Superstroke is part of a new generation of art movements that started after the year 2000 and can be referred to as a 21st century manifesto driven art Movement. The Superstroke Art Movement try to incorporate a lot of elements of modern and contemporary art that came before us into what we do. Where cubism use the theories of Cezanne on the creation of pictorial spaces and also incorporates primitive African art into the paintings and sculptures, Superstroke try to focus on the expressive and even violent brush strokes and pair that with African imagery.
The Manifesto for Superstroke is as follows:
1. Paintings and Sculptures should be executed using expressive even violent brushstrokes on at least some part of the art work.
2. Should a photograph be used for a figurative painting, the objection should not be Photorealism, but Expressionism.
3. If mediums such as pen, pencil, etc are used, the pen and pencil strokes must at least be overly expressive for it to be considered a Superstroke picture.
4. Paintings can be executed in both the abstract and figurative.
5. Subject matters such as Africa, light, dark, life and death are encouraged.
6. Collage, Stencil and Calligraphy may be used for impact.
7. The Super Expressive Brush, Pen etc. strokes can be used on any object with a surface and this makes Sculpture possible within the Superstroke Art Movement.
8. The concept, Art for the sake of art, does not apply in Superstroke. In Superstroke it is art for the sake of Superstroke, as the artist must always strive for paintings rich in texture, or excessive brush or pencil strokes.
Here is a link on for a great article about Cubism.
Cubism is a highly influential movement in the history of modern art. Cubism is a descendant of Cézanne’s research on the creation of a pictorial space that is no longer a mere imitation of reality, and‘primitive’ art that challenges the obvious of Western tradition, Cubism disrupts the notion of representation in art. According to art historian John Golding, who specialises in the movement, Cubism is an absolutely original pictorial language, a totally new approach to the world, and a conceptualised aesthetic theory. So one can understand how it was able to give new direction to all of modern art.
Through several phases of exploration, the protagonists of the movement initially examined the unity of the canvas and the treatment of two-dimensional volumes. This was the first phase of Cubism, known as Facet orCézanne Cubism, from 1908 to 1910. Once the painting had gained autonomy, the issue of space became clearer, evolving into a kind of deconstruction of the perceptive process. Thus, the movement’s development from 1910 to 1912 is often referred to as Analytical Cubism. After verging on abstraction and hermetism, the artists reintroduced readable signs, particularly by introducing everyday objects, newspaper and papier collé to the canvas, steering Cubism towards an aesthetic reflection on the different levels of reference to reality. This final stage was referred to as Synthetic Cubism.
The first two phases were led by Georges Braque and Pablo Picasso, neighbours at the Bateau-Lavoir complex of artists’ studios in Montmartre who worked closely together. They were then joined by Juan Gris, who began painting in the Cubist style in 1911, and sculptor Henri Laurens in 1915 who further developed their research.
But Cubism also influenced the young generation of artists in the nineteen tens, whose first artworks portrayed their interpretation of the movement’s contributions. Robert Delaunay, Fernand Léger, Albert Gleizes, the Duchamp brothers (Raymond Duchamp-Villon, Jacques Villon, Marcel Duchamp) were given an impetus that led them to great discoveries.
The influence of Cubism was felt throughout Europe, spilling over into both ready-mades (1) and abstract art (2).Piet Mondrian’s abstract artwork, Russian Constructivism, Kasimir Malevitch’s Suprematism, and evenFuturism, which would rival Cubism, are all indebted to the innovations first established by Braque and Picasso.