Question: What is the first Cubist picture?
About the article "Les Demoiselles d'Avignon", section "Cézanne and Cubism".

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Pablo Picasso, Georges Braque, Juan Gris and other cubist artists introduced new elements and materials like newspaper clippings, fabric, and sheet music into their paintings.
Eventually the movement was called Synthetic Cubism developed between 1912 and 1919.
Synthetic cubism is characterized by works with different textures, surfaces, collage elements, papier collé and a large variety of subject matter.
It was the beginning of collage materials being introduced as an important ingredient of fine art work by the avant-garde.
Considered the first work of this new style was Pablo Picasso's ""Still Life with Chair-caning"" (1911–1912), which includes oil cloth that was printed to look like chair-caning pasted onto an oval canvas, with text; and rope framing the whole picture.
At the upper left are the letters "JOU", which appear in many cubist paintings and refers to the newspaper titled ""Le Journal"". 
The first three novels Toth wrote, commonly known as the "F" novels, include "Fizz", "Fishnet" and "Finale".
This trilogy follows three characters who each approach identity in different ways and in doing so reach far different conclusions or "accidental fates," as Toth would describe them.
The trilogy is one in which characters from one novel may briefly appear in another, but time is not linear throughout the three books, which can be read in any order.
Toth considers his 9/11 work "Airplane Novel" the summation of his evolution as a writer.
"Airplane Novel" serves as a witnessing of the September 11, 2001 terrorist attacks...but from the perspective of the South Tower.
This allows for the ultimate perspective and one never before rendered in writing or captured on film or video.
Toth embraced a cubist approach and insists that most of his research involved studying cubist paintings, as well as reading cubist theory and cubist poetry.
His narrative technique is one that attempts to portray all events and characters in constant flux and instability but also moving through all potentialities.
He was intensely influenced by Henri Bergson's "Creative Evolution".
His research included interviewing one of the original architects of the WTC, who worked with chief architect Minoro Yamsaki.
The result is what Toth calls "the" 9/11 novel, insurmountable in its ambitious approach.
The Airplane Novel Website features video and audio related to the project, as well as reviews like the following from New York Times and Newsweek journalist Dan Newland: ""Airplane Novel" is, without a doubt, the most extraordinary of all books published to date on the destruction by terrorists of the World Trade Center on September 11, 2001.
His book tells a truly intimate inside story of the rise and fall of the Twin Towers that cuts through the hype and emotive rhetoric...
Objective, clear-headed and big-picture focused, this is a book that will change the outlook of many a reader regarding the 9/11 tragedy."
Just as in painting, Cubist sculpture is rooted in Paul Cézanne's reduction of painted objects into component planes and geometric solids (cubes, spheres, cylinders, and cones).
And just as in painting, it became a pervasive influence and contributed fundamentally to Constructivism and Futurism.
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.
Indeed, Cubist construction was as influential as any pictorial Cubist innovation.
It was the stimulus behind the proto-Constructivist work of both Naum Gabo and Vladimir Tatlin and thus the starting-point for the entire constructive tendency in 20th-century modernist sculpture. 
Cubist sculpture developed in parallel with Cubist painting, beginning in Paris around 1909 with its proto-Cubist phase, and evolving through the early 1920s.
Just as Cubist painting, Cubist sculpture is rooted in Paul Cézanne's reduction of painted objects into component planes and geometric solids; cubes, spheres, cylinders, and cones.
Presenting fragments and facets of objects that could be visually interpreted in different ways had the effect of 'revealing the structure' of the object.
Cubist sculpture essentially is the dynamic rendering of three-dimensional objects in the language of non-Euclidean geometry by shifting viewpoints of volume or mass in terms of spherical, flat and hyperbolic surfaces. 
"Houses at l'Estaque" (French: "Maisons à l'Estaque") is a 1908 oil painting by Georges Braque.
It is considered either an important pre-cubist landscape or the first Cubist landscape.
The painting prompted art critic Louis Vauxcelles to mock it as being composed of cubes which led to the name of the movement.
It is a response to works by Paul Cézanne who also lived in L'Estaque at times.