Inmitten der Erschütterungen des Ersten Weltkriegs schuf *Pablo Picasso* mit seiner *„Violine“ (1915)* ein Werk, das die traditionelle Bildhauerei grundlegend infrage stellte. Diese Analyse beleuchtet, wie Picasso das Prinzip der *Collage* in die dritte Dimension übertrug und aus einfachem Weißblech und Draht ein Instrument formte, das nicht mehr klingen will, sondern die visuelle Sprache der Moderne neu definiert. Wir untersuchen die Materialsemantik des industriellen Blechs, die Dekonstruktion der Form im synthetischen Kubismus und den historischen Kontext eines fragmentierten Europas. Das Video bietet eine detaillierte kunstwissenschaftliche Einordnung dieser Assemblage, die den Weg von der klassischen Skulptur hin zur Objektkunst des 20. Jahrhunderts ebnete.
*Keywords:*
Pablo Picasso, Violine 1915, Synthetischer Kubismus, Assemblage, Objektkunst, Bildanalyse, Kunstgeschichte, Avantgarde, Dreidimensionalität, Materialästhetik, Erster Weltkrieg Kunst.
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Unterstützt vom *"Bund Deutscher Kunsterzieher e.V. (BDK) - Landesverband Niedersachsen"*. Heute noch *Mitglied werden* über: https://bdk-online.info/
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*Quellen:*
- Anfam, David. Abstract Expressionism. London: Thames & Hudson, 1990.
- Daix, Pierre. Picasso: Die kubistischen Jahre 1907–1916. München: Hirmer, 1979.
- Deutschlandfunk. „Der klassische Kubist.“ Zuletzt aktualisiert 2011. Zugriff am 28. Januar 2026. https://www.deutschlandfunk.de/der-klassische-kubist-100.html.
- Golding, John. Cubism: A History and an Analysis, 1907–1914. London: Faber & Faber, 1959.
- Musée national Picasso-Paris. „Violon, 1915 – Pablo Picasso.“ Zugriff am 28. Januar 2026. https://www.museepicassoparis.fr/fr/violon.
- Rubin, William. Picasso and Braque: Pioneering Cubism. New York: The Museum of Modern Art, 1989.
- Rubin, William. Picasso and Sculpture. New York: The Museum of Modern Art, 1967.
- Spies, Werner. Picasso: Das plastische Werk. Stuttgart: Hatje Cantz, 2005.
- Walther, Ingo F., Hrsg. Picasso. Köln: Taschen, 2000.
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#zeigmal! #kunst #tutorial #bildung #abitur #schule #bdk #kunstunterricht #kunstunterricht #kunstlehrer #kunstlehrer #gymnasium #bildung #Kunstgeschichte #Picasso #Kubismus #Bildanalyse #Assemblage #ModerneKunst #ZeigMal #Kunstunterricht #Plastik #Skulptur #Kunstwissen
-----
Unterstützt vom "Bund Deutscher Kunsterzieher e.V. (BDK) - Landesverband Niedersachsen". Heute noch Mitglied werden über: https://bdk-online.info/
-----
#zeigmal! #kunst #tutorial #kunstgeschichte #bildung #abitur #schule #bdk #kunstunterricht #kunstunterricht #kunstlehrer #kunstlehrer #gymnasium #bildung #malerei #modernekunst #art #arthistory #modernart #understandingart #kunstverstehen
*Keywords:*
Pablo Picasso, Violine 1915, Synthetischer Kubismus, Assemblage, Objektkunst, Bildanalyse, Kunstgeschichte, Avantgarde, Dreidimensionalität, Materialästhetik, Erster Weltkrieg Kunst.
-----
Unterstützt vom *"Bund Deutscher Kunsterzieher e.V. (BDK) - Landesverband Niedersachsen"*. Heute noch *Mitglied werden* über: https://bdk-online.info/
-----
*Quellen:*
- Anfam, David. Abstract Expressionism. London: Thames & Hudson, 1990.
- Daix, Pierre. Picasso: Die kubistischen Jahre 1907–1916. München: Hirmer, 1979.
- Deutschlandfunk. „Der klassische Kubist.“ Zuletzt aktualisiert 2011. Zugriff am 28. Januar 2026. https://www.deutschlandfunk.de/der-klassische-kubist-100.html.
- Golding, John. Cubism: A History and an Analysis, 1907–1914. London: Faber & Faber, 1959.
- Musée national Picasso-Paris. „Violon, 1915 – Pablo Picasso.“ Zugriff am 28. Januar 2026. https://www.museepicassoparis.fr/fr/violon.
- Rubin, William. Picasso and Braque: Pioneering Cubism. New York: The Museum of Modern Art, 1989.
- Rubin, William. Picasso and Sculpture. New York: The Museum of Modern Art, 1967.
- Spies, Werner. Picasso: Das plastische Werk. Stuttgart: Hatje Cantz, 2005.
- Walther, Ingo F., Hrsg. Picasso. Köln: Taschen, 2000.
-----
#zeigmal! #kunst #tutorial #bildung #abitur #schule #bdk #kunstunterricht #kunstunterricht #kunstlehrer #kunstlehrer #gymnasium #bildung #Kunstgeschichte #Picasso #Kubismus #Bildanalyse #Assemblage #ModerneKunst #ZeigMal #Kunstunterricht #Plastik #Skulptur #Kunstwissen
-----
Unterstützt vom "Bund Deutscher Kunsterzieher e.V. (BDK) - Landesverband Niedersachsen". Heute noch Mitglied werden über: https://bdk-online.info/
-----
#zeigmal! #kunst #tutorial #kunstgeschichte #bildung #abitur #schule #bdk #kunstunterricht #kunstunterricht #kunstlehrer #kunstlehrer #gymnasium #bildung #malerei #modernekunst #art #arthistory #modernart #understandingart #kunstverstehen
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LernenTranskript
00:00Hanging on the wall is a piece of sheet metal, cut, folded, painted, and held together with wire.
00:06A violin that doesn't sound.
00:08No wood, no soundboard, no strings.
00:12Instead, Pablo Picasso's work appears like the idea, like the shattered, deformed skeleton of an instrument.
00:19It is the year 1915 and a peculiar, almost oppressive silence prevails in the Parisian studios.
00:26while outside on the battlefields of the First World War, the European cultural landscape is irrevocably torn apart in the storm of steel.
00:35The war ended the international camaraderie of the avant-garde, which had been cultivated intensively until then.
00:40and forces the artists into a new, harsher reality.
00:44Pablo Picasso, as a Spanish citizen, was exempt from military service and remained in Paris.
00:50while his closest companions, such as Georges Braque, go to the front.
00:54Now on his own, Picasso created works of unprecedented radicalism.
00:59which reflect the completely new reality of a fragmented, mechanized, destructive and warlike world.
01:07One of the boldest testimonies to this development is precisely that violin.
01:11This constructed combination of industrially manufactured tinplate, cut and folded,
01:17Held together and painted with iron wire, Picasso breaks with traditional sculpture.
01:23he blurred the boundaries between painting and sculpture by bringing the principle of collage into space,
01:29elevates it into three dimensions.
01:31He thus establishes assemblage, the additively combining construction into a new whole,
01:38as a valid artistic form of expression.
01:58Picasso's artistic output is characterized by rapid and formative stylistic changes for painting.
02:04After his rose period, in which he devoted himself thematically to the world of jugglers and artists from 1905 onwards,
02:11In 1907, with the monumental painting Les Demoiselles d'Avignon, he finally broke with the Western painting tradition.
02:19In doing so, he laid the foundation for the analytical Cubism that he would develop in subsequent years together with Georges Braque.
02:26which deconstructs and breaks down the perceived reality of an object into its faceted structures.
02:32The outbreak of the First World War in 1914 brought this close cooperation to an abrupt end.
02:39The departure of his friends, who had been drafted into military service, to the front plunged Picasso into a deep personal and artistic isolation.
02:46At this point, Cubism is in transition from its depiction of objects into geometric forms.
02:53from the analytical approach of dissecting spheres, cylinders or cones to the synthetic form,
03:00in which objects made from heterogeneous, often industrial materials are assembled and constructed from multiple perspectives.
03:08The goal is to create a visual reality that no longer imitates external appearances.
03:14but represents an autonomous, i.e., independent, pictorial reality.
03:20This fundamental conceptual shift is accompanied by two significant innovations in design,
03:27of collage and construction.
03:29In the still life with cane chair from 1912, Picasso integrates an industrially manufactured oilcloth into the composition for the first time.
03:38Everyday found objects such as newspapers, wallpaper or fabric are used in other works.
03:43Following the expansion of working tools to include such non-artistic materials in two dimensions,
03:49starting from the paper colas,
03:51Picasso extends his designs from the flat surface of the picture plane into three-dimensional space, creating sculptural structures.
03:59Creates painted constructions from paper, cardboard and later also from sheet metal.
04:05In this way, the boundaries between image and object, between painting and sculpture, become blurred.
04:11The various guitars produced between 1912 and 1914 provide further valuable groundwork here.
04:19as a testing ground for forms, techniques and materials.
04:23Initially two-dimensional, like in a still life: siphon, glass, newspaper and violin,
04:28an open-looking composition of newspaper clippings, wood, imitation and charcoal,
04:33then three-dimensionally from cardboard, paper and string,
04:37finally, in 1914, it was made from sheet metal and wire.
04:42This tableau object, a hybrid of picture and plastic, hangs on the wall like a painting,
04:49At the same time, it presents a spatial structure.
04:53The anecdote tells of a gallery visitor who asked,
04:56whether the guitar construction is painting or sculpture.
05:01Picasso's replica
05:05is far more than a simple statement.
05:08The deliberate breaking of linguistic rules, the use of the Spanish masculine article L
05:13before the French feminine guitar, functions as a witty,
05:18a slightly tongue-in-cheek affirmation of the artistic principle,
05:22a sovereign disregard for established categories in art and grammar.
05:27In the radical design of the violin in terms of form and material
05:32Picasso's experiments finally culminated in 1915.
05:36with the tension between collage, assemblage and cubist deconstruction and synthesis.
05:43The work is a three-dimensional construction made from industrially manufactured, everyday materials.
05:50Instead of the precious materials commonly used in sculpture, such as marble, bronze or wood
05:55Picasso used ordinary tinplate and iron wire.
05:59This step alone is a break with tradition, a provocation,
06:04which fundamentally questions the established academic concept of art.
06:08The sheet metal, cheap, thin, cold, an industrially mass-produced everyday material
06:14stands as a symbol for the dawn of artistic modernity
06:18in their fundamental critique of the art world.
06:21Picasso decouples the intrinsic value of the artwork from the preciousness of its material.
06:26and places it solely within the creative idea.
06:29In doing so, he deconstructs the organically curved, familiar form of the real instrument.
06:35into geometric, tetragonal, i.e. square-shaped basic elements,
06:40from which it is formed by combining and superimposing planar or spatially folded sheets
06:45A fragile assembly was created.
06:48The shape only vaguely resembles a violin.
06:52This no longer serves as a model to be imitated,
06:55but only provides more clues about the bulbous middle of the instrument,
07:00a suggested neck with fingerboard,
07:03the two F-holes designed as wide material lines.
07:07Picasso additively reassembles these from individual elements,
07:11creates a synthesis of essentially independent form symbols,
07:15which are only constructively brought together in connection with a new, pictorial reality.
07:21The formal analysis reveals the complex internal structure of the work.
07:26Through the gap between two folded pieces of sheet metal held together by a piece of wire
07:30The longitudinal axis of the instrument is marked and tilted slightly out of plumb.
07:35At the top of the object, a fingerboard is suggested as an indication in a black area.
07:41This is cut orthogonally through a folded sheet metal part,
07:45perhaps an allusion to the violin bow playing the violin.
07:49The elements forming the body fan out to the left and right of the central line.
07:55Instead of recreating the instrument's spatially enclosed body,
07:59Picasso opens up its volume
08:01turns its insides outwards,
08:03allows the encroaching space to flow around the surfaces and forms.
08:07Where the protective covering of the body is actually expected,
08:11Instead, the gaze falls upon and into an open structure,
08:15which, due to its lack of volume, only slightly fulfills the expectation of a classic body illusion.
08:20The individual parts of the overall shape are painted.
08:24Brown, white and black dominate the elements suggesting the instrument.
08:29Blue and irregularly painted, black and white, diamond-shaped grid patterns
08:35the air surrounding the violin,
08:38perhaps their vibrant dynamics or even musical sounds are close to them.
08:43Because the work is composed of expansive elements,
08:48It reacts immediately to the ambient light conditions.
08:51Real shadows are created alongside the painterly suggestion of shadow areas.
08:57This ambivalence, the break between real and simulated properties,
09:01is a central element of the artistic consideration here,
09:04This is also reflected in the suggestion of imitation wood grain in brown tones.
09:10against monochrome painted or even raw, untreated metallic surfaces.
09:16The illusion of materiality is thus abandoned in favor of a material language.
09:21which clearly identifies the work as an artificial, artistic tableau object.
09:28The overlapping surfaces and shapes also represent different exterior views simultaneously.
09:34so that the viewer is forced to imagine the real form of the violin
09:37to reconstruct from the fragmented signs.
09:41The work is no longer a representation, it does not strive for mimesis.
09:45Rather, it is an autonomous system of signs that refers to the idea of a violin.
09:51Thus, the object only comes into being in our perception.
09:55We recognize an instrument, although hardly anything remains of its coherent form.
10:00We see with knowledge, not with mere perception.
10:05With this work, Picasso makes the final break with traditional sculpture.
10:10and transfers the principle of collage into three dimensions.
10:14Picasso himself probably did not see the works as sculptures in the traditional sense for this reason as well.
10:19Rather, he understood it as a logical extension of painting.
10:23They remain conceived and composed in a pictorial sense,
10:26even when their forms penetrate into the room.
10:29Picasso simultaneously established sculpture as an additive, constructive method of construction,
10:34which defines the nature of the object and its representative perception
10:38redefined as a system of visual signs
10:41and prepares the assemblage of combining real materials into a new whole
10:47and finally paved the way for object art.
10:51Numerous artists were working at the same time as Picasso,
10:54for example the Dadaist Kurt Schwitters or the Italian Futurists
10:59comparable revolutionary design approaches.
11:02Artists such as Julio González, who was a close friend of Picasso, or Jean Dubuffet
11:07These ideas and forms will be gratefully embraced and developed.
11:12Alexander Calder and Jean Tengli eventually expanded the language to include the kinetic element.
11:33I'm playing a game today
11:37Gobier Mil Arc
11:37inside
11:39Artists like derverts
11:39coast
11:39artist
11:39large
11:39cities
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