Editing Cubism (section)

==Cubism in other fields==
[[File:Cubic coffee service - Erik Magnussen (27986651569).jpg|thumb|Cubic coffee service, by [[Erik Magnussen (silversmith)|Erik Magnussen]], 1927, in a temporary exhibition called the "Jazz Age" at the [[Cleveland Museum of Art]], US]]
The influence of Cubism extended to other artistic fields, outside painting and sculpture. In literature, the written works of [[Gertrude Stein]] employ repetition and repetitive phrases as building blocks in both passages and whole chapters. Most of Stein's important works utilize this technique, including the novel ''[[The Making of Americans]]'' (1906–08). Not only were they the first important patrons of Cubism, Gertrude Stein and her brother [[Leo Stein|Leo]] were also important influences on Cubism as well. In turn, Picasso was an important influence on Stein's writing. In the field of American fiction, [[William Faulkner]]'s 1930 novel ''[[As I Lay Dying (novel)|As I Lay Dying]]'' can be read as an interaction with the cubist mode. The novel features narratives of the diverse experiences of 15 characters which, when taken together, produce a single cohesive body.

The poets generally associated with Cubism are [[Guillaume Apollinaire]], [[Blaise Cendrars]], [[Jean Cocteau]], [[Max Jacob]], [[André Salmon]] and [[Pierre Reverdy]]. As American poet [[Kenneth Rexroth]] explains, Cubism in poetry "is the conscious, deliberate dissociation and recombination of elements into a new artistic entity made self-sufficient by its rigorous architecture. This is quite different from the free association of the Surrealists and the combination of unconscious utterance and political nihilism of Dada."<ref>{{cite web |first=Kenneth |last=Rexroth |url=http://www.bopsecrets.org/rexroth/essays/reverdy.htm |title=The Cubist Poetry of Pierre Reverdy (Rexroth) |publisher=Bopsecrets.org |access-date=2011-06-11 |url-status=live |archive-url=https://web.archive.org/web/20110519035242/http://www.bopsecrets.org/rexroth/essays/reverdy.htm |archive-date=2011-05-19 }}</ref> Nonetheless, the Cubist poets' influence on both Cubism and the later movements of [[Dada]] and [[Surrealism]] was profound; [[Louis Aragon]], founding member of Surrealism, said that for Breton, Soupault, Éluard and himself, Reverdy was "our immediate elder, the exemplary poet."<ref>{{cite web |last=Reverdy |first=Pierre |url=http://www.bloodaxebooks.com/titlepage.asp?isbn=1852241543 |title=Title Page > Pierre Reverdy: Selected Poems |publisher=Bloodaxe Books |access-date=2011-06-11 |url-status=dead |archive-url=https://web.archive.org/web/20110527200900/http://www.bloodaxebooks.com/titlepage.asp?isbn=1852241543 |archive-date=2011-05-27 }}</ref> Though not as well remembered as the Cubist painters, these poets continue to influence and inspire; American poets [[John Ashbery]] and [[Ron Padgett]] have recently produced new translations of [[Pierre Reverdy|Reverdy's]] work. [[Wallace Stevens]]' "[[Thirteen Ways of Looking at a Blackbird]]" is also said to demonstrate how cubism's multiple perspectives can be translated into poetry.<ref>{{Cite web|url=http://titan.iwu.edu/~wchapman/americanpoetryweb/stevthir.html|archive-url=https://archive.today/20070813070622/http://titan.iwu.edu/~wchapman/americanpoetryweb/stevthir.html|url-status=dead|title=Untitled Document|archive-date=2007-08-13|access-date=2008-04-07}}</ref> Ballet's first cubist sets and costumes were designed by Picasso in 1917 for [[Sergei Diaghilev|Sergei Diaghilev's]] ''[[Parade (ballet)|Parade]]''.<ref>{{Cite news |last=Kramer |first=Hilton |date=March 24, 1973 |title=Picasso's Cubist Images Still Dominate 'Parade' |work=The New York Times |url=https://www.nytimes.com/1973/03/24/archives/picassos-cubist-images-still-dominate-parade.html |access-date=May 13, 2024}}</ref> This preceded six more ballets in which Picasso "left a mark on the ballet world, influencing generations of designers and choreographers".<ref>{{Cite web |last=de Souza |first=Isabella |title=Setting the Stage: Pablo Picasso's Foray Into Ballet |url=https://www.myartbroker.com/artist-pablo-picasso/articles/picasso-foray-into-ballet |website=Myartbroker.com}}</ref> Braque followed suit with four ballets of his own commencing in 1924 Diaghliev's ''Les Fâcheux''.<ref>{{Cite web |last=Unknown |title=The Ballets |url=https://www.guggenheim-bilbao.eus/en/exhibition/los-ballets}}</ref><ref>{{Cite web |last=Milliard |first=Coline |date=June 13, 2014 |title=Is Braque Finally Coming Out of Picasso's Shadow? |url=https://news.artnet.com/art-world/is-braque-finally-coming-out-of-picassos-shadow-38488}}</ref>  Gris as well designed sets and costumes for Diaghilev's [[Ballets Russes|Ballet Russes]].<ref>{{Cite web |title=Juan Gris |url=https://www.guggenheim.org/artwork/artist/juan-gris}}</ref><ref>{{Cite web |last=Lesso |first=Rosie |date=July 11, 2021 |title=Sumptuous Indulgence: Diaghilev and Juan Gris |url=https://blog.fabrics-store.com/2021/07/11/sumptuous-indulgence-diaghilev-and-juan-gris/}}</ref> Artists such as the prolific poster designers [[Cassandre|A.M. Cassandre]]<ref>Heller, S., & Fili, L. (1994). ''Dutch Moderne: Graphic Design from De Stijl to Deco''. Chronicle Books. p. 104. {{ISBN|0811803031}}.</ref> and [[Edward McKnight Kauffer]] popularized Cubism in the fields of commercial graphic design and [[typography]].<ref>Heller, S., & Fili, L. (1998). ''British Modern: Graphic Design Between the Wars''. Chronicle Books. p. 18. {{ISBN|0811813118}}.</ref> [[Paul Poiret]] and [[Callot Soeurs]] were among the couturiers that brought cubist elements—such as overlapping layers and flat planes that obscure the volumes of the body—into the world of fashion design.<ref>Martin, R., & Metropolitan Museum of Art (New York, N.Y.). (1998). ''Cubism and Fashion''. Metropolitan Museum of Art: Distributed by H.N. Abrams. pp. 15–17, 42, 47. {{ISBN|9780870998881}}.</ref>

[[John Berger]] said: "It is almost impossible to exaggerate the importance of Cubism. It was a revolution in the visual arts as great as that which took place in the early [[Renaissance]]. Its effects on later art, on film, and on architecture are already so numerous that we hardly notice them."<ref>Berger, John. (1965). The Success and Failure of Picasso. Penguin Books, Ltd. p. 73. {{ISBN|978-0-679-73725-4}}.</ref>