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Date: 17.12.2017

The Crystal (1915)

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His work became bolder, more arbitrary, more dynamic and increasingly nonrepresentational. As his color planes acquired greater formal independence, defined objects and structures began to lose their identity. Where before, the foundational pillars of academicism had been shaken, now they had been toppled. Every season it appeared renewed, growing like a living body. Its enemies could, eventually, have forgiven it if only it had passed away, like a fashion; but they became even more violent when they realized that it was destined to live a life that would be longer than that of those painters who had been the first to assume the responsibility for it".

The terms Analytic Cubism and Synthetic Cubism originated through this distinction. Despite the brutal interruption, each found the time to continue making art, sustaining differing types of Cubism.

Yet they discovered a ubiquitous link between the Cubist syntax beyond pre-war attitudes and that of the anonymity and novelty of mechanized warfare. Cubism evolved as much a result of an evasion of the inconceivable atrocities of war as of nationalistic pressures. Along with the evasion came the need to diverge further and further away from the depiction of things. As the rift between art and life grew, so too came the burgeoning need for a process of distillation.

The Crystal (1915) - Plot Summary - IMDb

The flat surface became the starting point for a revaluation of the fundamental principles of painting. It was Metzinger and Gris who, again according to Gleizes, "did more than anyone else to fix the basic elements Certitude was nothing more than based on a relative belief, while truth was in agreement with fact. The only belief was in the veracity of philosophical and scientific truths.

The priority on "orderly qualities" and the "autonomous purity" of compositions are a prime concern, writes art historian Christopher Green. After two years of study I have succeeded in establishing the basis of this new perspective I have talked about so much. It is not the materialist perspective of Gris, nor the romantic perspective of Picasso. It is rather a metaphysical perspective—I take full responsibility for the word.

The geometry of the fourth space has no more secret for me. Previously I had only intuitions, now I have certainty. I have read Schoute , Rieman sic , Argand , Schlegel etc. The mind [esprit] hates what cannot be measured: That is the secret.

Painting, sculpture, music, architecture, lasting art is never anything more than a mathematical expression of the relations that exist between the internal and the external, the self [le moi] and the world. If painting was an end in itself it would enter into the category of the minor arts which appeal only to physical pleasure Painting is a language—and it has its syntax and its laws. Metzinger, 26 July [22] Continuing, Metzinger mentions the differences between himself and Juan Gris: Someone from whom I feel ever more distant is Juan Gris.

I admire him but I cannot understand why he wears himself out with decomposing objects. I take from things what seems to me to have meaning and be most suitable to express my thought.

I want to be direct, like Voltaire. Ah those stuffed tomatoes of all the St-Pol-Roux of painting. Where before, the perception of depth had been greatly reduced, now, the depth of field was no greater than a bas-relief.

In the case of Le Fumeur Metzinger filled in these simple shapes with gradations of color, wallpaper-like patterns and rhythmic curves.

But the underlying armature upon which all is built is palpable. If the beauty of a painting solely depends on its pictorial qualities: If that object looks like something known, I take it increasingly for something of no use. For me it is enough for it to be "well done", to have a perfect accord between the parts and the whole.

Jean Metzinger, quoted in Au temps des Cubistes, [25] For Metzinger, the Crystal period was synonymous with a return to "a simple, robust art". His belief was that technique should be simplified and that the "trickery" of chiaroscuro should abandoned, along with the "artifices of the palette". It is like the expression of the old-school tragedian in acting!

I want clear ideas, frank colors. In the other, the grid is still present but the lines are not stated and their continuity is broken". In , as the key area of likeness and unlikeness, they more than anything released the laughter. Apollinaire compares the work of Gris with the "scientific cubism" of Picasso The conceptions of Juan Gris are always pure, and from this purity parallels are sure to spring".

These works set the tone for his quest of an ideal unity for the next five years. Cohesion in space composition and cohesion in time Corot in Gris were presented as a single, fundamental truth".

The oblique overlapping planar constructions, tending away from equilibrium, can best be seen in the artists Woman with Mandolin, after Corot September and in its epilogue Portrait of Josette Gris October Though Gris certainly had planned the representation of his chosen subject matter, the abstract armature serves as the starting point. The overlapping elemental planar structure of the composition serves as a foundation to flatten the individual elements onto a unifying surface, foretelling the shape of things to come.

Between and , he began a series of paintings depicting highly geometric and minimalist Cubist objects, consisting of either a pipe, a guitar or a glass, with an occasional element of collage. Maurice Raynal suggested "Crystal Cubism". Returning to Paris in , Csaky began a series of Cubist sculptures derived in part from a machine-like aesthetic; streamlined with geometric and mechanical affinities.

Few works of early modern sculpture are comparable to the work Csaky produced in the years directly succeeding World War I.

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These were nonrepresentational freely-standing objects, i. Objects were not to be analyzed; neither were the experiences they evoked. They were to be re-created in the mind, and thereby purified. By some unexplained miracle the "pure" forms of the mind, an entirely autonomous vocabulary, of usual geometric forms, would make contact with the external world.