Cubism Movement, Artists and Major Works | The Art Story Resources Quotes "Cubism is not a reality you can take in your hand. It's more like a perfume, in front of you, behind you, to the sides, the scent is everywhere but you don't quite know where it comes from." Pablo Picasso "The goal I proposed myself in making cubism? To paint and nothing more... with a method linked only to my thought.. Neither the good nor the true; neither the useful nor the useless." Pablo Picasso "What greatly attracted me - and it was the main line of advance of Cubism - was how to give material expression to this new space of which I had an inkling. So I began to paint chiefly still lifes, because in nature there is a tactile, I would almost say a manual space... that was the earliest Cubist painting - the quest for space." Georges Braque "If I have called Cubism a new order, it is without any revolutionary ideas or any reactionary ideas...

One cannot escape from one's own epoch, however revolutionary one may be." Georges Braque "Cubism is moving around an object to seize several successive appearances, which fused in a single image, reconstitute it in time." Juan Gris "It was a tradition to represent a dancer frozen in a chosen position, like a snapshot.

I broke away from this tradition by superimposing postures, blending light and motion and scrambling the planes." Sonia Delaunay "Enormous enlargements of an object or a fragment give it a personality it never had before, and in this way, it can become a vehicle of entirely new lyric and plastic power." Fernand Léger "Let the picture imitate nothing; let it nakedly present its raison d'etre." Jean Metzinger "Whether it is Juan Gris taking objects apart, Picasso replacing them with objects of his own invention, or another who replaces conical perspective by a system based on the relations between perpendiculars, all that only goes to show that Cubism was not at all born out of an authoritative theory [mot d'ordre]; that it only marked among a few painters the will to be finished with an art that never ought to have survived the condemnation pronounced upon it by Pascal." Jean Metzinger "Cubism was an attack on the perspective that had been known and used for 500 years. It was the first big, big change.

It confused people: they said, 'Things don't look like that!'" David Hockney "He commenced the long struggle not to express what he could see but not to express the things he did not see, that is to say the things everybody is certain of seeing but which they do not really see." Gertrude Stein, on Picasso's early art "I have transformed myself in the zero of form and fished myself out of the rubbishy slough of Academic Art. I have destroyed the circle of the horizon and escaped from the circle of objects, the horizon-ring that has imprisoned the artist and the forms from nature. The square is not a subconscious form. It is the creation of intuitive reason. The face of the new art. The square is the living, royal infant. It is the first step of pure creation in art." Kazimir Malevich Like The Art Story on Facebook Beginnings A watershed moment for the development of Cubism was the posthumous retrospective of Paul Cézanne's work at the Salon d'Automne in 1907. Cézanne's use of generic forms to simplify nature was incredibly influential to both Picasso and Braque.

In the previous year, Picasso was also introduced to non-Western art: seeing Iberian art in Spain, and African-influenced art by Matisse, and at the Trocadero anthropological museum. What drew Picasso to these artistic traditions was their use of an abstract or simplified representation of the human body rather than the naturalistic forms of the European Renaissance tradition. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - The Breakthrough: Les Demoiselles d'Avignon These varying influences can be seen in Picasso's groundbreaking work of 1907, Les Demoiselles d'Avignon, which is considered a work of proto or pre-Cubism. In its radical distortion of figures, its rendering of volumes as fragmented planes, and its subdued palette, this work predicted some of the key characteristics of later Cubism. Braque, on seeing Picasso's Les Demoiselles at his studio, intensified his similar explorations in simplification of form.

He made a series of landscape paintings in the summer of 1908, including Houses at L'Estaque in which trees and mountains were rendered as shaded cubes and pyramids, resembling architectural forms. Cubism was introduced to the public with Braque's one-man exhibition at Daniel-Henry Kahnweiler's gallery on the rue Vignon in November 1908. It was this exhibit that led French art critic Louis Vauxcelles to describe them as "bizarreries cubiques," thus giving the movement its name. The experiments of Picasso and Braque owe much to Kahnweiler, who was the major supporter of their work. Picasso and Braque were both quite poor in 1907 and Kahnweiler offered to buy their works as they painted them, thus freeing the artists from worrying about pleasing patrons or receiving negative reviews. After the 1908 exhibit, with few exceptions, the two artists exhibited only in Kahnweiler's gallery. The Cubism of Picasso and Braque The close collaboration between Picasso and Braque beginning in 1909 was crucial to the style's genesis.

The two artists met regularly to discuss their progress, and at times it became hard to distinguish the work of one artist from another (as they liked it). Both were living in the bohemian Montmartre section of Paris in the years before and during World War I, making their collaboration easy. In 1912, Kahnweiler gave his first public interview on Cubism, no doubt in response to growing public interest in (and some recognition of) the movement. When World War I began, Kahnweiler, as a German, was exiled from France. During the war, Léonce Rosenberg became the main dealer for Cubist art in Paris (including those of the Salon Cubists) with his brother Paul Rosenberg serving as Picasso's dealer during the interwar years. Though Picasso and Braque returned to Cubist forms periodically throughout their careers and there were some exhibitions of work up until 1925, the two-man movement did not last much beyond World War I. Salon or Section d'Or Cubism The Salon Cubists, so-called because they showed their works at public exhibits such as the Salon d'Automne, did not work closely with Picasso and Braque but were influenced by their experiments.

It was through the work of the Salon Cubists that the movement became widely known to the public in the early 1910s. These artists included Robert Delaunay, Albert Gleizes, Fernand Léger, Juan Gris, Henri Le Fauconnier, Robert de La Fresnaye, and Jean Metzinger. Metzinger and Delaunay, who had been friends at least since 1906, began collaborating with Gleizes as a result of the yearly Salon d'Automne. It was through Gleizes that they met Le Fauconnier who had published Note sur la peinture (1910) in which he praised Picasso and Braque for their "total emancipation" of painting. These artists exhibited together at the 1911 Salon des Independants, introducing Cubism to the general public. The Independants was a non-juried exhibition where public reaction depended on how and where paintings were hung. The Cubists got control of the hanging committee from the Neo-Impressionists so that their works could be hung together in one room as a coherent school.

The paintings created a stir, as Gleizes noted: "While the newspapers sounded the alarm to alert people to the danger, and while appeals were made to the public authorities to do something about it, song writers, satirists and other men of wit and spirit provoked great pleasure among the leisured classes by playing with the word 'cube', discovering that it was a very suitable vehicle for inducing laughter which, as we all know, is the principle characteristic that distinguishes man from the animals." In addition to showing their works in large exhibitions, the Salon Cubists were also distinct from Picasso and Braque in that they often worked on a large scale, leading one art historian to coin the term 'Epic Cubism' to distinguish their work from the more intimate paintings of Picasso and Braque. While they broke apart objects and bodies into geometric forms like those of Picasso and Braque, the Salon Cubists did not challenge Renaissance conceptions of space to the same extent nor did they embrace the monochromatic color of Analytic Cubism or the collage elements of Synthetic Cubism.

At the end of 1911 Gleizes and Metzinger, who lived closely together in the Parisian suburbs, and others in the group began meeting in Puteaux, a suburb where the painter and engraver Jacques Villon and his brother, the sculptor Raymond Duchamp-Villon had their studios (leading to them sometimes being called the Puteaux group). It is likely as a result of these meetings that the main ideas for Metzinger and Gleizes' On Cubism (1912) were formalized; it was the first published statement about the style. The next year the group also planned the launch of the Salon de la Section d'Or (1912) that would bring together the most radical currents in painting. The term Section d'Or was a name the Salon Cubists adopted to show their attachment to the golden mean, i.e. the belief in order and the importance of mathematical proportions in their works that reflected those in nature. The Section d'Or exhibit was held after the 1912 Salon d'Automne at the Galerie La Boetie.

It was at this exhibit that the art critic Guillaume Apollinaire coined the term Orphism to refer to the work of Delaunay. The next year Apollinaire published Aesthetic Meditations: The Cubist Painters (1913). These many exhibits and publications were calculated to make an impact, both in Paris and abroad. As with the Cubism of Picasso and Braque, the Salon or Section d'Or group did not continue coherently after WWI, having only sporadic exhibits between 1918 and 1925. Styles The various stages of development in the Cubist style are based on the work of Picasso and Braque rather than on those of the Salon Cubists. The exact names and dates of the stages are debated and continually reframed to this day.

Cezannian Cubism (1908 -1909) This early phase of the movement came in the wake of the Paul Cézanne retrospective in 1907 when many artists were reintroduced or introduced for the first time to the work of Cézanne, who had been living in Aix-en-Provence in the south of France before his death and had not exhibited in Paris for many years. Several artists who saw the retrospective were influenced by his lack of three-dimensionality, the material quality of his brushwork, and his use of uniform brushstrokes. Braque's Houses at L'Estaque (1908) is a good example of this type of Cubism. Analytic Cubism (1910- 1912) In this phase, Cubism developed in a highly systematic fashion. Later to be known as the Analytic period of the style, it was based on close observation of objects in their background contexts, often showing them from various vantage points.

Picasso and Braque restricted their subject matter to the traditional genres of portraiture and still life and also limited their palette to earth tones and muted grays in order to lessen the clarity between the fragmented shapes of figures and objects. Although their works were often similar in appearance, their separate interests showed through over time. Braque tended to show objects exploding out or pulled apart into fragments, while Picasso rendered them magnetized, with attracting forces compelling elements of the pictorial space into the center of the composition. Works in this style include Braque's Violin and Palette (1909) and Picasso's Ma Jolie (1911-12). Towards the end of this stage of Cubism, Juan Gris began to make contributions to the style: he maintained a sharp clarity to his forms, provided suggestions of a compositional grid, and introduced more color to what had been an austere, monochromatic style. Synthetic Cubism (c. 1912 - c. 1914) In 1912 both Picasso and Braque began to introduce foreign elements into their compositions, continuing their experiments with multiple perspectives.

Picasso incorporated wall paper that imitated chair caning into Still Life with Chair-Caning (1912), thus initiating Cubist collage, and Braque began to glue newspaper to his canvases, beginning the movement's exploration of papier-colle. In part this may have resulted from the artists' growing discomfort with the radical abstraction of Analytic Cubism, though it could also be argued that these Synthetic experiments touched off an even more radical turn away from Renaissance depictions of space, and towards a more conceptual rendering of objects and figures. Picasso's experiments with sculpture are also included as part of the Synthetic Cubist style as they employ collaged elements. Crystal Cubism (1915 -1922) As a response to the chaos of war, there was a tendency among many French artists to pull back from radical experimentation; this inclination was not unique to Cubism. One art historian has described this stage of Cubism as the "end product of a progressive closing down of possibilities." In Léger's Three Women (1921), for example, the depicted subjects are hard-edged rather than resembling overlapping bits of low-relief sculpture; Léger also did not attempt to show objects from various angles.

Crystal Cubism is associated with Salon Cubism as well as with the works of Picasso and Braque. Crystal Cubism is part of the larger trend known as a "Return to Order" that was associated with artists in the School of Paris. Further Developments Cubism spread quickly throughout Europe in the 1910s, as much because of its systematic approach to rendering imagery as for the openness it offered in depicting objects in new ways. Critics were split over whether Cubists were concerned with representing imagery in a more objective manner - revealing more of its essential character - or whether they were principally interested in distortion and abstraction. The movement lies at the root of a host of early twentieth styles including Constructivism, Futurism, Suprematism, Orphism, and De Stijl. Many important artists went through a Cubist phase in their development, perhaps the most notable of whom was Marcel Duchamp whose notorious Nude Descending a Staircase (1912) garnered much attention and many negative reviews at the 1913 Armory Show in New York City. The ideas in the movement also fed into more popular phenomena, like Art Deco design and architecture.

Later movements such as Minimalism were also influenced by the Cubist use of the grid, and it is difficult to imagine the development of non-representational art without the experiments of the Cubists. Like other paradigm changing artistic movements of twentieth-century art, like Dada and Pop, Cubism shook the foundations of traditional artmaking by turning the Renaissance tradition on its head and changing the course of art history with reverberations that continue into the postmodern era. Was it Pablo Picasso or Georges Braque That Started Cubism? » Art Center Information Edward Hopper: The Great American Realist → Was it Pablo Picasso or Georges Braque That Started Cubism? The things that Picasso and I said to one another during those years will never be said again, and even if they were, no one would understand them anymore. It was like being roped together on a mountain~Georges Braque. The origins of Cubism has been an ongoing debate for over a hundred years between art historians. My personal opinion…both men, Pablo Picasso and Georges Braque started it, one of the most famous avant-garde movements of the twentieth century. In the beginning, historians credited it to Picasso.

Later, the honors were shared between Picasso and Braque…and even later, the historians favored Braque. Picasso’s claim to title rests in the change of viewpoint he used in his painting, Les Demoiselles d’Avignon (1907). Pablo Piasso: "Les Demoiselles d'Avignon (1909) In the same year, however, Braque was engaged in a serious study of the work of Paul Cezanne which ended with his L’Estaque landscapes in 1908. He was fascinated by Cezanne’s method of depicting three dimensions by different viewpoints and how he constructed different forms out of different planes that seemed to slide and pass through each other. Georges Braque: "Viaduct at L'Estique" (1909) Henri Matisse dismissed the painting when it was submitted to the selection jury of the 1908 Salon d’Automme. He said it was nothing but petits cubes (small cubes). Because of this, Cubism soon became the name for the movement. So, was it Picasso or Braque that started the movement? Not so fast.

If it weren’t for the collaborative efforts of the two, the movement probably would never have been a movement. That’s right, as artists that respect each other tend to do, they got together. By 1909 Braque and Picasso were close friends. They worked together on Cubism until 1914 when Braque went to war. The development of Cubism became a joint venture. It was hard to tell the difference in their works during this period. They often opted for subdued monochromatic palettes and painted still lifes as a subject. Space in these compositions often moved backwards, tilt and confound traditional representation of depth. Georges Braque: Violin and Candlestick (1910) Cubism | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art The Metropolitan Museum of Art Works of Art (11) Essay Cubism was one of the most influential visual art styles of the early twentieth century. It was created by Pablo Picasso (Spanish, 1881–1973) and Georges Braque (French, 1882–1963) in Paris between 1907 and 1914.

The French art critic Louis Vauxcelles coined the term Cubism after seeing the landscapes Braque had painted in 1908 at L’Estaque in emulation of Cézanne . Vauxcelles called the geometric forms in the highly abstracted works “cubes.” Other influences on early Cubism have been linked to Primitivism and non-Western sources. The stylization and distortion of Picasso’s ground-breaking Les Demoiselles d’Avignon ( Museum of Modern Art, New York ), painted in 1907, came from African art. Picasso had first seen African art when, in May or June 1907, he visited the ethnographic museum in the Palais du Trocadéro in Paris. The Cubist painters rejected the inherited concept that art should copy nature, or that they should adopt the traditional techniques of perspective, modeling, and foreshortening. They wanted instead to emphasize the two-dimensionality of the canvas. So they reduced and fractured objects into geometric forms, and then realigned these within a shallow, relieflike space. They also used multiple or contrasting vantage points. In Cubist work up to 1910, the subject of a picture was usually discernible.

Although figures and objects were dissected or “analyzed” into a multitude of small facets, these were then reassembled, after a fashion, to evoke those same figures or objects. During “high” Analytic Cubism (1910–12), also called “hermetic,” Picasso and Braque so abstracted their works that they were reduced to just a series of overlapping planes and facets mostly in near-monochromatic browns, grays, or blacks. In their work from this period, Picasso and Braque frequently combined representational motifs with letters ( 1999.363.63 ; 1999.363.11 ). Their favorite motifs were still lifes with musical instruments, bottles, pitchers, glasses, newspapers, playing cards ( 1997.149.12 ), and the human face and figure. Landscapes were rare. During the winter of 1912–13, Picasso executed a great number of papiers collés ( 1999.363.64 ).

With this new technique of pasting colored or printed pieces of paper in their compositions, Picasso and Braque swept away the last vestiges of three-dimensional space (illusionism) that still remained in their “high” Analytic work. Whereas, in Analytic Cubism, the small facets of a dissected or “analyzed” object are reassembled to evoke that same object, in the shallow space of Synthetic Cubism—initiated by the papiers collés–large pieces of neutral or colored paper themselves allude to a particular object, either because they are often cut out in the desired shape or else sometimes bear a graphic element that clarifies the association.

While Picasso and Braque are credited with creating this new visual language, it was adopted and further developed by many painters, including Fernand Léger ( 1999.363.35 ), Robert and Sonia Delaunay, Juan Gris ( 1996.403.14 ), Roger de la Fresnaye ( 1991.397 ), Marcel Duchamp , Albert Gleizes, Jean Metzinger ( 59.86 ), and even Diego Rivera ( 49.70.51 ). Though primarily associated with painting, Cubism also exerted a profound influence on twentieth-century sculpture and architecture. The major Cubist sculptors were Alexander Archipenko, Raymond Duchamp-Villon, and Jacques Lipchitz. The liberating formal concepts initiated by Cubism also had far-reaching consequences for Dada and Surrealism , as well as for all artists pursuing abstraction in Germany, Holland, Italy, England, America, and Russia. Sabine Rewald Department of Modern and Contemporary Art, The Metropolitan Museum of Art October 2004 Citation Rewald, Sabine. “Cubism.” In Heilbrunn Timeline of Art History.

New York: The Metropolitan Museum of Art, 2000–. (October 2004) Further Reading Cooper, Douglas, and Gary Tinterow. The Essential Cubism, 1907–1920: Braque, Picasso & Their Friends. Exhibition catalogue. London: Tate Gallery, 1983. Rubin, William, ed. Pablo Picasso: A Retrospective. Exhibition catalogue. New York: Museum of Modern Art, 1980. Additional Essays by Sabine Rewald Rewald, Sabine. “ Fauvism .” (October 2004) Rewald, Sabine. “ Paul Klee (1879–1940) .” (October 2004) Related History: Cubism for Kids History >> Art History General Overview Cubism was an innovative art movement pioneered by Pablo Picasso and Georges Braque. In Cubism, artists began to look at subjects in new ways in an effort to depict three-dimensions on a flat canvas. They would break up the subject into many different shapes and then repaint it from different angles.

Cubism paved the way for many different modern movements of art in the 20th century. When was the Cubism movement? The movement started in 1908 and lasted through the 1920s. What are the characteristics of Cubism? There were two main types of Cubism: Analytical Cubism - The first stage of the Cubism movement was called Analytical Cubism. In this style, artists would study (or analyze) the subject and break it up into different blocks. They would look at the blocks from different angles. Then they would reconstruct the subject, painting the blocks from various viewpoints. Synthetic Cubism - The second stage of Cubism introduced the idea of adding in other materials in a collage. Artists would use colored paper, newspapers, and other materials to represent the different blocks of the subject. This stage also introduced brighter colors and a lighter mood to the art. Examples of Cubism Violin and Candlestick (Georges Braque) This is an early example of Analytical Cubism. In the painting you can see the broken up pieces of the violin and the candlestick. Many different angles and blocks of the objects are presented to the viewer.

Braque said that this style allowed the viewer to "get closer to the object." You can see this picture here . Three Musicians (Pablo Picasso) This painting by Pablo Picasso was one of his later works in Cubism and is an example of Synthetic Cubism. Although it looks like the picture is made out of cut up pieces of colored paper, it is actually a painting. In the painting it is difficult to tell where one musician ends and the next begins. This could represent the harmony of the music as the musicians play together. You can see this picture here . Portrait of Picasso (Juan Gris) Cubism was also used to paint portraits. In this example of Analytical Cubism, Juan Gris pays tribute to the inventor of Cubism Pablo Picasso. Like many early Cubism paintings, this painting uses cool blues and light browns for colors. The lines between the different blocks are well defined, but Picasso's facial features can still be recognized. Portrait of Picasso (Click image to see larger version) Famous Cubism Artists Georges Braque - Braque is one of the founding fathers of Cubism along with Picasso. He continued to explore Cubism for much of his art career.

Robert Delaunay - Delaunay was a French artist who created his own style of Cubism called Orphism. Orphism focused on bright colors and the relationship between painting and music. Juan Gris - Gris was a Spanish artist who became involved in Cubism early on. He also was a leader in the development of Synthetic Cubism. Fernand Leger - Leger had his own unique style within Cubism. His art began to focus on popular subjects and was an inspiration to the creation of Pop Art. Jean Metzinger - Metzinger was a artist and writer. He explored Cubism from a scientific standpoint as well as an artistic one. He wrote the first major essay on Cubism. Some of his famous paintings include The Rider: Woman with a Horse and Woman with a Fan. Pablo Picasso - The primary founder of Cubism, together with Braque, Picasso explored a number of different styles of art throughout his career. Some say that he produced enough innovative and unique art for five or six different famous artists. Interesting Facts about Cubism The artwork of Paul Cezanne is said to have been one of the main inspirations for Cubism.

Picasso and Braque did not think Cubism should be abstract, but other artists, such as Robert Delaunay, created more abstract work. In this way Cubism eventually helped to spawn the Abstract Art movement. Picasso also worked on Cubist sculpture including his sculpture Head of a Woman. Popular subjects for Cubism included musical instruments, people, bottles, glasses, and playing cards. There were very few Cubist landscapes. Pablo Picasso and Georges Braque worked closely together in developing this new art form. Activities Take a ten question quiz about this page. Movements What is Cubism? An Introduction to the Cubist Art Movement and Cubist Painters We are an online artist community sharing ways to create and sell art. Join us to save big on art supplies or try our easy websites for artists . What is Cubism? An Introduction to the Cubist Art Movement and Cubist Painters ‹ Previous article by date Within the first two decades of the 20th century, a new art movement began that was unlike any other—Cubism.

Started by Georges Braque and Pablo Picasso , most Cubist works are immediately recognizable due to their flattened, nearly two-dimensional appearance; an inclusion of geometric angles, lines, and shapes; and a fairly neutral color palette. As the movement evolved, color, texture, and graphic elements (like text) were added, to the point where later Cubist works often appeared more like collage than anything else. But Cubism wasn’t just a specific “style” or “look”—it actually allowed artists an entirely different way of seeing and depicting real-life objects. What is Cubism? Unlike traditional still-lifes, landscapes, or portrait paintings, Cubist paintings aren’t meant to be realistic or life-like in any way. Instead, after looking at the subject from every possibly angle, the artist will piece together fragments from different vantage points into one painting. In doing this, the artist is attempting to give a fuller, more detailed explanation of the subject—breaking past barriers of space and time, like in the famous painting by Marcel Duchamp entitled Nude Descending a Staircase (seen above.) This type of Cubism is called Analytic Cubism, and it’s usually what comes to mind when people think of Cubist artwork.

Synthetic Cubism on the other hand was a natural extension of Analytic Cubism. Instead of breaking a subject down into pieces, it involved assembling pieces already available into a collage. Here’s an example by Georges Braque, entitled Tenora. As you can see, Synthetic Cubism is still fairly geometric, and some pieces (like this one) incorporate traditional media as well as found objects. Famous Cubist Artists The most famous Cubist is probably Picasso, with Braque a distant second. . . even though he was just as instrumental as Picasso was in founding Cubism. Paul Cézanne (although not a part of the Cubist movement himself) is often credited with sparking Braque’s first attempts at painting a Cubist landscape. Cézanne’s paintings separated objects into basic shapes—cubes and spheres, mostly—which directly led to Cubism’s use of fractured, geometric planes. Other Cubist artists include Jaun Gris (whose work seems to almost bridge Cubism with Art Deco ) and artists like Marcel Duchamp (whose artwork actually spanned a variety of styles and movements). You can see some of the Art Deco similarities in The Guitar, by Jaun Gris, below.

Nowadays, Cubism seems like just another facet of abstract art , but in reality, it came first—and it directly influenced most of the abstract art of the 20th century. In fact, it’s nearly impossible to imagine the 20th century without Cubism, Picasso and the others. . .it would be a very different world of art than the one we know. ★Help share this post 1000+ images about Timeline | Cubism on Pinterest | Georges braque, Pablo picasso and Portrait Georges Braque - Violin and Palette (1909). A cubist painting. Cubist painting abandoned the tradition of perspective drawing and displayed many views of a subject at one time. See More Georges Braque Biography, Art, and Analysis of Works | The Art Story Web Services & Hosting by The Computer Studio | Designed by DesArtLab Cubism Cubism Cubism was developed by Pablo Picasso and Georges Braque between 1907-1911, and it continued to be highly influential long after its decline.

This classic phase has two stages: 'Analytic', in which forms seem to be 'analyzed' and fragmented; and 'Synthetic', in which pre-existing materials such as newspaper and wood veneer are collaged to the surface of the canvas. Pablo Picasso Pablo Picasso Picasso dominated European painting in the first half of the last century, and remains perhaps the century's most important, prolifically inventive, and versatile artist. Alongside Georges Braque, he pioneered Cubism. He also made significant contributions to Surrealist painting and media such as collage, welded sculpture, and ceramics. Fauvism Fauvism Fauvism was an early twentieth-century art movement founded by Henri Matisse and André Derain. Labeled as "wild beasts", Fauve artists favored vibrant colors and winding gestural strokes across the canvas. Pop Art Pop Art British artists of the 1950s were the first to make popular culture the dominant subject of their art, and this idea became an international phenomenon in the 1960s.

But the Pop art movement is most associated with New York, and artists such as Andy Warhol, who broke with the private concerns of the Abstract Expressionists, and turned to themes which touched on public life and mass society. Henri Matisse Henri Matisse Henri Matisse was a French painter and sculptor who helped forge modern art. From his early Fauvist works to his late cutouts, he emphasized expansive fields of color, the expressive potential of gesture, and the sensuality inherent in art-making. Jim Dine Jim Dine Jim Dine is an American painter commonly associated with the Neo-Dada and Pop art movements. In addition to showing alongside such Pop icons as Warhol, Lichtenstein and Ruscha, Dine is also well known for collaborating with Allan Kaprow, Claes Oldenburg and John Cage on a series of "happenings". Wayne Thiebaud Wayne Thiebaud Wayne Thiebaud is an American painter, commonly associated with the Pop art movement. Thiebaud's paintings often employ seemingly mundane subject matter, such as candy, pastries, toilets, shoes, and other popular consumer items.

Paul Cézanne Paul Cézanne Paul Cézanne was an influential French Post-Impressionist painter whose depictions of the natural world, based on internal geometric planes, paved the way for Cubism and later modern art movements. Camille Corot Camille Corot Jean-Baptiste-Camille Corot was a nineteenth-century French painter and printmaker. Best known for his landscape paintings rendered in a Neo-Classical tradition, Corot's practice of painting outside in the open air was highly influential to many of the French Impressionists. Gustave Courbet Gustave Courbet Gustave Courbet was a French painter and chief figure in the Realist movement of the mid-nineteenth century. His paintings often contained an emotional bleakness, and were praised for their precision and use of light. Along with Delacroix, Courbet was a key influence on the Impressionists. Édouard Vuillard Édouard Vuillard Edouard Vuillard was a French Post-Impressionist painter especially known for his interiors and domestic scenes.

A member of the Les Nabis group, his works are characterized by rough areas of color, pointillist daubs and dots, and decorative patterns that spread out across background fabrics and wallpaper. Juan Gris Juan Gris Juan Gris was a Spanish painter and sculptor, and one of the few pioneers of Cubism. Along with Matisse, Léger, Braque and Picasso, Gris was among the elite visual artists working in early-twentieth-century France. André Derain André Derain André Derain, the co-founder of Fauvism, was a French artist whose paintings exhibit the writhing energetic lines and bright colors characteristic of the movement. He strove to keep art modern and current throughout his career. Henri Laurens Henri Laurens Henri Laurens was a twentieth-century French sculptor, engraver and illustrator. After meeting Cubist artists Picasso, Braque, Léger and Gris in Montparnasse, Laurens began making Cubism-inspired sculpture, which were among his most famous works. Erik Satie Erik Satie Erik Satie was a nineteenth- and early-twentieth-century French composer, writer, pianist and avant-garde theorist.

Satie's most well known piece was the 1888 Gymnopedies, a series a three piano compositions in 3/4 time that is considered an important precursor to ambient sound and minimalist composition. Impressionism Impressionism A movement in painting that first surfaced in France in the 1860s, it sought new ways to describe effects of light and movement, often using rich colors. The Impressionists were drawn to modern life and often painted the city, but they also captured landscapes and scenes of middle-class leisure-taking in the suburbs. Post-Impressionism Post-Impressionism Post-Impressionism refers to a number of styles that emerged in reaction to Impressionism in the 1880s. The movement encompassed Symbolism and Neo-Impressionism before ceding to Fauvism around 1905. Its artists turned away from effects of light and atmosphere to explore new avenues such as color theory and personal feeling, often using colors and forms in intense and expressive ways. African Art African Art Beginning in the late nineteenth and early twentieth centuries, traditional African art, often seen through a primitivizing eye, began to exert a strong influence on modern Western artists.

Artists were influenced by the emphasis on ritual and spiritualism, and the stylistic conventions of flattened planes and mask-like faces. Expressionism Expressionism Expressionism is a broad term for a host of movements in early twentieth-century Germany and beyond, from Die Brücke (1905) and Der Blaue Reiter (1911) to the early Neue Sachlichkeit painters in the 1920s and '30s. Many Expressionists used vivid colors and abstracted forms to create spiritually or psychologically intense works, while others focused on depictions of war, alienation, and the modern city. Marsden Hartley Marsden Hartley Marsden Hartley was an American painter and poet. After studying at the Art Students League of New York, Hartley became a member of Alfred Stieglitz's 291 Gallery Group, and was an important Modernist in the early-twentieth-century years of New York. Arthur Dove Arthur Dove Arthur Dove was an early American modernist painter and one of the first legitimate abstract painters of the twentieth century. With influences ranging from Fauvism and Expressionism to Asian art and mixed media, Dove was an essential precursor to Abstract Expressionism.

Peter Doig Peter Doig Peter Doig is a Scottish painter, best known for his abstracted landscapes that depict snowy outdoor scenes inspired by his childhood growing up in Canada. Doig derives much of his inspiration from found photographs. Leonide Massine Leonide Massine Leonide Massine was a twentieth-century Russian choreographer and ballet dancer. Massine famously choreographed the world's first symphonic ballet, bringing together dance and Tchaikovsky's Symphony No. 5. Paul Rosenberg Paul Rosenberg Paul Rosenberg was a French art dealer who represented such artists as Picasso, Braque and Matisse. In the 1940s Rosenberg moved to New York City to open a gallery, and was among the few dealers who helped increase U.S. awareness of the modern masters. Ambroise Vollard Ambroise Vollard Ambroise Vollard was an important dealer, collector, and arts patron in late nineteenth-centry and early twentieth-century Paris. His interests were diverse, spanning Impressionism, Post-Impressionism, Expressionism, and modernism, and included such artists as Renoir, Cézanne, Gaugin, Matisse, and Picasso.

Daniel-Henry Kahnweiler Daniel-Henry Kahnweiler Daniel-Henry Kahnweiler was a German art dealer, gallery owner and champion of Cubism. Kahnweiler is credited as one of the first people to truly appreciate the early works of Picasso, Braque, Léger and other experimental Cubist painters. The success of such artists is in large part due to Kahnweiler's purchase and promotion of these works. Abstract Expressionism Abstract Expressionism A tendency among New York painters of the late 1940s and '50s, all of whom were committed to an expressive art of profound emotion and universal themes. The movement embraced the gestural abstraction of Willem de Kooning and Jackson Pollock, and the color field painting of Mark Rothko and others. It blended elements of Surrealism and abstract art in an effort to create a new style fitted to the postwar mood of anxiety and trauma. MoMA | Cubism Cubism Explore how Cubist artists shattered conventions of representation and perspective.

Tools & Tips: Cubism Following their 1907 meeting in Paris, artists Pablo Picasso and Georges Braque pioneered the Cubist style , a new vision for a new century that inspired paintings that were initially ridiculed by critics for consisting of “little cubes.” Often painting side-by-side in their Montmartre, Paris, studios, the artists developed a visual language of geometric planes and compressed space that rejected the conventions of perspective and representation . Cubist works challenged viewers to understand a subject broken down into its geometrical components and often represented from several angles at once. Traditional subjects like nude figures , landscapes , and still lifes were reinvented as increasingly fragmented compositions by Picasso, Braque, and other artists working in and around the French capital. Cubists abstracted from real life to make their work, but most often maintained small identifiable clues to a realistic figure, whether a woman or a violin. The artists adopted a neutral palette of browns and blacks, intending the viewer to focus on the geometric composition rather than the color . Cubism marks a pioneering moment in the history of art—one that ended when many of its leading practitioners, Braque among them, enlisted to fight in World War I.

To explore more, click on each artwork thumbnail, then click again on the larger image that appears in the box above. 1. The range of colors used by an artist in making a work of art; 2. A thin wooden or plastic board on which an artist holds and mixes paint. Pablo Picasso's Cubism Period Biography Pablo Picasso's Cubism Period - 1909 to 1912 Analytical Cubism is one of the two major branches of the artistic movement of Cubism and was developed between 1908 and 1912. In contrast to Synthetic cubism, Analytic cubists "analyzed" natural forms and reduced the forms into basic geometric parts on the two-dimensional picture plane. Color was almost non-existent except for the use of a monochromatic scheme that often included grey, blue and ochre. Instead of an emphasis on color, Analytic cubists focused on forms like the cylinder, sphere and the cone to represent the natural world. During this movement, the works produced by Picasso and Braque shared stylistic similarities.

Both Pablo Picasso and Georges Braque moved toward abstraction, leaving only enough signs of the real world to supply a tension between the reality outside the painting and the complicated meditations on visual language within the frame, exemplified through their paintings Ma Jolie (1911), by Picasso and The Portuguese (1911), by Braque. The technique of faceting originated from Georges Braques - it was his way to depict a natural object. Picasso didn't so much facet natural objects, but used the geometry of Braques' faceted paintings to create a style that was abstract in essence, almost pure abstract art. So cubism refers to the styles of both Braques and Picasso, although Braques' cubism has a recognizable figurative objective, while Picasso's cubism served as the link between Braques' style and pure the abstract art that followed from cubism. Noteworthy is the work of Piet Mondrian , who linearized cubism in his 1912 Apple Tree painting, a process which ultimately led to the first really non-figurative paintings (or pure abstract art), from 1914 on. An important difference between Picasso and the cubist Mondrian was that Picasso never really gave up the third dimension.

He played with dimensions, flirted with removing the third, but never became a pure abstract painter. So deeply his figurative upbringing was engrained (he was an artistic prodigy and well-rounded figurative painter at 15), that one of the main creators of abstract art never made it to this development's ultimate consequence: pure abstract art. In that sense Picasso wasn't the radical and revolutionary that, during his cubist period he appeared to become; his cubist period was followed (leaving his cubist converts bewildered) by his neo-classicism, a return to tradition. From there on his recognition and wealth grew and his role as a bringer of fundamental change in the art of painting was over. MOST POPULAR PAINTINGS

Question: What art movement was started by Georges Braque and Pablo Picasso?
Answer: Cubism