![]() Yet Head of a Woman, writes Curtis, "had mainly revealed how Cubism was more interesting in Painting-where it showed in two dimensions how to represent three dimensions-than in sculpture". Such is the case for Picasso's 1909-10 Head of a Woman (Head of Fernande), often considered the first Cubist sculpture. Pablo Picasso, 1909–10, Head of a Woman (Fernande), modeled on Fernande OlivierĪ painting is meant both to capture the palpable three-dimensionality of the world revealed to the retina, and to draw attention to itself as a two-dimensional object, so that it is both a depiction and an object in itself. This is largely because we read Gauguin, Degas, Matisse, and Picasso as painters even when looking at their sculpture, but also because their sculptures often deserve to be spoken of as much as paintings as sculptures". "This has meant" according to Curtis, "that we have tended to see sculpture through painting, and even to see painters as poaching sculpture. Braque's paper sculptures of 1911, for example, were intended to clarify and enrich his pictorial idiom. Increasingly, painters claim sculptural means of problem solving for their paintings. ![]() In the longer term we could read such developments as the beginning of a process in which sculpture expands, poaching painting's territory and then others, to become steadily more prominent in this century". "If painters used sculpture for their own ends, so sculptors exploited the new freedom too", writes Curtis, "and we should look at what sculptors took from the discourse of painting and why. Attempts to separate painting and sculpture, even by 1910, are very difficult. Cubist painting is an almost sculptural translation of the external world its associated sculpture translates Cubist painting back into a semi-reality". We are better advised, writes Penelope Curtis, "to look at what is sculptural within Cubism. Writings about individual sculptors within the Cubist movement are commonly found, while writings about Cubist sculpture are premised on painting, offering sculpture nothing more than a supporting role. ![]() In the historical analysis of most modern movements such as Cubism there has been a tendency to suggest that sculpture trailed behind painting. Joseph Csaky, 1911-1912, Groupe de femmes (Groupe de trois femmes, Groupe de trois personnages), plaster lost, Exhibited at the 1912 Salon d'Automne and Salon des Indépendants, 1913, Paris
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