Question: "Synthetic cubism" is defined as?
About the article "Pablo Picasso", section "Cubism".

Candidate passages:
 Analytic Cubism Synthetic Cubism Orphism Section d'Or Synchromism Futurism  
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"". 
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."
Post Impressionism as practiced by Paul Gauguin, Georges Seurat, Vincent van Gogh and Paul Cézanne had an enormous impact on 20th-century art and led to the advent of 20th-century abstraction.
The heritage of painters like Van Gogh, Cézanne, Gauguin, and Seurat was essential for the development of modern art.
At the beginning of the 20th century Henri Matisse and several other young artists including the pre-cubist Georges Braque, André Derain, Raoul Dufy and Maurice de Vlaminck revolutionized the Paris art world with "wild", multi-colored, expressive, landscapes and figure paintings that the critics called Fauvism.
With his expressive use of color and his free and imaginative drawing Henri Matisse comes very close to pure abstraction in "French Window at Collioure", (1914), "View of Notre-Dame", (1914), and "The Yellow Curtain" from 1915.
The raw language of color as developed by the Fauves directly influenced another pioneer of abstraction Wassily Kandinsky (see illustration).
Although Cubism ultimately depends upon subject matter, it became, along with Fauvism, the art movement that directly opened the door to abstraction in the 20th century.
Pablo Picasso made his first cubist paintings based on Cézanne's idea that all depiction of nature can be reduced to three solids: cube, sphere and cone.
With the painting Les Demoiselles d'Avignon 1907, Picasso dramatically created a new and radical picture depicting a raw and primitive brothel scene with five prostitutes, violently painted women, reminiscent of African tribal masks and his own new Cubist inventions.
Analytic cubism was jointly developed by Pablo Picasso and Georges Braque, from about 1908 through 1912.
Analytic cubism, the first clear manifestation of cubism, was followed by Synthetic cubism, practised by Braque, Picasso, Fernand Léger, Juan Gris, Albert Gleizes, Marcel Duchamp and countless other artists into the 1920s.
Synthetic cubism is characterized by the introduction of different textures, surfaces, collage elements, papier collé and a large variety of merged subject matter.
The collage artists like Kurt Schwitters and Man Ray and others taking the clue from Cubism were instrumental to the development of the movement called Dada.
The Italian poet Marinetti published 'The Founding and Manifesto of Futurism' in 1909, which inspired artists such as Carlo Carra in, "Painting of Sounds, Noises and Smells" and Umberto Boccioni "Train in Motion", 1911, to a further stage of abstraction and profoundly influenced art movements throughout Europe.
During the 1912 Salon de la Section d'Or the poet Guillaume Apollinaire named the work of several artists including Robert and Sonia Delaunay, Orphism.
He defined it as, "the art of painting new structures out of elements that have not been borrowed from the visual sphere, but had been created entirely by the artist...it is a pure art.
"Since the turn of the century cultural connections between artists of the major European and American cities had become extremely active as they strove to create an art form equal to the high aspirations of modernism.
Ideas were able to cross-fertilize by means of artists books, exhibitions and manifestos so that many sources were open to experimentation and discussion, and formed a basis for a diversity of modes of abstraction.
The following extract from,'The World Backwards', gives some impression of the inter-connectedness of culture at the time: 'David Burliuk's knowledge of modern art movements must have been extremely up-to-date, for the second Knave of Diamonds exhibition, held in January 1912 (in Moscow) included not only paintings sent from Munich, but some members of the German Die Brücke group, while from Paris came work by Robert Delaunay, Henri Matisse and Fernand Léger, as well as Picasso.
During the Spring David Burliuk gave two lectures on cubism and planned a polemical publication, which the Knave of Diamonds was to finance.
He went abroad in May and came back determined to rival the almanac "Der Blaue Reiter" which had emerged from the printers while he was in Germany'.
From 1909 to 1913 many experimental works in the search for this 'pure art' had been created: Francis Picabia painted "Caoutchouc", 1909, "The Spring", 1912, "Dances at the Spring" and "The Procession, Seville", 1912; Wassily Kandinsky painted "Untitled (First Abstract Watercolor)", 1910, "Improvisation 21A", the "Impression" series, and "Picture with a Circle" (1911); František Kupka had painted the Orphist works, "Discs of Newton" (Study for "Fugue in Two Colors"), 1912 and "Amorpha, Fugue en deux couleurs" ("Fugue in Two Colors"), 1912; Robert Delaunay painted a series entitled "Simultaneous Windows" and "Formes Circulaires, Soleil n°2" (1912–13); Léopold Survage created "Colored Rhythm" (Study for the film), 1913; Piet Mondrian, painted "Tableau No.
1" and "Composition No.
11", 1913.
And the search continued: The Rayist (Luchizm) drawings of Natalia Goncharova and Mikhail Larionov, used lines like rays of light to make a construction.
Kasimir Malevich completed his first entirely abstract work, the Suprematist, 'Black Square', in 1915.
Another of the Suprematist group' Liubov Popova, created the Architectonic Constructions and Spatial Force Constructions between 1916 and 1921.
Piet Mondrian was evolving his abstract language, of horizontal and vertical lines with rectangles of colour, between 1915 and 1919, Neo-Plasticism was the aesthetic which Mondrian, Theo van Doesburg and other in the group De Stijl intended to reshape the environment of the future. 
Pablo Ruiz y Picasso, known as Pablo Picasso (; 25 October 1881 – 8 April 1973) was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France.
As one of the greatest and most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture, the co-invention of collage, and for the wide variety of styles that he helped develop and explore.
Among his most famous works are the proto-Cubist "Les Demoiselles d'Avignon" (1907), and "Guernica" (1937), a portrayal of the German bombing of Guernica during the Spanish Civil War.
Picasso, Henri Matisse and Marcel Duchamp are regarded as the three artists who most defined the revolutionary developments in the plastic arts in the opening decades of the 20th century, responsible for significant developments in painting, sculpture, printmaking and ceramics.
Picasso demonstrated extraordinary artistic talent in his early years, painting in a realistic manner through his childhood and adolescence.
During the first decade of the 20th century, his style changed as he experimented with different theories, techniques, and ideas.
His work is often categorised into periods.
While the names of many of his later periods are debated, the most commonly accepted periods in his work are the Blue Period (1901–1904), the Rose Period (1904–1906), the African-influenced Period (1907–1909), Analytic Cubism (1909–1912), and Synthetic Cubism (1912–1919).
Exceptionally prolific throughout the course of his long life, Picasso achieved universal renown and immense fortune for his revolutionary artistic accomplishments, and became one of the best-known figures in 20th-century art.