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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 It originally made sense to study George Seurat and his Pointillism as it is considered the starting point of all modern art. If you ask Rubin he will define him-self as a Fauve, the name of recognition 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 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. Salvador painted in and invented styles which are not seen as Surrealism but Salvador told Marc that all true modern art is Surrealism as true abstraction is the effort of altering reality.

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

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

Chicago River View 1996

42 x 42 inches, Pop Cubism

The Birth Of Seth

60 x 60 inches, Synchronism

Synchronism was in practice but never as a genre. Rubin’s Self Portrait 1969, combination of Cubism and Fauvism.

Coral, Under the Sea 1996

42x48 inches, Surreal Cubism

In 1976 upon Marc’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. They are also sold at Posters Plus on Michigan Avenue across the street from The Art Institute of Chicago.

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