large.jpg
[Accessed 6 December 2015].

The Victorian Web. 2010. Emmanuel Galizia's The Church of Our Lady of Lourdes. [Image Online].

Available at: http://www.victorianweb.org/art/architecture/galizia/2.html

[Accessed 30 January 2016].

Design 2: Bauhaus

I chose Bauhaus as one of my topics because I feel that this art movement still has a big influence on modern art as a whole. The modernist movement started before Bauhaus and Gropius, the founder of Bauhaus was influenced by the modernism which gripped Germany after World War 1 but Bauhaus in its turn influenced modern art including modern architecture. This can be clearly seen in the functional buildings found in Dessau, in typography as these letters called Bauhaus 95 named after the letters designed by Herbert Bayer clearly show and in interior design as Marcel Breuer’s chairs and the famous wallpaper clearly testify. I also got interested in this movement because Bauhaus brought a radical change in mentality regarding how one looks at art. It was a pioneer in combining fine art to applied art and the use of the artist’s creativity for industrial design and technology.

Infact Gropius started the school to produce the “total work of art”, “a new guilt of craftsmen without the class of divisions that set out to raise the arrogant barrier between craftsman and artist”. He paved the way to put crafts on par with art. Gropius gave a lot of importance to the apprenticeship in the workshops which included ceramics, metalwork, carpentry, glass, painting and photography something which is very familiar to us students who attend this institute. The huge workshops were meant to be a kind of platform in which students could experience and try out things which were never done before. He wanted to produce complete artists having both theoretical and practical knowledge to face the modern world.

Although the Art and Craft movement was started before this time and was greatly influenced by the work of William Morris who said that ‘art should meet the needs of society’, it was at the Bauhaus that this doctrine was really put into practice.

I am also impressed by the number of artists who I admire who were teachers at the Bauhaus, namely Wassily Kandinsky who was a member of Der Blaue Reiter before joining the Bauhaus, Paul Klee, Herbert Bayer, Marcel Breuer and Piet Mondrian.

Many products and objects, some of them iconic were made and built in the workshops of this school. They were all meant as experiments, not as finished products.

This school lasted only 14 years up to 1933 and was located in three different German towns, namely Weimar, Dessau and Berlin and had three different directors namely Walter Gropius, Hannes Meyer and Ludwig Mies van der Rohe. It is important to realize that this short lifespan was due to the difficult circumstances occurring at that time namely that the Nazis wanted to close it down, denouncing it as “degenerate art” and because of the perilous financial situation.  However many of the important figures of this school emigrated to the USA where they continued to exert their influence in very prestigious universities like Yale and Harvard.

        

         Figure 8: Printing Workshop                    Figure 9: Ceramic Workshop

 

     

             Figure 10: Metal Workshop

Figure 11: Entrance to the workshop block of the Bauhaus, Dessau – typography by Herbert Bayer

Several iconic objects designed and made in this school:

Figure 12: Marcel Breuer slatted chair. 1924 made of wood-slat stained oak. The fabric was produced in the Weaving Workshop. It was envisaged as a prototype for mass-production.

Figure 13: Wassily chair Chrome- plated steel canvas upholstery designed by Marcel Breuer in 1925. An example of minimal design.

 Figure 14: Ashtray with cigarette Holder Marianne Brandt 1924

Half sphere supported by bars in the form of a cross. Off center opening and plain surfaces suggest a product for mass production, it was made manually.

Figure 15: Bauhaus Lamp made of chrome designed by Wilhelm Wagenfeld in 1924 shortly after joining the school and replicas of this iconic piece have remained in production up till now.

References:

Bauhaus. 2015. [Online].

Available from: http://bauhaus-online.de/

[Accessed 4 December 2015].

Bauhaus Archiv Museum fur Gestaltung Berlin. [Undated]. [Online].

http://www.bauhaus.de/en/

[Accessed 4 December 2015].

Designophy. 2001. Slatted chair 1922 [Online].

Available from: http://www.designophy.com/

[Accessed 5 December 2015].

Griffith Winton, A., Heilbrunn Timeline of Art History. 2000. The Bauhaus 1919-1933 [Online].

Available from: http://www.metmuseum.org/

[Accessed 3 December 2015].

The Art Story.  2015. Bauhaus Movement, Artists and Major Works [Online].

Available from: http://www.theartstory.org/

[Accessed 4 December 2015].

  

Vitra Design Museum. 2012.  The Bauhaus #itsalldesign [Online].

Available from: http://www.design-museum.de/

[Accessed 4 December 2015].

From Wikipedia, the free encyclopedia. 2001. Bauhaus [Online].

Available from: https://en.wikipedia.org/wiki/Bauhaus

[Accessed 3 December 2015].



References for Images:

Bauhaus. 2015. Ashtray with cigarette Holder. [Image Online].
Available at: http://bauhaus-online.de/files/imagecache/480h/bilder/629_brandt-aschenschale_bha_12258.jpg
[Accessed 4 December 2015].

Bauhaus. 2015. Ceramic Workshop. [Image Online].
Available at: http://bauhaus-online.de/files/imagecache/480h/bilder/404_werkstatt_keramik.jpg
[Accessed 4 December 2015].

Bauhaus. 2015. Marcel Breuer slatted chair. [Image Online].
Available at: http://bauhaus-online.de/files/imagecache/480h/bilder/lattenstuhl_0.jpg
[Accessed 4 December 2015].

Bauhaus. 2015. Metal Workshop. [Image Online].
Available at: http://bauhaus-online.de/files/imagecache/180h_r/bilder/405_metallwerkstatt.jpg
[Accessed 4 December 2015].

Bauhaus. 2015. Printing Workshop. [Image Online].
Available at: http://bauhaus-online.de/files/imagecache/180h_r/bilder/407_typographie.jpg

[Accessed 4 December 2015].

Bauhausitaly. [No Date]. Bauhaus Lamp made of chrome. [Image Online].
Available at: http://media.bauhausitaly.com/articoli/fonte/wagenfeld_art_053_l_108.jpg
[Accessed December 2015].

From Wikipedia, the free encyclopedia. 2001. Entrance to the workshop block of the Bauhaus, Dessau. [Image Online].
Available at: https://upload.wikimedia.org/wikipedia/commons/7/74/BauhausType.jpg
[Accessed 3 December 2015].

Pinterest. [No Date]. Wassily chair Chrome- plated steel canvas upholstery. [Image Online].
Available at: https://s-media-cache-ak0.pinimg.com/736x/d2/57/36/d257360e432e3479e0b1cf2c93b6e045.jpg
[Accessed 3 December 2015].

Art 1: Fauvism

Historically I see Fauvism as the bridge which connected the turn of the century symbolist art with all the other movements which developed in the twentieth century. Colour was the most important aspect of Fauvism. Fauves were more concerned with colour than with the subject matter. Fauves separated colour from what it represented and   instead used it to express their feelings and moods without necessarily representing the real world. For the Fauves putting unnaturalistic colours like drawing a tree blue or grass yellow was normal. The Fauves developed from the pointillism of Seurat and the mixing of solid colour and design of Paul Gauguin. They used short, dynamic brushstrokes and used pure, bright and exuberant colours. Their use of colours produced very vibrant and dynamic paintings. Besides the Fauves did not care much about perspective, their paintings look flat because they used mainly the positioning of the colours to compose the paintings. Two other important features of fauvism are the simplified forms because the fauves refrained to use normal painting techniques and the ordinary subject matter of the paintings like landscapes which involve large areas of colour.

This movement was very short lived lasting about 3 years and its main exponents were Henri Matisse, Andre Derain, Maurice de Vlamick and Georges Rouault, all French and students of Moreau. In 1905 they collectively exhibited their works at the Salon d’Automne which was held at the Grand Palais in Paris. People at that time were not ready for this type of art and the paintings were criticized. Infact, the art critic Louis Vauxcelles dubbed the paintings which were in the same room as a traditional sculpture as the "Donatello parmi les fauves" ("Donatello among the wild beasts"). The term Fauves stuck to these artists.

Historically, Fauvism was important in the evolution of art. The use of colours and form to express their feelings influenced the expressionist’s movements Die Brücke and the later Blaue Reiter and Matisse interest in African art after he visited Morocco with paintings having angular features and simplified features had a great influence on Picasso and the cubist movement.

I am going to discuss in brief two works of art to better explain what I discussed above.

Figure 16: Henri Matisse The dessert: harmony in red (The red room) 1908 oil on canvas 180 × 220 cm (The Hermitage St. Petersburg)

The bright red colour which forms most of the picture, the impression of flatness in the room where wall and table seem to unite and the simplistic way the objects are drawn (the woman face looks almost like that of a cartoon) are all characteristics of  Fauvism (which I mentioned above).

Figure 17: Henri Matisse Bonheur de Vivre (1905-06) oil on canvas 176.5cm x 240.7cm Barnes Foundation Philadelphia

In this painting there is a landscape flooded with vivid colours where several nude bodies are frolicking. Here one sees that the liberal use of colour is to express emotion and not to portray nature.

References:

About education. 2015. Fauvism - Art History 101 Basics. [Online]. 

Available from: http://arthistory.about.com/od/modernarthistory/a/Fauvism-Art-History-101-Basics.htm

[Accessed 24 November 2015].

Art Movements. [No Date]. Fauvism. [Online].

Available from: http://www.artmovements.co.uk/fauvism.htm

[Accessed 24 November 2015].

Artionado – art learning centre. 2011. Inside Matisse. [Online].

Available from: http://www.artionado.com/Matisse/Matisse%20fauve%20works%206.html

[Accessed 24 November 2015].

Dabrowski, M., Heilbrunn Timeline of Art History. 2000. Henri Matisse (1869-1954). [Online].

Available from: http://www.metmuseum.org/toah/hd/mati/hd_mati.htm

[Accessed 24 November 2015].

EPPH – Every Painter Paints Himself. 2010. Matisse’s Harmony in Red (1908). [Online].

Available from: http://www.everypainterpaintshimself.com/article/matisses_harmony_in_red

[Accessed 25 November 2015].

Henri Matisse – Biography, Artworks, and Quotes. 2011. The Dessert: Harmony in Red, 1908 by Henri Matisse. [Online].

Available from: http://www.henrimatisse.org/the-dessert-harmony-in-red.jsp

[Accessed 25 November 2015].

Henri Matisse – Biography, Artworks, and Quotes. 2011. Joy of Life (Bonheur de Vivre), 1905 by Henri Matisse. [Online].

Available from: http://www.henrimatisse.org/joy-of-life.jsp

[Accessed 25 November 2015].

Khan Academy. 2015. Fauvism and Matisse – A beginner’s guide to Fauvism. [Online].

Available from: https://www.khanacademy.org/humanities/art-1010/early-abstraction/fauvism-matisse/a/a-beginners-guide-to-fauvism

[Accessed 24 November 2015].

Khan Academy. 2015. Fauvism and Matisse – Matisse, Bonheur de Vivre. [Online].

Available from: https://www.khanacademy.org/humanities/art-1010/early-abstraction/fauvism-matisse/a/matisse-bonheur-de-vivre

[Accessed 25 November 2015].

Prezi. 2015. The Dessert: Harmony In Red. [Online].

Available from: https://prezi.com/wci56hdrwadx/the-dessert-harmony-in-red/

[Accessed 25 November 2015].

Rewald, S., Heilbrunn Timeline of Art History. 2000. Fauvism. [Online].

Available from: http://www.metmuseum.org/toah/hd/fauv/hd_fauv.htm

[Accessed 24 November 2015].

The Art Story. 2015. Fauvism. [Online].

Available from: http://www.theartstory.org/movement-fauvism.htm

[Accessed 24 November 2015].

Wikipedia, the free encyclopedia. 2001. Fauvism. [Online].

Available from: https://en.wikipedia.org/wiki/Fauvism

[Accessed 24 November 2015].

References for Images:

Artionado – art learning centre. 2011. The dessert: harmony in red (The red room). [Image Online].

Available at: http://www.artionado.com/Matisse/Images/Matisse/Matisse-Harmony-in-red.jpg

[Accessed 24 November 2015].

Khan Academy. 2015. Bonheur de Vivre. [Image Online].

Available at: https://www.khanacademy.org/humanities/art-1010/early-abstraction/fauvism-matisse/a/matisse-bonheur-de-vivre

[Accessed 25 November 2015].

Art 2: Cubism

Cubism was one of the pioneers of modern art. It was the first movement which produced a revolutionary break from previous works of art. Cezanne who had emphasized the geometry of forms in nature influenced both Pablo Picasso and Georges Braque who developed this artistic style in the early 20^th century. In cubism geometric form is favoured and everything is reduced to cubes and other geometrical forms. Synonymous with cubism is the simultaneous creation of different views of the same item. It also ditched perspective which was used to produce space and was the mainstay of art since the Renaissance.

It is not exactly clear why cubism started and flourished so quickly at that particular time. Some art historians say that it represents a response to how people perceived space, movement and time with the advances in science. For sure these artists considered the illusion of space and mass less significant and this caused the move away from naturalism.

It all started when the young Picasso travelled from Spain to Paris and exhibited Le Demoiselle d’Avignon. Although this work has strong association with African tribal art, it is considered to be the prototype of cubism because of its distorted figures and the division of space into smaller parts. In 1908 Braque painted Houses at l'Estaque (French: Maisons à l'Estaque) It is considered to be the first Cubist landscape because it is composed of cubes which led the art critic Louis Vauxcelles to call it “bizarreries cubiques”, hence the name of the movement. These two artists became very close friends and worked in the same district of Paris namely Montmartre. These two paintings are shown below.

Analytic Cubism as described above was followed by synthetic cubism in that foreign objects were inserted to depict objects. The putting of newspapers on the canvas was the beginning of papier-colle or collage. The Spanish artist Juan Gris and the French Fernand Leger were big exponents of this.

There has been a lot of debate about what cubism represents, some say that it is an objective view of the painter to give the images better character, while others see it as the artist trying to distort the object even sometimes bordering on the abstract.

Figure 18: Les Demoiselles d’Avignon oil painting 1907 Museum of Modern Art, NY

          

Figure 19: Houses at l'Estaque (French: Maisons à l'Estaque) oil on canvas Georges Braque 1908 Lille Métropole Museum of Modern, Contemporary and Outsider Art

I am going to discuss in brief three works of art to better explain what I discussed above.

Figure 20: Violin and Pitcher, 1910, Georges Braque, oil on canvas, Kunstmuseum Basel, Basel, Switzerland

A fine example of analytical cubism showing many different viewpoints of the subjects which are also fragmented and drawn in geometric forms. The subdued colours are typical of this style.

Figure 21: Fantomas, 1915, Juan Gris (1887-1927), (oil on canvas) National Gallery of Art, Washington, D.C.

An example of synthetic cubism. Juan Gris worked closely with both Picasso and Braque and infact some call him the third Musketeer of Cubism. He made collages and sometimes he did paintings of the collages as in this one. Here he displays a table full of periodicals including one called Fantomas hence the name of the painting. I can see a lot of play with lines in this picture especially how he put the diagonal lines.

Figure 22: The Woman in Blue (la Femme en Bleu), 1912, Fernand Leger, oil on canvas, Kunstmuseum Basel, Basel, Switzerland.

The Woman in Blue shows geometric abstraction. It is not the figure of the woman which is important for the artist but her character. I cannot see a focal point in this painting, the lines do not start or finish in a particular place.

References:

Artcyclopedia. [No Date]. Artists by Movement: Cubism [Online].

Available from: http://www.artcyclopedia.com/history/cubism.html

[Accessed 29 November 2015].

ArtLex on Cubism. 1996. Cubism. [Online].

Available from: http://www.artlex.com/ArtLex/c/cubism.html

[Accessed 29 November 2015].

Arty Factory. 2015. Cubism. [Online].

Available from: http://www.artyfactory.com/art_appreciation/art_movements/cubism.htm

[Accessed 29 November 2015].

Fernand Leger. 2008. Fernand Leger La femme en bleu, 1912. [Online].

Available from: http://previousexhibitions.fondationbeyeler.ch/e/html_11sonderaus/34leger/03_werke.php?pos=3&snt=werke&p=2

[Accessed 30 November 2015].

Pablo Picasso – Paintings, Quotes, and Biography. 2009. Les Demoiselles d’Avignon, 1907 by Pablo Picasso.

Available from: http://www.pablopicasso.org/avignon.jsp

[Accessed 30 November 2015].

Pablo Picasso – Paintings, Quotes, and Biography. 2009. Pablo Picasso’s Cubism Period – 1909 to 1912 [Online].

Available from: http://www.pablopicasso.org/cubism.jsp

[Accessed 29 November 2015].

Rewald, S., Heilbrunn Timeline of Art History. 2000. Cubism [Online].

Available from: http://www.metmuseum.org/toah/hd/cube/hd_cube.htm

[Accessed 29 November 2015].

SlideShare. 2015. Houses at l’estaque by Georges Braque (Cubism). [Online].

Available from: http://www.slideshare.net/dying-to-be-different/houses-at-lestaque-by-georges-braque

[Accessed 30 November 2015].

The Art Story. 2015. Cubism Movement, Artists and Major Works. [Online].

Available from: http://www.theartstory.org/movement-cubism.htm

[Accessed 29 November 2015].

From Wikipedia, the free encyclopedia. 2002. Cubism. [Online].

Available from: https://en.wikipedia.org/wiki/Cubism

[Accessed 29 November 2015].



References for Images:

From Wikipedia, the free encyclopedia. 2001. Fantomas. [Image Online].

Available at: https://upload.wikimedia.org/wikipedia/commons/3/3e/Fant%C3%B4mas_-_Juan_Gris.JPG
[Accessed 30 December 2015].

From Wikipedia, the free encyclopedia. 2002. Les Demoiselles d’Avignon. [Image Online].

Available at: https://upload.wikimedia.org/wikipedia/en/4/4c/Les_Demoiselles_d'Avignon.jpg

[Accessed 29 November 2015].

The Athenaeum. [No Date]. Houses at l'Estaque. [Image Online].

Available at: http://www.the-athenaeum.org/art/display_image.php?id=20357
[Accessed 30 November 2015].

Wikiart. [No Date]. The Woman in Blue. [Image Online].

Available at: http://www.wikiart.org/en/fernand-leger/the-woman-in-blue-1912?utm_source=returned&utm_medium=referral&utm_campaign=referral#supersized-artistPaintings-196319
[Accessed 30 November 2015].

Wikiart. [No Date]. Violin and Pitcher. [Image Online].

Available at: http://www.wikiart.org/en/georges-braque/violin-and-pitcher-1910?utm_source=returned&utm_medium=referral&utm_campaign=referral#supersized-artistPaintings-193815
[Accessed 30 November 2015].