Question: who made Analytic Cubism?
About the article "Pablo Picasso", section "Cubism".

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 Analytic Cubism Synthetic Cubism Orphism Section d'Or Synchromism Futurism  
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 and Braque were exhibited.
By 1911 Picasso was recognized as the inventor of Cubism, while Braque’s importance and precedence was argued later, with respect to his treatment of space, volume and mass in the L’Estaque landscapes.
But "this view of Cubism is associated with a distinctly restrictive definition of which artists are properly to be called Cubists," wrote the art historian Christopher Green: "Marginalizing the contribution of the artists who exhibited at the Salon des Indépendants in 1911 [...]"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.
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.
"John Berger identifies the essence of Cubism with the mechanical diagram.
"The metaphorical model of Cubism is the diagram: The diagram being a visible symbolic representation of invisible processes, forces, structures.
A diagram need not eschew certain aspects of appearance but these too will be treated as signs not as imitations or recreations."
  Analytical jurisprudence, the use of analytical reasoning to study legal theory  Analytic journalism, seeks to make sense of a complex reality in order to create public understanding  Analytic cubism, one of two major branches of the cubism artistic movement  Analytical skills  Analytical-Literal Translation, a very literal translation of the Bible  
Analytic cubism (1909–1912) is a style of painting Picasso developed with Georges Braque using monochrome brownish and neutral colours.
Both artists took apart objects and "analyzed" them in terms of their shapes.
Picasso and Braque's paintings at this time share many similarities.
Synthetic cubism (1912–1919) was a further development of the genre, in which cut paper fragments – often wallpaper or portions of newspaper pages – were pasted into compositions, marking the first use of collage in fine art.
In Paris, Picasso entertained a distinguished coterie of friends in the Montmartre and Montparnasse quarters, including André Breton, poet Guillaume Apollinaire, writer Alfred Jarry, and Gertrude Stein.
Apollinaire was arrested on suspicion of stealing the "Mona Lisa" from the Louvre in 1911.
Apollinaire pointed to his friend Picasso, who was also brought in for questioning, but both were later exonerated.
Braque's paintings of 1908–1913 reflected his new interest in geometry and simultaneous perspective.
He conducted an intense study of the effects of light and perspective and the technical means that painters use to represent these effects, seeming to question the most standard of artistic conventions.
In his village scenes, for example, Braque frequently reduced an architectural structure to a geometric form approximating a cube, yet rendered its shading so that it looked both flat and three-dimensional by fragmenting the image.
He showed this in the painting "Houses at l'Estaque".
Beginning in 1909, Braque began to work closely with Pablo Picasso who had been developing a similar proto-Cubist style of painting.
At the time, Pablo Picasso was influenced by Gauguin, Cézanne, African masks and Iberian sculpture while Braque was interested mainly in developing Cézanne's ideas of multiple perspectives.
“A comparison of the works of Picasso and Braque during 1908 reveals that the effect of his encounter with Picasso was more to accelerate and intensify Braque’s exploration of Cézanne’s ideas, rather than to divert his thinking in any essential way.” Braque’s essential subject is the ordinary objects he has known practically forever.
Picasso celebrates animation, while Braque celebrates contemplation.
Thus, the invention of Cubism was a joint effort between Picasso and Braque, then residents of Montmartre, Paris.
These artists were the style's main innovators.
After meeting in October or November 1907, Braque and Picasso, in particular, began working on the development of Cubism in 1908.
Both artists produced paintings of monochromatic color and complex patterns of faceted form, now termed Analytic Cubism.
A decisive time of its development occurred during the summer of 1911, when Georges Braque and Pablo Picasso painted side by side in Céret in the French Pyrenees, each artist producing paintings that are difficult—sometimes virtually impossible—to distinguish from those of the other.
In 1912, they began to experiment with collage and Braque invented the "papier collé" technique.
French art critic Louis Vauxcelles used the terms "bizarre cubiques" in 1908 after seeing a picture by Braque.
He described it as 'full of little cubes'.
The term 'Cubism', first pronounced in 1911 with reference to artists exhibiting at the Salon des Indépendants, quickly gained wide use but Picasso and Braque did not adopt it initially.
Art historian Ernst Gombrich described Cubism as "the most radical attempt to stamp out ambiguity and to enforce one reading of the picture—that of a man-made construction, a colored canvas."
The Cubist style spread quickly throughout Paris and then Europe.
The two artists' productive collaboration continued and they worked closely together until the beginning of World War I in 1914, when Braque enlisted with the French Army.
In May 1915, Braque received a severe head injury in battle at Carency and suffered temporary blindness.
He was trepanned, and required a long period of recuperation.