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The Apple Tree

Surreal Cubism, 1997

Marc Rubin’s Self Portrait 1969



Marc Richard Rubin A Diverse World Artist Of Our Time

Marc Rubin finished his college education in 1972. In 1973 he entered his thesis painting, "Ladies Of The Canyon", pointillism, surreal subject, acrylic on canvas, in the prestigious Art Institute of Chicago - Chicago Competition. His unanimous inclusion into the exhibition by 3 visiting museum curators and James Spiers curator of the Art Institute created profound recognition for a very young Marc Rubin. Within one year his works were shown and sold in Europe, Chicago and New York City.

Even before Marc Rubin began his thesis work in pointillism, he was absorbed in classic modern art. Marc had been exposed to the Art Institute of Chicago from his early childhood through his parents' love of art. He would meet and become friends with Jean DuBuffet and Salvador Dali in the mid 1970's. While Dali saw incredible magic in pointillism, Rubin found that magic in Henri Matisse’s Fauvism, George Braque's Cubism and Jean DuBuffet's Abstract Expressionism.

Although his works in Pointillism are masterful, his first love is modernism. It originally made sense to study George Seurat and his Pointillism as it is con-sidered the starting point of all modern art. If you ask Marc Rubin, he will define himself as a Fauve, the name of recog-nition self used by Henri Matisse and George Braque. Meeting Salvador Dali during a visit to the university led to an amazing friendship during the last decade and a half of Salvador Dali’s life. Salvador had been a fan of Pointillism since his teenage years. He is the reason that Ladies of the Canyon is also a surreal work. After the Art Institute exhibition they became as close a grandfather and grandson. Marc stayed with the Dali’s during several

exhibition trips to Europe. Salvado painted in and invented styles whi are not seen as Surrealism but Salv told Marc that all true modern art Surrealism as true abstraction is th effort of altering reality.

Salvador encouraged Marc Rubin to continue inventing new modernist styles. It is Salvador Dali who named one of these established inventions as Surreal Cubism.

In 1976, upon Marc Rubin’s return from a one man exhibition in Europe, he was commissioned to paint a city-scape of Chicago. When asked to create a new style for the painting, his response was the invention of Pop Cubism. Two of his many Pop Cubist city scapes were requested in poster form by The City of Chicago Cultural Center Stores.

The following year, 1977, Marc Rubin made the greatest contribution to Fine Art since Georges Seurat invented and defined Pointillism in 1873. Marc defined and created the first work in his invention, Synchronism.

Synchronism was in practice but never as a genre. Marc Rubin’s Self Portrait 1969, is a combina-tion of Cubism and Fauvism. Marc has defined Intentional Fine Art that combines two or more styles from today or any previous age into harmonic balance. Below is a work in Synchronism combining Post Impression, Cubism and Abstract Expressionism. Marc Rubin “Style should be relevant to subject matter and the story being depicted.” The result has been one continuous period of diverse works.

Marc Rubin’s artwork has been on the front cover of Vigore and is often requested for future publications. The back cover displays “The Apple Tree” another artwork of Marc Rubin.

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