Cubism

context: The movement was pioneered by Georges Braque and Pablo Picasso, joined by Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris. A primary influence that led to Cubism was the representation of three-dimensional form in the late works of Paul Cézanne. A retrospective of Cézanne's paintings had been held at the Salon d'Automne of 1904, current works were displayed at the 1905 and 1906 Salon d'Automne, followed by two commemorative retrospectives after his death in 1907.
qas: answers: text: Georges Braque and Pablo Picasso, joined by Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris.
question: Name the 8 peopl who began the movement

answers: text: Paul Cézanne
question: Which person  was the most influential in beginning the movement with is three dimensional forms?

answers: text: 1905 and 1906
question: What year's were Cezannes painting's displayed at Salon d'Automne? Not including the retrospectives.

context: In France, offshoots of Cubism developed, including Orphism, Abstract art and later Purism. In other countries Futurism, Suprematism, Dada, Constructivism and De Stijl developed in response to Cubism. Early Futurist paintings hold in common with Cubism the fusing of the past and the present, the representation of different views of the subject pictured at the same time, also called multiple perspective, simultaneity or multiplicity, while Constructivism was influenced by Picasso's technique of constructing sculpture from separate elements. Other common threads between these disparate movements include the faceting or simplification of geometric forms, and the association of mechanization and modern life.
qas: answers: text: Orphism, Abstract art and later Purism
question: What were the three offshoots of Cubism formed in France?

answers: text: Futurism, Suprematism, Dada, Constructivism and De Stijl
question: What were the other offshoots formed in countries other than France?

answers: text: Futurist
question: Which offshoot had little in common with Cubism?

answers: text: Constructivism
question: Which offshoot of cubism was influenced by Picasso? 

context: Cubism began between 1907 and 1911. Pablo Picasso's 1907 painting Les Demoiselles d'Avignon has often been considered a proto-Cubist work. Georges Braque's 1908 Houses at L’Estaque (and related works) prompted the critic Louis Vauxcelles to refer to bizarreries cubiques (cubic oddities). Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro, as the first Cubist paintings. The first organized group exhibition by Cubists took place at the Salon des Indépendants in Paris during the spring of 1911 in a room called 'Salle 41'; it included works by Jean Metzinger, Albert Gleizes, Fernand Léger, Robert Delaunay and Henri Le Fauconnier, yet no works by Picasso or Braque were exhibited.
qas: answers: text: 1907 and 1911
question: Between what years did cubism begin? 

answers: text: 1911
question: In the spring of what year did the first organized exhibition by cubist appear?

answers: text: Salle 41
question: What was the name of the room that the first exhibition of Cubists took place?

answers: text: Gertrude Stein
question: Who mentioned the landscapes made by Picasso in the first Cubist paintings? 

answers: text: Paris
question: In what city did the first exhibition of Cubists take place?

context: Historians have divided the history of Cubism into phases. In one scheme, the first phase of Cubism, known as Analytic Cubism, a phrase coined by Juan Gris a posteriori, was both radical and influential as a short but highly significant art movement between 1910 and 1912 in France. A second phase, Synthetic Cubism, remained vital until around 1919, when the Surrealist movement gained popularity. English art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch. According to Cooper there was "Early Cubism", (from 1906 to 1908) when the movement was initially developed in the studios of Picasso and Braque; the second phase being called "High Cubism", (from 1909 to 1914) during which time Juan Gris emerged as an important exponent (after 1911); and finally Cooper referred to "Late Cubism" (from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement. Douglas Cooper's restrictive use of these terms to distinguish the work of Braque, Picasso, Gris (from 1911) and Léger (to a lesser extent) implied an intentional value judgement.
qas: answers: text: Analytic Cubism
question: What was the first phase of Cubism known as? 

answers: text: Juan Gris
question: Who coined the phrase Analytic Cubsim? 

answers: text: Synthetic Cubism
question: What was the second phase of Cubism called? 

answers: text: 1909 to 1914
question: From what years did High Cubism take place? 

answers: text: 1914 to 1921
question: From what years did Late Cubism take place? 

context: The assertion that the Cubist depiction of space, mass, time, and volume supports (rather than contradicts) the flatness of the canvas was made by Daniel-Henry Kahnweiler as early as 1920, but it was subject to criticism in the 1950s and 1960s, especially by Clement Greenberg. Contemporary views of Cubism are complex, formed to some extent in response to the "Salle 41" Cubists, whose methods were too distinct from those of Picasso and Braque to be considered merely secondary to them. Alternative interpretations of Cubism have therefore developed. Wider views of Cubism include artists who were later associated with the "Salle 41" artists, e.g., Francis Picabia; the brothers Jacques Villon, Raymond Duchamp-Villon and Marcel Duchamp, who beginning in late 1911 formed the core of the Section d'Or (or the Puteaux Group); the sculptors Alexander Archipenko, Joseph Csaky and Ossip Zadkine as well as Jacques Lipchitz and Henri Laurens; and painters such as Louis Marcoussis, Roger de La Fresnaye, František Kupka, Diego Rivera, Léopold Survage, Auguste Herbin, André Lhote, Gino Severini (after 1916), María Blanchard (after 1916) and Georges Valmier (after 1918). More fundamentally, Christopher Green argues that Douglas Cooper's terms were "later undermined by interpretations of the work of Picasso, Braque, Gris and Léger that stress iconographic and ideological questions rather than methods of representation."
qas: answers: text: Daniel-Henry Kahnweiler
question: Who asserted that the flat canvas supported Cubism? 

answers: text: early as 1920
question: In what year was the assertion made that the flat canvas supported Cubism?

answers: text: 1950s and 1960s,
question: When was the assertion that the flat canvas supported Cubism put into debate?

answers: text: Clement Greenberg.
question: Who was the main opponent that began to argue that the flat canvas did not support Cubism? 

answers: text: Picasso, Braque, Gris and Léger
question: Who's work undermined Douglass  Coopers terms describing Cubism?

context: During the late 19th and early 20th centuries, Europeans were discovering African, Polynesian, Micronesian and Native American art. Artists such as Paul Gauguin, Henri Matisse, and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures. Around 1906, Picasso met Matisse through Gertrude Stein, at a time when both artists had recently acquired an interest in primitivism, Iberian sculpture, African art and African tribal masks. They became friendly rivals and competed with each other throughout their careers, perhaps leading to Picasso entering a new period in his work by 1907, marked by the influence of Greek, Iberian and African art. Picasso's paintings of 1907 have been characterized as Protocubism, as notably seen in Les Demoiselles d'Avignon, the antecedent of Cubism.
qas: answers: text: Paul Gauguin, Henri Matisse, and Pablo Picasso
question: Which artists in the early 19th and 20th century inspired by the newly discovered African, Native American, Micro and Polynesian art?

answers: text: stark power and simplicity
question: What about the Native cultures art inspired Matisse, Picasso, and Gauguin?

answers: text: Gertrude Stein,
question: Who did Picasso meet around 1906 that had also recenelty learned about Primitivism? 

answers: text: Protocubism
question: What were Picasso's 1907 paintings usually characterized by? 

context: The art historian Douglas Cooper states that Paul Gauguin and Paul Cézanne "were particularly influential to the formation of Cubism and especially important to the paintings of Picasso during 1906 and 1907". Cooper goes on to say: "The Demoiselles is generally referred to as the first Cubist picture. This is an exaggeration, for although it was a major first step towards Cubism it is not yet Cubist. The disruptive, expressionist element in it is even contrary to the spirit of Cubism, which looked at the world in a detached, realistic spirit. Nevertheless, the Demoiselles is the logical picture to take as the starting point for Cubism, because it marks the birth of a new pictorial idiom, because in it Picasso violently overturned established conventions and because all that followed grew out of it."
qas: answers: text: Paul Gauguin and Paul Cézanne
question: Which two artists did Douglass Cooper say were very important to the forming of Cubism?

answers: text: The Demoiselles
question: What does Cooper say is the first  Cubist picture? 

answers: text: although it was a major first step towards Cubism it is not yet Cubist.
question: Is it true that the first Cubist picture is The Demoiselles? 

context: The most serious objection to regarding the Demoiselles as the origin of Cubism, with its evident influence of primitive art, is that "such deductions are unhistorical", wrote the art historian Daniel Robbins. This familiar explanation "fails to give adequate consideration to the complexities of a flourishing art that existed just before and during the period when Picasso's new painting developed." Between 1905 and 1908, a conscious search for a new style caused rapid changes in art across France, Germany, Holland, Italy, and Russia. The Impressionists had used a double point of view, and both Les Nabis and the Symbolists (who also admired Cézanne) flattened the picture plane, reducing their subjects to simple geometric forms. Neo-Impressionist structure and subject matter, most notably to be seen in the works of Georges Seurat (e.g., Parade de Cirque, Le Chahut and Le Cirque), was another important influence. There were also parallels in the development of literature and social thought.
qas: answers: text: such deductions are unhistorical
question: What did Daniel Robbins say about Demoiselles being the beginning of Cubism?

answers: text: 1905 and 1908,
question: During which years did the conscious begin to look for a new style in Germany, Italy, Russia, and Holland?

answers: text: Les Nabis and the Symbolists
question: Which impressionist movements were also influenced by Cubism?

answers: text: double point of view
question: Which technique did the Impressionists use to make their subjects simple forms?

context: In addition to Seurat, the roots of cubism are to be found in the two distinct tendencies of Cézanne's later work: first his breaking of the painted surface into small multifaceted areas of paint, thereby emphasizing the plural viewpoint given by binocular vision, and second his interest in the simplification of natural forms into cylinders, spheres, and cones. However, the cubists explored this concept further than Cézanne. They represented all the surfaces of depicted objects in a single picture plane, as if the objects had all their faces visible at the same time. This new kind of depiction revolutionized the way objects could be visualized in painting and art.
qas: answers: text: in the two distinct tendencies of Cézanne's later work
question: Besides Seurat where else are the beginnigs of Cubism found?

answers: text: Cézanne
question: Cubists exploration of the concept of the simplification of forms into cones cylinders and spheres was further explored by whom?

answers: text: all the surfaces of depicted objects in a single picture plane, as if the objects had all their faces visible at the same time.
question: Cubism revolutionized the way things could be seen in art how? 

context: The historical study of Cubism began in the late 1920s, drawing at first from sources of limited data, namely the opinions of Guillaume Apollinaire. It came to rely heavily on Daniel-Henry Kahnweiler's book Der Weg zum Kubismus (published in 1920), which centered on the developments of Picasso, Braque, Léger, and Gris. The terms "analytical" and "synthetic" which subsequently emerged have been widely accepted since the mid-1930s. Both terms are historical impositions that occurred after the facts they identify. Neither phase was designated as such at the time corresponding works were created. "If Kahnweiler considers Cubism as Picasso and Braque," wrote Daniel Robbins, "our only fault is in subjecting other Cubists' works to the rigors of that limited definition."
qas: answers: text: in the late 1920s
question: When did the historical study of Cubism begin?

answers: text: Guillaume Apollinaire
question: On who's opinions were the beginnings of the this historical study of Cubism based?

answers: text: Daniel-Henry Kahnweiler's book Der Weg zum Kubismus
question: On which book and who was the author was one of the main sources of the historical study of Cubism based?

context: The traditional interpretation of "Cubism", formulated post facto as a means of understanding the works of Braque and Picasso, has affected our appreciation of other twentieth-century artists. It is difficult to apply to painters such as Jean Metzinger, Albert Gleizes, Robert Delaunay and Henri Le Fauconnier, whose fundamental differences from traditional Cubism compelled Kahnweiler to question their right to be called Cubists at all. According to Daniel Robbins, "To suggest that merely because these artists developed differently or varied from the traditional pattern they deserved to be relegated to a secondary or satellite role in Cubism is a profound mistake."
qas: answers: text: Braque and Picasso
question: Understanding who's work was the tradition meaning of Cubism formed on?

answers: text: Daniel Robbins
question: Who suggested that the artists other than Braque and Picasso's relgation to a distant role in Cubism was a mistake?

answers: text: Jean Metzinger, Albert Gleizes, Robert Delaunay and Henri Le Fauconnier
question: What other painters were not thought of as being as Cubist as Braque and Picasso?

context: The term Cubism did not come into general usage until 1911, mainly with reference to Metzinger, Gleizes, Delaunay, and Léger. In 1911, the poet and critic Guillaume Apollinaire accepted the term on behalf of a group of artists invited to exhibit at the Brussels Indépendants. The following year, in preparation for the Salon de la Section d'Or, Metzinger and Gleizes wrote and published Du "Cubisme" in an effort to dispel the confusion raging around the word, and as a major defence of Cubism (which had caused a public scandal following the 1911 Salon des Indépendants and the 1912 Salon d'Automne in Paris). Clarifying their aims as artists, this work was the first theoretical treatise on Cubism and it still remains the clearest and most intelligible. The result, not solely a collaboration between its two authors, reflected discussions by the circle of artists who met in Puteaux and Courbevoie. It mirrored the attitudes of the "artists of Passy", which included Picabia and the Duchamp brothers, to whom sections of it were read prior to publication. The concept developed in Du "Cubisme" of observing a subject from different points in space and time simultaneously, i.e., the act of moving around an object to seize it from several successive angles fused into a single image (multiple viewpoints, mobile perspective, simultaneity or multiplicity), is a generally recognized device used by the Cubists.
qas: answers: text: 1911
question: What year did the term Cubism become used more?

answers: text: Guillaume Apollinaire
question: Which poet critic in 1911 with a group of poets accepted the term Cubism? 

answers: text: Picabia and the Duchamp brothers
question: The artists of Passy included which two people?

context: There was a distinct difference between Kahnweiler’s Cubists and the Salon Cubists. Prior to 1914, Picasso, Braque, Gris and Léger (to a lesser extent) gained the support of a single committed art dealer in Paris, Daniel-Henry Kahnweiler, who guaranteed them an annual income for the exclusive right to buy their works. Kahnweiler sold only to a small circle of connoisseurs. His support gave his artists the freedom to experiment in relative privacy. Picasso worked in Montmartre until 1912, while Braque and Gris remained there until after the First World War. Léger was based in Montparnasse.
qas: answers: text: Montmartre
question: Where did Picassos work until 1912? 

answers: text: Montmartre
question: Where did Braque and Gris stay until the end of the World War I?

answers: text: Montparnasse
question: Where was Leger based around 1912? 

context: In contrast, the Salon Cubists built their reputation primarily by exhibiting regularly at the Salon d'Automne and the Salon des Indépendants, both major non-academic Salons in Paris. They were inevitably more aware of public response and the need to communicate. Already in 1910 a group began to form which included Metzinger, Gleizes, Delaunay and Léger. They met regularly at Henri le Fauconnier's studio near the Boulevard de Montparnasse. These soirées often included writers such as Guillaume Apollinaire and André Salmon. Together with other young artists, the group wanted to emphasise a research into form, in opposition to the Neo-Impressionist emphasis on color.
qas: answers: text: Metzinger, Gleizes, Delaunay and Léger
question: Which four people usually met at Fauconnier's studio in 1910?

answers: text: Boulevard de Montparnasse
question: Where was Fauconnier's studio located? 

answers: text: research into form, in opposition to the Neo-Impressionist emphasis on color.
question: What did the group meeting at Fauconnier's studio want to focus on?

context: At the Salon d'Automne of the same year, in addition to the Indépendants group of Salle 41, were exhibited works by André Lhote, Marcel Duchamp, Jacques Villon, Roger de La Fresnaye, André Dunoyer de Segonzac and František Kupka. The exhibition was reviewed in the October 8, 1911 issue of The New York Times. This article was published a year after Gelett Burgess' The Wild Men of Paris, and two years prior to the Armory Show, which introduced astonished Americans, accustomed to realistic art, to the experimental styles of the European avant garde, including Fauvism, Cubism, and Futurism. The 1911 New York Times article portrayed works by Picasso, Matisse, Derain, Metzinger and others dated before 1909; not exhibited at the 1911 Salon. The article was titled The "Cubists" Dominate Paris' Fall Salon and subtitled Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition - What Its Followers Attempt to Do.
qas: answers: text: October 8, 1911
question: In what year did the New York Times review the Salon d'Automne?

answers: text: Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition - What Its Followers Attempt to Do
question: What was the subtitle of the article published in 1911 in New York TImes about Cubism?

answers: text: André Lhote, Marcel Duchamp, Jacques Villon, Roger de La Fresnaye, André Dunoyer de Segonzac and František Kupka
question: List the artists who were featured in the Salon d'Automne? 

context: The subsequent 1912 Salon des Indépendants was marked by the presentation of Marcel Duchamp's Nude Descending a Staircase, No. 2, which itself caused a scandal, even amongst the Cubists. It was in fact rejected by the hanging committee, which included his brothers and other Cubists. Although the work was shown in the Salon de la Section d'Or in October 1912 and the 1913 Armory Show in New York, Duchamp never forgave his brothers and former colleagues for censoring his work. Juan Gris, a new addition to the Salon scene, exhibited his Portrait of Picasso (Art Institute of Chicago), while Metzinger's two showings included La Femme au Cheval (Woman with a horse) 1911-1912 (National Gallery of Denmark). Delaunay's monumental La Ville de Paris (Musée d'art moderne de la Ville de Paris) and Léger's La Noce, The Wedding (Musée National d'Art Moderne, Paris) were also exhibited.
qas: answers: text: Nude Descending a Staircase, No. 2
question: Which Duchamp presentation was displayed in the 1912 Salon des Independants?

answers: text: caused a scandal
question:  Was Duchamp's work considered controversial when displayed in 1912?

answers: text: La Femme au Cheval (Woman with a horse) 1911-1912
question: What were one of  Metzingers two showings in 1912's Salon des Independants? 

context: The Cubist contribution to the 1912 Salon d'Automne created scandal regarding the use of government owned buildings, such as the Grand Palais, to exhibit such artwork. The indignation of the politician Jean Pierre Philippe Lampué made the front page of Le Journal, 5 October 1912. The controversy spread to the Municipal Council of Paris, leading to a debate in the Chambre des Députés about the use of public funds to provide the venue for such art. The Cubists were defended by the Socialist deputy, Marcel Sembat.
qas: answers: text: Jean Pierre Philippe Lampué
question: Which politician made the front page of Le Journa in 1912 for his indignation? 

answers: text: Socialist deputy, Marcel Sembat.
question: Who defended the Cubists in the controversy of 1912?

answers: text: the use of government owned buildings,
question: Towards which social topic did the Cubists  at the Salon d'Automne creat contrevesy towards? 

context: It was against this background of public anger that Jean Metzinger and Albert Gleizes wrote Du "Cubisme" (published by Eugène Figuière in 1912, translated to English and Russian in 1913). Among the works exhibited were Le Fauconnier's vast composition Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears) now at Rhode Island School of Design Museum, Joseph Csaky's Deux Femme, Two Women (a sculpture now lost), in addition to the highly abstract paintings by Kupka, Amorpha (The National Gallery, Prague), and Picabia, La Source, The Spring (Museum of Modern Art, New York).
qas: answers: text: public anger
question: What against did Metzinger and Gleizes write Du "Cubsime"? 

answers: text: Eugène Figuière
question: Who published Du "Cubisme"?

answers: text: 1912
question: In what year was  Du "Cubisme" published? 

context: The most extreme forms of Cubism were not those practiced by Picasso and Braque, who resisted total abstraction. Other Cubists, by contrast, especially František Kupka, and those considered Orphists by Apollinaire (Delaunay, Léger, Picabia and Duchamp), accepted abstraction by removing visible subject matter entirely. Kupka’s two entries at the 1912 Salon d'Automne, Amorpha-Fugue à deux couleurs and Amorpha chromatique chaude, were highly abstract (or nonrepresentational) and metaphysical in orientation. Both Duchamp in 1912 and Picabia from 1912 to 1914 developed an expressive and allusive abstraction dedicated to complex emotional and sexual themes. Beginning in 1912 Delaunay painted a series of paintings entitled Simultaneous Windows, followed by a series entitled Formes Circulaires, in which he combined planar structures with bright prismatic hues; based on the optical characteristics of juxtaposed colors his departure from reality in the depiction of imagery was quasi-complete. In 1913–14 Léger produced a series entitled Contrasts of Forms, giving a similar stress to color, line and form. His Cubism, despite its abstract qualities, was associated with themes of mechanization and modern life. Apollinaire supported these early developments of abstract Cubism in Les Peintres cubistes (1913), writing of a new "pure" painting in which the subject was vacated. But in spite of his use of the term Orphism these works were so different that they defy attempts to place them in a single category.
qas: answers: text: Amorpha-Fugue à deux couleurs and Amorpha chromatique chaude
question: What were Kupka's two entries at the Salon d'Automne? 

answers: text: Simultaneous Windows,
question: What were the titles of Delaunay's paintings in 1912? 

answers: text: 1913–14
question: During what years did  Leger produce Contrasts of Forms? 

context: Also labeled an Orphist by Apollinaire, Marcel Duchamp was responsible for another extreme development inspired by Cubism. The ready-made arose from a joint consideration that the work itself is considered an object (just as a painting), and that it uses the material detritus of the world (as collage and papier collé in the Cubist construction and Assemblage). The next logical step, for Duchamp, was to present an ordinary object as a self-sufficient work of art representing only itself. In 1913 he attached a bicycle wheel to a kitchen stool and in 1914 selected a bottle-drying rack as a sculpture in its own right.
qas: answers: text: Apollinaire
question: By whom was Marcel Duchamp labeled an Orphanist? 

answers: text: a bicycle wheel to a kitchen stool
question: What two items did Duchamp attach together in 1913? 

answers: text: bottle-drying rack
question: What object did Duchamp select in 1914 as a scuplture by itself? 

context: The Section d'Or, also known as Groupe de Puteaux, founded by some of the most conspicuous Cubists, was a collective of painters, sculptors and critics associated with Cubism and Orphism, active from 1911 through about 1914, coming to prominence in the wake of their controversial showing at the 1911 Salon des Indépendants. The Salon de la Section d'Or at the Galerie La Boétie in Paris, October 1912, was arguably the most important pre-World War I Cubist exhibition; exposing Cubism to a wide audience. Over 200 works were displayed, and the fact that many of the artists showed artworks representative of their development from 1909 to 1912 gave the exhibition the allure of a Cubist retrospective.
qas: answers: text: Over 200
question: How many works displayed at The Salon de la Section d'Or at the Galerie La Boétie in Paris, October 1912?

context: The fact that the 1912 exhibition had been curated to show the successive stages through which Cubism had transited, and that Du "Cubisme" had been published for the occasion, indicates the artists' intention of making their work comprehensible to a wide audience (art critics, art collectors, art dealers and the general public). Undoubtedly, due to the great success of the exhibition, Cubism became recognized as a tendency, genre or style in art with a specific common philosophy or goal: a new avant-garde movement.
qas: answers: text: indicates the artists' intention of making their work comprehensible to a wide audience
question: What did the 1912 exhiibtion of Cubism show?

context: The Cubism of Picasso, Braque and Gris had more than a technical or formal significance, and the distinct attitudes and intentions of the Salon Cubists produced different kinds of Cubism, rather than a derivative of their work. "It is by no means clear, in any case," wrote Christopher Green, "to what extent these other Cubists depended on Picasso and Braque for their development of such techniques as faceting, 'passage' and multiple perspective; they could well have arrived at such practices with little knowledge of 'true' Cubism in its early stages, guided above all by their own understanding of Cézanne." The works exhibited by these Cubists at the 1911 and 1912 Salons extended beyond the conventional Cézanne-like subjects—the posed model, still-life and landscape—favored by Picasso and Braque to include large-scale modern-life subjects. Aimed at a large public, these works stressed the use of multiple perspective and complex planar faceting for expressive effect while preserving the eloquence of subjects endowed with literary and philosophical connotations.
qas: answers: text: It is by no means clear, in any case
question: What did Christopher Green say of the difference between traditional cubist and Salon Cubists?

answers: text: large public
question: Whom did Braque and Picasso aim their works at? 

context: In Du "Cubisme" Metzinger and Gleizes explicitly related the sense of time to multiple perspective, giving symbolic expression to the notion of ‘duration’ proposed by the philosopher Henri Bergson according to which life is subjectively experienced as a continuum, with the past flowing into the present and the present merging into the future. The Salon Cubists used the faceted treatment of solid and space and effects of multiple viewpoints to convey a physical and psychological sense of the fluidity of consciousness, blurring the distinctions between past, present and future. One of the major theoretical innovations made by the Salon Cubists, independently of Picasso and Braque, was that of simultaneity, drawing to greater or lesser extent on theories of Henri Poincaré, Ernst Mach, Charles Henry, Maurice Princet, and Henri Bergson. With simultaneity, the concept of separate spatial and temporal dimensions was comprehensively challenged. Linear perspective developed during the Renaissance was vacated. The subject matter was no longer considered from a specific point of view at a moment in time, but built following a selection of successive viewpoints, i.e., as if viewed simultaneously from numerous angles (and in multiple dimensions) with the eye free to roam from one to the other.
qas: answers: text: Henri Bergson
question: In Du Cubisme who so Metzinger and Gleizes  relate the sense of time to? 

answers: text: The Salon Cubists
question: The Cubist used what kind of treatment of space and time?

context: This technique of representing simultaneity, multiple viewpoints (or relative motion) is pushed to a high degree of complexity in Gleizes' monumental Le Dépiquage des Moissons (Harvest Threshing), exhibited at the 1912 Salon de la Section d'Or, Le Fauconnier’s Abundance shown at the Indépendants of 1911, and Delaunay's City of Paris, shown at the Indépendants in 1912. These ambitious works are some of the largest paintings in the history of Cubism. Léger’s The Wedding, also shown at the Salon des Indépendants in 1912, gave form to the notion of simultaneity by presenting different motifs as occurring within a single temporal frame, where responses to the past and present interpenetrate with collective force. The conjunction of such subject matter with simultaneity aligns Salon Cubism with early Futurist paintings by Umberto Boccioni, Gino Severini and Carlo Carrà; themselves made in response to early Cubism.
qas: answers: text: relative motion)
question: What did the technique in Gliezes' piece Le Depiquage represent?

answers: text: Léger
question: Who painted the Wedding, show at Salon des Independants in 1912?

answers: text: Le Dépiquage des Moissons (Harvest Threshing)
question: Which of Gliezes pieces was featured at Salon de la Section d'Or? 

context: Cubism and modern European art was introduced into the United States at the now legendary 1913 Armory Show in New York City, which then traveled to Chicago and Boston. In the Armory show Pablo Picasso exhibited La Femme au pot de moutarde (1910), the sculpture Head of a Woman (Fernande) (1909–10), Les Arbres (1907) amongst other cubist works. Jacques Villon exhibited seven important and large drypoints, his brother Marcel Duchamp shocked the American public with his painting Nude Descending a Staircase, No. 2 (1912). Francis Picabia exhibited his abstractions La Danse à la source and La Procession, Seville (both of 1912). Albert Gleizes exhibited La Femme aux phlox (1910) and L'Homme au balcon (1912), two highly stylized and faceted cubist works. Georges Braque, Fernand Léger, Raymond Duchamp-Villon, Roger de La Fresnaye and Alexander Archipenko also contributed examples of their cubist works.
qas: answers: text: Armory Show
question: What was the name of the show that introduced Cubism to the USA?

answers: text: New York City
question: In what city did the show that introduced Cubism to the USA take place? 

answers: text: Les Arbres
question: Which 1907 piece did Picasso present in the show that introduced Cubism to the USA? 

answers: text: La Femme aux phlox
question: What 1910 piece did Albert Gleizes present in that show that introduced Cubism to the USA? 

context: Cubist sculpture developed in parallel to Cubist painting. During the autumn of 1909 Picasso sculpted Head of a Woman (Fernande) with positive features depicted by negative space and vice versa. According to Douglas Cooper: "The first true Cubist sculpture was Picasso's impressive Woman's Head, modeled in 1909–10, a counterpart in three dimensions to many similar analytical and faceted heads in his paintings at the time." These positive/negative reversals were ambitiously exploited by Alexander Archipenko in 1912–13, for example in Woman Walking. Joseph Csaky, after Archipenko, was the first sculptor in Paris to join the Cubists, with whom he exhibited from 1911 onwards. They were followed by Raymond Duchamp-Villon and then in 1914 by Jacques Lipchitz, Henri Laurens and Ossip Zadkine.
qas: answers: text: Head of a Woman
question: What was the name of the 1909 Cubist sculpture Picassos created?

answers: text: The first true Cubist sculpture
question: What Douglas Cooper call Picasso's 1909 Cubist sculpture?

answers: text: Woman Walking
question: Which  Alexander Archipenko piece was similar to other Cubist scupltures of that time?

context: A significant modification of Cubism between 1914 and 1916 was signaled by a shift towards a strong emphasis on large overlapping geometric planes and flat surface activity. This grouping of styles of painting and sculpture, especially significant between 1917 and 1920, was practiced by several artists; particularly those under contract with the art dealer and collector Léonce Rosenberg. The tightening of the compositions, the clarity and sense of order reflected in these works, led to its being referred to by the critic Maurice Raynal (fr) as 'crystal' Cubism. Considerations manifested by Cubists prior to the outset of World War I—such as the fourth dimension, dynamism of modern life, the occult, and Henri Bergson's concept of duration—had now been vacated, replaced by a purely formal frame of reference.
qas: answers: text: 'crystal' Cubism
question: What did the critic Maurice Raynal begin to refer to Cubism in around 1917-1920?

answers: text: Henri Bergson's
question: Who's concept of duration was left  behind for a for more concrete frame's of references? 

answers: text: 1914 and 1916
question: What was the first time period that a significant change began to happen in Cubism?

answers: text: between 1917 and 1920
question: What was the second time period that a significant change began to happen in Cubism?

context: The most innovative period of Cubism was before 1914. After World War I, with the support given by the dealer Léonce Rosenberg, Cubism returned as a central issue for artists, and continued as such until the mid-1920s when its avant-garde status was rendered questionable by the emergence of geometric abstraction and Surrealism in Paris. Many Cubists, including Picasso, Braque, Gris, Léger, Gleizes, and Metzinger, while developing other styles, returned periodically to Cubism, even well after 1925. Cubism reemerged during the 1920s and the 1930s in the work of the American Stuart Davis and the Englishman Ben Nicholson. In France, however, Cubism experienced a decline beginning in about 1925. Léonce Rosenberg exhibited not only the artists stranded by Kahnweiler’s exile but others including Laurens, Lipchitz, Metzinger, Gleizes, Csaky, Herbin and Severini. In 1918 Rosenberg presented a series of Cubist exhibitions at his Galerie de l’Effort Moderne in Paris. Attempts were made by Louis Vauxcelles to claim that Cubism was dead, but these exhibitions, along with a well-organized Cubist show at the 1920 Salon des Indépendants and a revival of the Salon de la Section d’Or in the same year, demonstrated it was still alive.
qas: answers: text: 1914
question: Before what year was Cubism considered the most innovative? 

answers: text: Léonce Rosenberg
question: With the assistance of what dealer did Cubism return as  a central consideration for artists after World War I?

answers: text: 1918
question: In what year did Rosenberg exhibit Cubist works at  Galerie de l’Effort Moderne?

answers: text: Paris
question: In which city did Galerie de l’Effort Moderne take place? 

context: The reemergence of Cubism coincided with the appearance from about 1917–24 of a coherent body of theoretical writing by Pierre Reverdy, Maurice Raynal and Daniel-Henry Kahnweiler and, among the artists, by Gris, Léger and Gleizes. The occasional return to classicism—figurative work either exclusively or alongside Cubist work—experienced by many artists during this period (called Neoclassicism) has been linked to the tendency to evade the realities of the war and also to the cultural dominance of a classical or Latin image of France during and immediately following the war. Cubism after 1918 can be seen as part of a wide ideological shift towards conservatism in both French society and culture. Yet, Cubism itself remained evolutionary both within the oeuvre of individual artists, such as Gris and Metzinger, and across the work of artists as different from each other as Braque, Léger and Gleizes. Cubism as a publicly debated movement became relatively unified and open to definition. Its theoretical purity made it a gauge against which such diverse tendencies as Realism or Naturalism, Dada, Surrealism and abstraction could be compared.
qas: answers: text: Gris, Léger and Gleizes
question: Name the three artists who were in part resonsible for the reemergence of Cubism between 1917 and 1924.

answers: text: Pierre Reverdy, Maurice Raynal and Daniel-Henry Kahnweiler
question: Name the three writers who were in part resonsible for the reemergence of Cubism between 1917 and 1924.

answers: text: conservatism
question: In 1918 which way did the French idealogies shift that effected Cubism?

context: Cubism formed an important link between early-20th-century art and architecture. The historical, theoretical, and socio-political relationships between avant-garde practices in painting, sculpture and architecture had early ramifications in France, Germany, the Netherlands and Czechoslovakia. Though there are many points of intersection between Cubism and architecture, only a few direct links between them can be drawn. Most often the connections are made by reference to shared formal characteristics: faceting of form, spatial ambiguity, transparency, and multiplicity.
qas: answers: text: art and architecture.
question: What two things did Cubism in the early 20th century form an important link between?

answers: text: faceting of form, spatial ambiguity, transparency, and multiplicity.
question: What are the four formal characteristics that are usually connected with Cubism?

answers: text: France, Germany, the Netherlands and Czechoslovakia
question: In which four countries were the impacts of avant garde art particularly strong?

context: Architectural interest in Cubism centered on the dissolution and reconstitution of three-dimensional form, using simple geometric shapes, juxtaposed without the illusions of classical perspective. Diverse elements could be superimposed, made transparent or penetrate one another, while retaining their spatial relationships. Cubism had become an influential factor in the development of modern architecture from 1912 (La Maison Cubiste, by Raymond Duchamp-Villon and André Mare) onwards, developing in parallel with architects such as Peter Behrens and Walter Gropius, with the simplification of building design, the use of materials appropriate to industrial production, and the increased use of glass.
qas: answers: text: the dissolution and reconstitution of three-dimensional form
question: In Cubism what was architechtural interested base on?

answers: text: Raymond Duchamp-Villon and André Mare
question: Who said that Cubism was becoming an influetial aspect in modern architecture ? 

answers: text: glass
question: Increased use of what material marked Cubism influence in architecture?

context: Cubism was relevant to an architecture seeking a style that needed not refer to the past. Thus, what had become a revolution in both painting and sculpture was applied as part of "a profound reorientation towards a changed world". The Cubo-Futurist ideas of Filippo Tommaso Marinetti influenced attitudes in avant-garde architecture. The influential De Stijl movement embraced the aesthetic principles of Neo-plasticism developed by Piet Mondrian under the influence of Cubism in Paris. De Stijl was also linked by Gino Severini to Cubist theory through the writings of Albert Gleizes. However, the linking of basic geometric forms with inherent beauty and ease of industrial application—which had been prefigured by Marcel Duchamp from 1914—was left to the founders of Purism, Amédée Ozenfant and Charles-Édouard Jeanneret (better known as Le Corbusier,) who exhibited paintings together in Paris and published Après le cubisme in 1918. Le Corbusier's ambition had been to translate the properties of his own style of Cubism to architecture. Between 1918 and 1922, Le Corbusier concentrated his efforts on Purist theory and painting. In 1922, Le Corbusier and his cousin Jeanneret opened a studio in Paris at 35 rue de Sèvres. His theoretical studies soon advanced into many different architectural projects.
qas: answers: text: Filippo Tommaso Marinetti
question: The ideas of which Cubo Futurist influenced the avant-garde in architecture?

answers: text: Neo-plasticism
question: The De Stijl movement took part in the aesthetic principles of what?

answers: text: Piet Mondrian
question: Who developed Neo Plasticism? 

answers: text: Gino Severini
question: Who linked De Stijl to Cubist theory? 

answers: text: his cousin Jeanneret
question: Who did Le Corbusier open his Paris studio with in 1922?

context: At the 1912 Salon d'Automne an architectural installation was exhibited that quickly became known as Maison Cubiste (Cubist House), signed Raymond Duchamp-Villon and André Mare along with a group of collaborators. Metzinger and Gleizes in Du "Cubisme", written during the assemblage of the "Maison Cubiste", wrote about the autonomous nature of art, stressing the point that decorative considerations should not govern the spirit of art. Decorative work, to them, was the "antithesis of the picture". "The true picture" wrote Metzinger and Gleizes, "bears its raison d'être within itself. It can be moved from a church to a drawing-room, from a museum to a study. Essentially independent, necessarily complete, it need not immediately satisfy the mind: on the contrary, it should lead it, little by little, towards the fictitious depths in which the coordinative light resides. It does not harmonize with this or that ensemble; it harmonizes with things in general, with the universe: it is an organism...". "Mare's ensembles were accepted as frames for Cubist works because they allowed paintings and sculptures their independence", writes Christopher Green, "creating a play of contrasts, hence the involvement not only of Gleizes and Metzinger themselves, but of Marie Laurencin, the Duchamp brothers (Raymond Duchamp-Villon designed the facade) and Mare's old friends Léger and Roger La Fresnaye". La Maison Cubiste was a fully furnished house, with a staircase, wrought iron banisters, a living room—the Salon Bourgeois, where paintings by Marcel Duchamp, Metzinger (Woman with a Fan), Gleizes, Laurencin and Léger were hung—and a bedroom. It was an example of L'art décoratif, a home within which Cubist art could be displayed in the comfort and style of modern, bourgeois life. Spectators at the Salon d'Automne passed through the full-scale 10-by-3-meter plaster model of the ground floor of the facade, designed by Duchamp-Villon. This architectural installation was subsequently exhibited at the 1913 Armory Show, New York, Chicago and Boston, listed in the catalogue of the New York exhibit as Raymond Duchamp-Villon, number 609, and entitled "Facade architectural, plaster" (Façade architecturale).
qas: answers: text: 10-by-3-meter
question: How big was the model of La Maison Cubiste? 

answers: text: Woman with a Fan
question: Which Metzinger piece was hung in La Maison Cubiste?

answers: text: a fully furnished house
question: What was La Maison Cubiste ?

context: The original Cubist architecture is very rare. There is only one country in the world where Cubism was really applied to architecture – namely Bohemia (today Czech Republic) and especially its capital, Prague. Czech architects were the first and only ones in the world to ever design original Cubist buildings. Cubist architecture flourished for the most part between 1910–1914, but the Cubist or Cubism-influenced buildings were also built after the World War I. After the war, the architectural style called Rondo-Cubism was developed in Prague fusing the Cubist architecture with round shapes.
qas: answers: text: Cubist architecture is very rare
question: Is original Cubist architecture rare?

answers: text: Bohemia (today Czech Republic
question: Which country applied Cubism to architecture the most?

answers: text: Rondo-Cubism
question: What was for the form of architectural Cubism in Prague called?

context: In their theoretical rules, the Cubist architects expressed the requirement of dynamism, which would surmount the matter and calm contained in it, through a creative idea, so that the result would evoke feelings of dynamism and expressive plasticity in the viewer. This should be achieved by shapes derived from pyramids, cubes and prisms, by arrangements and compositions of oblique surfaces, mainly triangular, sculpted facades in protruding crystal-like units, reminiscent of the so-called diamond cut, or even cavernous that are reminiscent of the late Gothic architecture. In this way, the entire surfaces of the facades including even the gables and dormers are sculpted. The grilles as well as other architectural ornaments attain a three-dimensional form. Thus, new forms of windows and doors were also created, e. g. hexagonal windows. Czech Cubist architects also designed Cubist furniture.
qas: answers: text: dynamism
question: What was the essential piece Cubist architects explained in their theoretical rules? 

answers: text: hexagonal
question: What's  window shapes di Czech Cubist architects use? 

answers: text: dynamism and expressive plasticity
question: What feelings should Cubist architecture evoke in viewer?

context: The leading Cubist architects were Pavel Janák, Josef Gočár, Vlastislav Hofman, Emil Králíček and Josef Chochol. They worked mostly in Prague but also in other Bohemian towns. The best-known Cubist building is the House of the Black Madonna in the Old Town of Prague built in 1912 by Josef Gočár with the only Cubist café in the world, Grand Café Orient. Vlastislav Hofman built the entrance pavilions of Ďáblice Cemetery in 1912–1914, Josef Chochol designed several residential houses under Vyšehrad. A Cubist streetlamp has also been preserved near the Wenceslas Square, designed by Emil Králíček in 1912, who also built the Diamond House in the New Town of Prague around 1913.
qas: answers: text: Pavel Janák, Josef Gočár, Vlastislav Hofman, Emil Králíček and Josef Chochol
question: Who were the leading Cubist architects? 

answers: text: Prague
question: Where did the leading Cubist architects work?

answers: text: House of the Black Madonna
question: What is the best known Cubist architecture building? 

answers: text: Old Town of Prague
question: Where is the House of the Black Madonna located? 

answers: text: Vlastislav Hofman
question: Who built the House of the Black Madonna?

context: The influence of cubism extended to other artistic fields, outside painting and sculpture. In literature, the written works of Gertrude Stein employ repetition and repetitive phrases as building blocks in both passages and whole chapters. Most of Stein's important works utilize this technique, including the novel The Making of Americans (1906–08). Not only were they the first important patrons of Cubism, Gertrude Stein and her brother Leo were also important influences on Cubism as well. Picasso in turn was an important influence on Stein's writing.
qas: answers: text: The influence of cubism extended to other artistic fields,
question: Did cubism influence other fields outside of painting and scuplture?

answers: text: Gertrude Stein
question: Who's written works used repitition that was similar to Cubist art?

answers: text: Leo
question: What was Gertrude Stein's brother's name?

answers: text: The Making of Americans
question: What was the title of Gertrude Stein's 1906-1908 book?

context: The poets generally associated with Cubism are Guillaume Apollinaire, Blaise Cendrars, Jean Cocteau, Max Jacob, André Salmon and Pierre Reverdy. As American poet Kenneth Rexroth explains, Cubism in poetry "is the conscious, deliberate dissociation and recombination of elements into a new artistic entity made self-sufficient by its rigorous architecture. This is quite different from the free association of the Surrealists and the combination of unconscious utterance and political nihilism of Dada." Nonetheless, the Cubist poets' influence on both Cubism and the later movements of Dada and Surrealism was profound; Louis Aragon, founding member of Surrealism, said that for Breton, Soupault, Éluard and himself, Reverdy was "our immediate elder, the exemplary poet." Though not as well remembered as the Cubist painters, these poets continue to influence and inspire; American poets John Ashbery and Ron Padgett have recently produced new translations of Reverdy's work. Wallace Stevens' "Thirteen Ways of Looking at a Blackbird" is also said to demonstrate how cubism's multiple perspectives can be translated into poetry.
qas: answers: text: Guillaume Apollinaire, Blaise Cendrars, Jean Cocteau, Max Jacob, André Salmon and Pierre Reverdy
question: Which poets are closely alligned with Cubism?

answers: text: Kenneth Rexroth
question: What is the name of the american Poet who is associated with talking about the rigiorous architecture of Cubism?

answers: text: John Ashbery and Ron Padgett
question: Which two American poets have recently created new traslations of Reverdy's work?

answers: text: Thirteen Ways of Looking at a Blackbird
question: What is the name of Wallace Steven's work that explains how cubism can be translated into poetry?