Design Haven | History of Modern Art: Cubism - Make your ideas Art History of Modern Art The evolution of Business Plan Templates You may also like Creative Market Disclosure of Material Connection: Some of the links in Design Haven and the post below are "affiliate links". This means that if you click on the link and purchase the item, I might receive an affiliate commission. Regardless, I only recommend products I would personally use and believe that add value. Just thought to give you the heads up ;) Previous Post Georges Braque – Violin and Candlestick Cubism is a 20th century avant-garde art movement, pioneered by Pablo Picasso and Georges Braque, that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. In cubist artworks, objects are broken up, analysed, and re-assembled in an abstracted form—instead of depicting objects from one viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context. Often the surfaces intersect at seemingly random angles, removing a coherent sense of depth. The background and object planes interpenetrate one another to create the shallow ambiguous space, one of cubism’s distinct characteristics.

The beginnings of Cubism have been dated between 1907 and 1911. The question of when Cubism began depends on the questions of how it can be defined, what distinguishes Cubist art and who developed it first. Pablo Picasso’s 1907 painting Les Demoiselles d’Avignon has often been considered a proto-Cubist work. As such Picasso became recognized by 1911 as the inventor of Cubism, while Braque’s importance and precedence was argued later. During the late 19th and early 20th centuries, the European cultural elite were discovering African, Micronesian and Native American art for the first time. 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. Recommended: Masters of Art: Johannes Vermeer (1632 - 1675) 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,” writes 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. Pablo Picasso – Les Demoiselles d’Avignon 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 re-emerged 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 from about 1925.

Other important cubism paintings include: Georges Braque – Glass on a Table 1909-10 Georges Braque – Bottle and Fishes circa 1910-2 Albert Gleizes – Portrait of Jacques Nayral 1911 Louis Marcoussis – Interior with a Double Bass 1929 Louis Marcoussis – Rain 1929 Juan Gris – Bottle of Rum and Newspaper 1913-4 Far from being an art movement confined to the annals of art history, Cubism and its legacy continue to inform the work of many contemporary artists. Not only is Cubist imagery regularly used commercially, but significant numbers of contemporary artists continue to draw upon it both stylistically and perhaps more importantly, theoretically. The latter contains the clue as to the reason for Cubism’s enduring fascination for artists. As an essentially representational school of painting, having to come to grips with the rising importance of photography as an increasingly viable method of image making, Cubism attempts to take representational imagery beyond the mechanically photographic, and to move beyond the bounds of traditional single point perspective perceived as though by a totally immobile viewer.

The questions and theories which arose during the initial appearance of Cubism in the early 20th century are, for many representational artists, as current today as when first proposed. Recommended: Life and Paintings of Théodore Géricault (1791 - 1824) Hope you enjoyed the article as much as i did compiling the info and the images! See you next time! Articles’ Images are in the public domain because their copyright has expired or are displayed here under the “ fair use” copyright law, and are available through Wikipedia & Wikimedia . This Articles’ text is licensed under the Creative Commons BY-SA License since it partially uses material from Wikipedia . (Visited 193 times, 1 visits today) SCAN THIS QR CODE WITH YOUR PHONE Close cubism - DIGITAL MUSEUM digitaal museum DIGITAL MUSEUM digitaal museum Sitemap cubism Cubism was a 20th century avant-garde art movement, pioneered by Pablo Picasso and Georges Braque, that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture.

The first branch of cubism, known as Analytic Cubism, was both radical and influential as a short but highly significant art movement between 1907 and 1911 in France. In its second phase, Synthetic Cubism, the movement spread and remained vital until around 1919, when the Surrealist movement gained popularity. English art historian Douglas Cooper describes three phases of Cubism in his seminal 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; and finally Cooper referred to "Late Cubism" (from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement.

In cubist artworks, objects are broken up, analyzed, and re-assembled in an abstracted form—instead of depicting objects from one viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context. Often the surfaces intersect at seemingly random angles, removing a coherent sense of depth. The background and object planes interpenetrate one another to create the shallow ambiguous space, one of cubism's distinct characteristics.(source:wikipedia) Kubisme is een stroming binnen de moderne kunst van het begin van de 20e eeuw. Het is een van de vier grote schilderstijlen (naast het dadaïsme, het expressionisme en de abstracte kunst), die de Europese schilderkunst van de 20e eeuw een nieuw belang gaven. Het kubisme vierde zijn hoogtijdagen als avant-gardekunststroming in de periode van 1906 tot ca. 1920.

Kunsthistorisch gezien ontstond het kubisme als reactie op het intuïtieve fauvisme met zijn brutaal kleurgebruik en vlakke vormen. Kubisme daarentegen ging in de richting van orde, reflectie en constructie en maakte gebruik van driedimensionaal voorgestelde vormen. Van de 19e-eeuwse schilder Paul Cézanne, een voorloper van het kubisme, is de uitspraak dat alle vormen in de natuur in feite zijn opgebouwd uit een aantal oervormen zoals bol, kegel, cilinder en kubus. Zijn ultieme Sainte Victoires op zijn tentoonstelling in 1907 met zijn werken van de laatste tien jaar en Pablo Picasso's spraakmakende Les Demoiselles d'Avignon waren zovele oorzaken, uitgangspunten, aanleidingen en oorsprong tot en van het kubisme in de schilderkunst.

Het kubisme zou volgens de dichter Max Jacob dan weer uitgevonden zijn op een avondje bij Matisse, waar deze aan Picasso een negerbeeldje toonde dat hij in zijn bezit had. Het moge juist zijn dat de invloed van Afrikaanse sculpturen op het kubisme zeer groot was, het is eveneens zo dat het daar uiteindelijk niet over gaat. Het belangrijkste - en vernieuwendste - aspect van het kubisme, is dat het in eerste instantie om een nieuwe manier van kijken gaat.

De oude vragen: 'Hoe leg ik mijn waarnemingen vast?' en 'Hoe geef ik een driedimensionale ruimte weer op een tweedimensionaal vlak?' die ooit tot de ontdekking van het meetkundig perspectief leidden, worden nu gevolgd door nieuwe, nog prangender vragen: 'Kan ik volstaan met weer te geven wat ik door één oog zie?' en 'Kan ik mijn waarneming vertrouwen?' Het zou echter wel eerst op de expositie van Les Indépendants zijn, te Parijs op 25 mei 1910, dat de Franse criticus L. Vauxelles, in het blad Gil Blas, de werken van Georges Braque bestempelde als bizarreries cubiques. (source:wikipedia) Georges Braque (13 May 1882 – 31 August 1963) was a major 20th century French painter and sculptor who, along with Pablo Picasso, developed the art style known as Cubism.

Georges Braque was born on 13 May 1882, in Argenteuil, Val-d'Oise. He grew up in Le Havre and trained to be a house painter and decorator like his father and grandfather. However, he also studied artistic painting during evenings at the École des Beaux-Arts, in Le Havre, from about 1897 to 1899. In Paris, he apprenticed with a decorator and was awarded his certificate in 1902. The next year, he attended the Académie Humbert, also in Paris, and painted there until 1904. It was here that he met Marie Laurencin and Francis Picabia. His earliest works were impressionistic, but after seeing the work exhibited by the artistic group known as the "Fauves" (Beasts) in 1905, Braque adopted a Fauvist style. The Fauves, a group that included Henri Matisse and André Derain among others, used brilliant colors to represent emotional response.

Braque worked most closely with the artists Raoul Dufy and Othon Friesz, who shared Braque's hometown of Le Havre, to develop a somewhat more subdued Fauvist style. In 1906, Braque traveled with Friesz to L'Estaque, to Antwerp, and home to Le Havre to paint. In May 1907, he successfully exhibited works of the Fauve style in the Salon des Indépendants. The same year, Braque's style began a slow evolution as he became influenced by Paul Cézanne, who had died in 1906, and whose works were exhibited in Paris for the first time in a large-scale, museum-like retrospective in September 1907. The 1907 Cézanne retrospective at the Salon d'Automne greatly affected the avant-garde artists of Paris, resulting in the advent of Cubism. 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 "House at L'estaque". Beginning during 1909, Braque began to work closely with Pablo Picasso, who had been developing a similar style of painting. At the time Pablo Picasso was influenced by Gauguin, Cézanne, African tribal 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 papier collé. French art critic Louis Vauxcelles first used the term Cubism, or "bizarre cubiques", in 1908 after seeing a picture by Braque. He described it as 'full of little cubes', after which the term quickly gained wide use although the two creators 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. Braque resumed painting in late 1916. Working alone, he began to moderate the harsh abstraction of cubism. He developed a more personal style characterized by brilliant color, textured surfaces, and—after his relocation to the Normandy seacoast—the reappearance of the human figure. He painted many still life subjects during this time, maintaining his emphasis on structure. One example of this is his 1943 work, Blue Guitar, which hangs in the Allen Memorial Art Museum. During his recovery he became a close friend of the cubist artist Juan Gris. He continued to work during the remainder of his life, producing a considerable number of paintings, graphics, and sculptures. Braque, along with Matisse, is credited for introducing Pablo Picasso to Fernand Mourlot, and most of the lithographs and book illustrations he himself created during the 1940s and '50s were produced at the Mourlot Studios.

He died on 31 August 1963, in Paris. He is buried in the cemetery of the Church of St. Valery in Varengeville-sur-Mer, Normandy, whose windows he designed. Braque's work is in most major museums throughout the world. Braque believed that an artist experienced beauty "… in terms of volume, of line, of mass, of weight, and through that beauty [he] interpret[s] [his] subjective impression...” He described "objects shattered into fragments… [as] a way of getting closest to the object…Fragmentation helped me to establish space and movement in space”. He adopted a monochromatic and neutral color palette in the belief that such a palette would emphasize the subject matter. Although Braque began his career painting landscapes, during 1908 he, alongside Picasso, discovered the advantages of painting still lifes instead.

Braque explained that he “… began to concentrate on still-lifes, because in the still-life you have a tactile, I might almost say a manual space… This answered to the hankering I have always had to touch things and not merely see them… In tactile space you measure the distance separating you from the object, whereas in visual space you measure the distance separating things from each other. This is what led me, long ago, from landscape to still-life”. A still life was also more accessible, in relation to perspective, than landscape, and permitted the artist to see the multiple perspectives of the object. Braque's early interest in still lifes revived during the 1930s. During the period between the wars, Braque exhibited a freer style of Cubism, intensifying his color use and a looser rendering of objects. However, he still remained committed to the cubist method of simultaneous perspective and fragmentation. In contrast to Picasso, who continuously reinvented his style of painting, producing both representational and cubist images, and incorporating surrealist ideas into his work, Braque continued in the Cubist style, producing luminous, other-worldly still life and figure compositions.

By the time of his death in 1963, he was regarded as one of the elder statesmen of the School of Paris, and of modern art. (source:wikipedia) YouTube Video Year10ArtCubism - 2.1 Who Was Involved In Cubism? Year10ArtCubism Export (PDF) Whos involved in cubism??? Cubism was a 20th century avant-garde art movement, pioneered by Pablo Picasso and Georges Braque, that revolutionized European painting and sculpture, and inspired related movements in |music and literature. The first branch of cubism, known as Analytic Cubism, was both radical and influential as a short but highly significant art movement between 1907 and 1911 in France. In its second phase, Synthetic Cubism, the movement spread and remained vital until around 1919, when the Surrealist movement gained popularity. English art historian Douglas Cooper describes three phases of Cubism in his seminal 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; and finally Cooper referred to "Late Cubism" (from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement.[[#cite_note-0|[1]]] Revolutionary style of painting created by Georges Braque and Pablo Picasso in Paris between 1907 and 1914. It was the most radical of the developments that revolutionized art in the years of unprecedented experimentation leading up to World War I, and it changed the course of painting by introducing a new way of seeing and depicting the world. To the cubists, a painting was first and foremost a flat object that existed in its own right, rather than a kind of window through which a representation of the world is seen. Cubism also had a marked, though less fundamental, effect on sculpture, and even influenced architecture and the decorative arts.

Cubism received its name from the harsh insults art critics lashed out with against the style upon its first exhibition in Paris about 1910. The original Cubist artists were |Pablo Picasso]] (1881-1973) and |Georges Braque]] (1882-1963) who were introduced to each by Guillaume Apollinaire]] who went on to act as spokesman for the Cubist artists. They were joined later by Juan Gris]] (1887-1927), |Jean Metzinger]] (1883-1956), |Fernand Leger]] (1881-1955), |Albert Gleizes]] (1881-1953) and the married couple (1885-1941) and Sonia Delaunay (1885-1979). The art movement, Cubism, began in 1908 and strongly influenced art and sculpture in the early 20C. Cubism dissected painted images, then reassembled them as abstract forms.

Cubism showed images which could be seen from all angles. Subjects were painted in cube form, hence the name, Cubism. French painters, Georges Braque and Pablo Picasso were foremost in introducing the movement. They worked closely until 1914. By 1910 cubism had become popular and was known as the"Cubist School." Other art movements began and new trends developed. 'Analytical cubism' displayed surfaces closely patterned with incomplete lines, which played the forms against one another. Often the works were painted in the same tone, making it difficult to identify images. Artists left clues, such as a pipe suggested someone smoking; also alphabetic letters, a newspaper or a bottle of wine. Cubism was a highly influential visual arts style of the 20th century that was created principally by the painters Pablo Picasso and Georges Braque in Paris between 1907 and 1914. The Cubist style emphasized the flat, two-dimensional surface of the picture plane, rejecting the traditional techniques of perspective, foreshortening, modeling, and chiaroscuro and refuting time-honoured theories of art as the imitation of nature.

Cubist painters were not bound to copying form, texture, colour, and space; instead, they presented a new reality in paintings that depicted radically fragmented objects, whose several sides were seen simultaneously. Although [[../famous-artists/braque-georges.htm|Georges Braque]] and [[../famous-artists/picasso.htm|Pablo Picasso]] are credited with creating the new visual language of Cubism , it was taken up (from the synthetic phase onwards) and developed further by numerous painters, such as [[../famous-artists/juan-gris.htm|Juan Gris]] (1887-1927), as well as Fernand Léger (1881-1955), who are considered the third and fourth Cubists.

Indeed Cubism had become the dominant avant-garde idiom in Paris as early as 1911, after its proto-type phase and Analytical phase, with painters [[../famous-artists/robert-delaunay.htm|Robert Delaunay]] (1885-1941), Albert Gleizes (1881-1953), Roger de La Fresnaye (1885-1925), Jean Metzinger (1883-1956), Francis Picabia (1879-1953) becoming adherents by this time. Other artists experimented with Cubism during its Synthetic phase. Cubism C Cubism Cubism was a 20th century avant-garde art movement , pioneered by Pablo Picasso and Georges Braque , that revolutionized European painting and sculpture , and inspired related movements in music and literature . The first branch of cubism, known as "Analytic Cubism", was both radical and influential as a short but highly significant art movement between 1907 and 1911 in France.

In its second phase, Synthetic Cubism, the movement spread and remained vital until around 1919, when the Surrealist movement gained popularity. English art historian Douglas Cooper describes three phases of Cubism in his seminal 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; and finally Cooper referred to "Late Cubism" (from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement. In cubist artworks, objects are broken up, analyzed, and re-assembled in an abstracted form—instead of depicting objects from one viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context. Often the surfaces intersect at seemingly random angles, removing a coherent sense of depth.

The background and object planes interpenetrate one another to create the shallow ambiguous space, one of cubism's distinct characteristics. Conception and origins During the late 19th and early 20th centuries, the European cultural elite were discovering African , Micronesian and Native American art for the first time. 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.

Some believe that the roots of cubism are to be found in the two distinct tendencies of Paul Cézanne's later work: firstly to break the painted surface into small multifaceted areas of paint, thereby emphasizing the plural viewpoint given by binocular vision , and secondly 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 had all their faces visible at the same time. This new kind of depiction revolutionized the way in which objects could be visualized in painting and art. The invention of Cubism was a joint effort between Picasso and Braque, then residents of Montmartre , Paris. These artists were the movement's main innovators. A later active participant was the Spaniard Juan Gris. After meeting in 1907 Braque and Picasso in particular began working on the development of Cubism. Picasso was initially the force and influence that persuaded Braque by 1908 to move away from Fauvism .

The two artists began working closely together in late 1908–early 1909 until the outbreak of World War I in 1914. The movement spread quickly throughout Paris and Europe. French art critic Louis Vauxcelles first used the term "cubism", or "bizarre cubiques", in 1908 after seeing a picture by Braque. He described it as "full of little cubes", after which the term quickly gained wide use although the two creators did not initially adopt it. 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 coloured canvas." Cubism was taken up by many artists in Montparnasse and promoted by art dealer Daniel-Henry Kahnweiler, becoming popular so quickly that by 1911 critics were referring to a "cubist school" of artists. However, many of the artists who thought of themselves as cubists went in directions quite different from Braque and Picasso.

The Puteaux Group or Section d'Or was a significant offshoot of the Cubist movement; it included Guillaume Apollinaire , Robert Delaunay, Marcel Duchamp , his brothers Raymond Duchamp-Villon and Jacques Villon, and Fernand Léger, and Francis Picabia. Other important artists associated with cubism include: Albert Gleizes, Jean Metzinger, Marie Laurencin, Max Weber, Diego Rivera , Marie Vorobieff, Louis Marcoussis, Jeanne Rij-Rousseau, Roger de La Fresnaye, Henri Le Fauconnier, Alexander Archipenko, František Kupka, Amédée Ozenfant , Léopold Survage, Patrick Henry Bruce among others. Section d'Or is basically just another name for many of the artists associated with cubism and orphism. In 1913 the United States was exposed to cubism and modern European art when Jacques Villon exhibited seven important and large drypoints at the famous Armory Show in New York City .

Braque and Picasso themselves went through several distinct phases before 1920, and some of these works had been seen in New York prior to the Armory Show, at Alfred Stieglitz 's "291" gallery. Czech artists who realized the epochal significance of cubism of Picasso and Braque attempted to extract its components for their own work in all branches of artistic creativity—especially painting and architecture . This developed into Czech Cubism which was an avant-garde art movement of Czech proponents of cubism active mostly in Prague from 1910 to 1914. Analytical Cubism 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. Colour was almost non-existent except for the use of a monochromatic scheme that often included grey, blue and ochre. Instead of an emphasis on colour, 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. In Paris in 1907 there was a major museum retrospective exhibition of the work of Paul Cezanne shortly after his death. The exhibition was enormously influential in establishing Cézanne as an important painter whose ideas were particularly resonant especially to young artists in Paris. Both Picasso and Braque found the inspiration for Cubism from Paul Cézanne, who said to observe and learn to see and treat nature as if it were composed of basic shapes like cubes, spheres, cylinders, and cones. Picasso was the main analytic cubist, but Braque was also prominent, having abandoned Fauvism to work with Picasso in developing the Cubist lexicon.

Synthetic Cubism Synthetic Cubism was the second main movement within Cubism that was developed by Picasso, Braque, Juan Gris and others between 1912 and 1919. Synthetic cubism is characterized by the introduction of different textures, surfaces, collage elements, papier collé and a large variety of merged subject matter. It was the beginning of collage materials being introduced as an important ingredient of fine art work. 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". Newspaper clippings were a common inclusion, physical pieces of newspaper, sheet music, and like items were also included in the collages. JOU may also at the same time be a pun on the French words jeu (game) or jouer (to play).

Picasso and Braque had a friendly competition with each other and including the letters in their works may have been an extension of their game. Whereas Analytic Cubism was an analysis of the subjects (pulling them apart into planes), Synthetic Cubism is more of a pushing of several objects together. Less pure than Analytic Cubism, Synthetic Cubism has fewer planar shifts (or schematism), and less shading, creating flatter space. Cubism and its ideologies Paris before World War I was a ferment of politics. The new anarcho-syndicalist trade unions and women's rights movements were especially active and vigorous, but patriotic, nationalist movements were strong as well. Cubism was a particularly varied art movement in its political affiliations, with some sections being broadly leftist or radical, and others strongly aligned with nationalist sentiment. Cubism in other fields 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 Makings 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. 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. The composer Edgard Varèse was heavily influenced by Cubist writing and art. Cubism today Far from being an art movement confined to the annals of art history, Cubism and its legacy continue to inform the work of many contemporary artists. Not only is cubist imagery regularly used commercially but significant numbers of contemporary artists continue to draw upon it both stylistically and perhaps more importantly, theoretically.

The latter contains the clue as to the reason for cubism's enduring fascination for artists. As an essentially representational school of painting, having to come to grips with the rising importance of photography as an increasingly viable method of image making, cubism attempts to take representational imagery beyond the mechanically photographic and to move beyond the bounds of traditional single point perspective perceived, as though, by a totally immobile viewer. The questions and theories which arose during the initial appearance of cubism in the early 20th century are, for many representational artists, as current today as when first proposed. <br clear=left > (Wikipedia) Cubism Pablo Picasso - Famous Artists, Paintings, Prints and Posters | ArtLibrary.net Michelangelo Cubism Pablo Picasso Cubism Pablo Picasso – this is a quick guide to Pablo Picasso and the Cubism painting method. Pablo Picasso maybe the most famous Cubist artist, but many other artists also gained fame in this field. Cubism was a 20th century avant-garde art movement, pioneered by Pablo Picasso and Georges Braque, that revolutionized European painting and sculpture, and inspired related movements in music and literature.

Analytical Cubism The first branch of cubism, known as ‘Analytic Cubism,’ was both radical and influential as a short but highly significant art movement between 1907 and 1911 in France. In its second phase, Synthetic Cubism, (using synthetic materials in the art) the movement spread and remained vital until around 1919, when the Surrealist movement gained popularity. Analytic cubism (1909–1912) is a style of painting Picasso developed along 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 have 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. About Cubism English art historian Douglas Cooper describes three phases of Cubism in his seminal book ‘The Cubist Epoch’.

According to Cooper there was ‘Early Cubism,’ (from 1906-1908) 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; and finally Cooper referred to ‘Late Cubism’ (from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement. In cubist artworks, objects are broken up, analyzed, and re-assembled in an abstracted form—instead of depicting objects from one viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context. Often the surfaces intersect at seemingly random angles, removing a coherent sense of depth. The background and object planes interpenetrate one another to create the shallow ambiguous space, one of cubism’s distinct characteristics. Contemporary Cubism Far from being an art movement confined to the annals of art history, Cubism and its legacy continue to inform the work of many contemporary artists.

Not only is cubist imagery regularly used commercially but significant numbers of contemporary artists continue to draw upon it both stylistically and perhaps more importantly, theoretically. The latter contains the clue as to the reason for cubism’s enduring fascination for artists. As an essentially representational school of painting, having to come to grips with the rising importance of photography as an increasingly viable method of image making, cubism attempts to take representational imagery beyond the mechanically photographic and to move beyond the bounds of traditional single point perspective perceived, as though, by a totally immobile viewer. The questions and theories which arose during the initial appearance of cubism in the early 20th century are, for many representational artists, as current today as when first proposed. Cubism by Picasso Les Demoiselles de Avignon was Picasso’s earliest work which broke dramatically from his figurative and poetic works of the first part of his life. The painting relates directly to the prostitution district of Paris. The women’s facial features disintegrate into primitive masks, and their bodies are so hard-edged that it looks as if it would cut you if you touched them. At this time, Picasso was increasingly influenced by the raw expressive power of African and Oceanic tribal arts.

The women are simultaneously seductive and horrifying. It would take a while before this work would become acceptable to even the most progressive members of artistic circles. But this was the painting that changed everything for Picasso. By 1907, a collaboration between Pablo Picasso and Georges Braque was beginning. The two artists worked side by side, both experimenting with a system which sought to totally flatten space. One of the primary goals of cubism was to depart from the traditional understanding of perspective and spacial cues. Their early experiments with the style uses extremely bright colors, hard edged forms, and flattened space. Though previous art movements (Impressionism and Post Impressionism) began to evolve into flatter forms, Picasso and Braque were more radical in their approach. German Expressionism and Fauvism were going on simultaneously, and the works of those artists also tended towards flattened pictorial space. A primary difference between Cubism and those movements is that Cubism is based much less on the expression of emotion than it is an intellectual experiment with structure. A specific artist that inspired Picasso’s and Braque’s early experiments with this flattened space was Paul Cezanne, whose canvases tended to defy the logic of space and gravity.

The cubists push the distortion just a little farther, and there are extreme similarities between the two artists’ works. After 1909, Picasso and Braque began a more systematic study of structure which we know as “Analytical Cubism”. In this period, they removed bright colors from their compositions, favoring monochromatic earth tones so that they could focus primarily on the structure. The paintings of this period look as if they have deconstructed objects and rearranged them on the canvas. One goal of this is to depict different viewpoints simultaneously. Traditionally, an object is always viewed from one specific viewpoint and at one specific (stopped) moment in time. Picasso and Braque felt that this was too limiting, and desired to represent an object as if they are viewing it from several angles or at different moments in time. Innovative as this was, the danger was that many of the works of this period are completely incomprehensible to the viewer, as they start to lose all sense of form. After the artists had grown tired of the Analytical period, they began to develop what is known as the Synthetic period. Picasso and Braque continue to introduce new and controversial changes with the introduction of collaged objects into their paintings.

Still Life with Chair Cane was one of the first of these experiments, and integrates chair caning with the paint, framed with a length of rope. Guitar, Sheet Music and Glass includes various collaged papers: wall paper, a page of sheet music, a drawing of an abstracted glass, and a newspaper clipping. Incidentally, this clipping includes the headline, “The battle has begun” (in French), which refers the revolution of representation the artists are achieving by introducing objects of the real world into their “paintings”. It truly was a revolution which would change the face of modern art for many years to come. Leave a Reply Cubism - Oil Painting Reproductions Cubism Cubism Browse by Movement What do you want a painting of? Chances are you’ll find it at 1st Art gallery. Browse through our gallery using the search terms below to find whatever you’re looking for.

Showing 30 of 175 results found in movement Cubism Sort by: village-on-the-web - Styles and genres, Cubism Library Cubism Cubism was a 20th century avant-garde art movement, pioneered by Pablo Picasso and Georges Braque, that revolutionized European painting and sculpture, and inspired related movements in music and literature. The first branch of cubism, known as Analytic Cubism, was both radical and influential as a short but highly significant art movement between 1907 and 1911 in France. In its second phase, Synthetic Cubism, the movement spread and remained vital until around 1919, when the Surrealist movement gained popularity. English art historian Douglas Cooper describes three phases of Cubism in his seminal 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 was called "High Cubism", (from 1909 to 1914) during which time Juan Gris emerged as an important exponent; and finally Cooper referred to "Late Cubism" (from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement. In cubist artworks, objects are broken up, analysed and re-assembled in an abstracted form - instead of depicting objects from one viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context. Often the surfaces intersect at seemingly random angles, removing a coherent sense of depth. The background and object planes interpenetrate one another to create the shallow ambiguous space, one of cubism's distinct characteristics.

Cubism - Wikipedia, the free encyclopedia Cubism Jump to: navigation , search Georges Braque , 'Woman with a Guitar,' 1913 Cubism was a 20th century avant-garde art movement , pioneered by Pablo Picasso and Georges Braque , that revolutionized European painting and sculpture , and inspired related movements in music and literature . The first branch of cubism, known as "Analytic Cubism", was both radical and influential as a short but highly significant art movement between 1907 and 1911 in France. In its second phase, Synthetic Cubism, (using synthetic materials in the art) the movement spread and remained vital until around 1919, when the Surrealist movement gained popularity. English art historian Douglas Cooper describes three phases of Cubism in his seminal 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; and finally Cooper referred to "Late Cubism" (from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement. [1] In cubist artworks, objects are broken up, analyzed, and re-assembled in an abstracted form—instead of depicting objects from one viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context. Often the surfaces intersect at seemingly random angles, removing a coherent sense of depth. The background and object planes interpenetrate one another to create the shallow ambiguous space, one of cubism's distinct characteristics. Contents Pablo Picasso , Le guitariste, 1910 During the late 19th and early 20th centuries, the European cultural elite were discovering African , Micronesian and Native American art for the first time.

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. Some believe that the roots of cubism are to be found in the two distinct tendencies of Paul Cézanne 's later work: firstly to break the painted surface into small multifaceted areas of paint, thereby emphasizing the plural viewpoint given by binocular vision , and secondly 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 had all their faces visible at the same time. This new kind of depiction revolutionized the way in which objects could be visualized in painting and art. The invention of Cubism was a joint effort between Picasso and Braque , then residents of Montmartre , Paris . These artists were the movement's main innovators. A later active participant was the Spaniard Juan Gris . After meeting in 1907 Braque and Picasso in particular began working on the development of Cubism. Picasso was initially the force and influence that persuaded Braque by 1908 to move away from Fauvism . The two artists began working closely together in late 1908–early 1909 until the outbreak of World War I in 1914. The movement spread quickly throughout Paris and Europe. French art critic Louis Vauxcelles first used the term "cubism", or "bizarre cubiques", in 1908 after seeing a picture by Braque.

He described it as "full of little cubes", after which the term quickly gained wide use although the two creators did not initially adopt it. 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 coloured canvas." [2] Juan Gris , Portrait of Picasso, 1912, oil on canvas Cubism was taken up by many artists in Montparnasse and promoted by art dealer Daniel-Henry Kahnweiler , becoming popular so quickly that by 1911 critics were referring to a "cubist school" of artists. However, many of the artists who thought of themselves as cubists went in directions quite different from Braque and Picasso. The Puteaux Group was a significant offshoot of the Cubist movement; it included Guillaume Apollinaire , Robert Delaunay , Marcel Duchamp , his brothers Raymond Duchamp-Villon and Jacques Villon , and Fernand Léger , and Francis Picabia .

Other important artists associated with cubism include: Albert Gleizes , Jean Metzinger , Marie Laurencin , Max Weber , Diego Rivera , Marie Vorobieff , Louis Marcoussis , Jeanne Rij-Rousseau , Roger de La Fresnaye , Henri Le Fauconnier , Alexander Archipenko , František Kupka , Amédée Ozenfant , Léopold Survage , Patrick Henry Bruce among others. Section d'Or is another name for a related group of many of the same artists associated with cubism and orphism . In 1913 the United States was exposed to cubism and modern European art when Jacques Villon exhibited seven important and large drypoints at the famous Armory Show in New York City . Braque and Picasso themselves went through several distinct phases before 1920, and some of these works had been seen in New York prior to the Armory Show, at Alfred Stieglitz 's "291" gallery. Czech artists who realized the epochal significance of cubism of Picasso and Braque attempted to extract its components for their own work in all branches of artistic creativity—especially painting and architecture .

This developed into Czech Cubism which was an avant-garde art movement of Czech proponents of cubism active mostly in Prague from 1910 to 1914. [ edit ] Analytical Cubism Portrait of Daniel-Henry Kahnweiler , 1910, The Art Institute of Chicago . Picasso's Analytical Cubist portrait of his longtime art dealer. Picasso wrote of Kahnweiler What would have become of us if Kahnweiler hadn't had a business sense? 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. Colour was almost non-existent except for the use of a monochromatic scheme that often included grey, blue and ochre. Instead of an emphasis on colour, 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 painters 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. In Paris in 1907 there was a major museum retrospective exhibition of the work of Paul Cezanne shortly after his death. The exhibition was enormously influential in establishing Cézanne as an important painter whose ideas were particularly resonant especially to young artists in Paris . Both Picasso and Braque found the inspiration for Cubism from Paul Cézanne, who said to observe and learn to see and treat nature as if it were composed of basic shapes like cubes, spheres, cylinders, and cones. Picasso was the main analytic cubist, but Braque was also prominent, having abandoned Fauvism to work with Picasso in developing the Cubist lexicon.

Juan Gris , Still Life with Fruit Dish and Mandolin, 1919, oil on canvas [ edit ] Synthetic Cubism Synthetic Cubism was the second main branch of Cubism developed by Picasso , Braque , Juan Gris and others between 1912 and 1919. It was seen as the first time that collage had been made as a fine art work. The first work of this new style was Pablo Picasso's Still Life with Chair-caning (1911–1912), which includes oil cloth pasted on the canvas. At the upper left are the letters "JOU", which appear in many cubist paintings and may refer to the popular Parisian daily newspaper Le Journal . Newspaper clippings were a common inclusion in this style of cubism, whereby physical pieces of newspaper, sheet music, and the like were included in the collages. At the same time, JOU may be a pun on the French words jeu (game) or jouer (to play). Picasso and Braque had a constant friendly competition with each other, and including the letters in their works may have been an extension of their game.

Whereas analytic cubism was an analysis of the subjects (pulling them apart into planes), synthetic cubism is more of a pushing of several objects together. Picasso, through this movement, was the first to use text in his artwork (to flatten the space), and the use of mixed media—using more than one type of medium in the same piece. Opposed to analytic cubism, synthetic cubism has fewer planar shifts (or schematism), and less shading, creating flatter space. Another technique used was called papier collé , or stuck paper, which Braque used in his collage Fruit Dish and Glass (1913). [ edit ] Cubism and its ideologies Paris before World War I was a ferment of politics. The new anarcho-syndicalist trade unions and women's rights movements were especially active and vigorous, but patriotic, nationalist movements were strong as well. Cubism was a particularly varied art movement in its political affiliations, with some sections being broadly leftist or radical, and others strongly aligned with nationalist sentiment. [ edit ] Cubism in other fields Cubist villa in Prague , Czech Republic 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 Makings 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. 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." [3] 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." [4] 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. Cubist House of the Black Madonna , Prague, Czech Republic, 1912 Wallace Stevens ' "Thirteen Ways of Looking at a Blackbird" is also said to demonstrate how cubism's multiple perspectives can be translated into poetry. [5] The composer Edgard Varèse was heavily influenced by Cubist writing and art.[ citation needed ] Cal Poly Pomona university library in Pomona , California . [6] Far from being an art movement confined to the annals of art history, Cubism and its legacy continue to inform the work of many contemporary artists.

Not only is cubist imagery regularly used commercially but significant numbers of contemporary artists continue to draw upon it both stylistically and perhaps more importantly, theoretically. The latter contains the clue as to the reason for cubism's enduring fascination for artists. As an essentially representational school of painting, having to come to grips with the rising importance of photography as an increasingly viable method of image making, cubism attempts to take representational imagery beyond the mechanically photographic and to move beyond the bounds of traditional single point perspective perceived, as though, by a totally immobile viewer. The questions and theories which arose during the initial appearance of cubism in the early 20th century are, for many representational artists, as current today as when first proposed. AYLI Cubism The art of painting original arrangements composed of elements taken from conceived rather than perceived reality. ï¿½ Guillaume Apollinaire, The Beginnings of Cubism, 1912. Cubism was a 20th century avant-garde art movement, pioneered by Pablo Picasso and Georges Braque, that revolutionized European painting and sculpture, and inspired related movements in music and literature.

The first branch of cubism, known as Analytic Cubism, was both radical and influential as a short but highly significant art movement between 1907 and 1911 in France. In its second phase, Synthetic Cubism, the movement spread and remained vital until around 1919, when the Surrealist movement gained popularity. English art historian Douglas Cooper describes three phases of Cubism in his seminal 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; and finally Cooper referred to "Late Cubism" (from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement.

In cubist artworks, objects are broken up, analyzed, and re-assembled in an abstracted formï¿½instead of depicting objects from one viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context. Often the surfaces intersect at seemingly random angles, removing a coherent sense of depth. The background and object planes interpenetrate one another to create the shallow ambiguous space, one of cubism's distinct characteristics. During the late 19th and early 20th centuries, the European cultural elite were discovering African, Micronesian and Native American art for the first time. 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. According to the English art historian, collector and author of The Cubist Epoch, Douglas Cooper, remarking on Paul Gauguin and Paul Cï¿½zanne "both of those artists 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 however Les Demoiselles is often erroneously referred to as the first cubist painting. He explains, 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.

Some believe that the roots of cubism are to be found in the two distinct tendencies of Paul Cï¿½zanne's later work: firstly to break the painted surface into small multifaceted areas of paint, thereby emphasizing the plural viewpoint given by binocular vision, and secondly his interest in the simplification of natural forms into cylinders, spheres, and cones. However the cubists explored this concept further than Cï¿½zanne; they represented all the surfaces of depicted objects in a single picture plane, as if the objects had had all their faces visible at the same time. This new kind of depiction revolutionized the way in which objects could be visualized in painting and art. The invention of Cubism was a joint effort between Picasso and Braque, then residents of Montmartre, Paris. These artists were the movement's main innovators. A later active participant was the Spaniard Juan Gris. After meeting in 1907 Braque and Picasso in particular began working on the development of Cubism. Picasso was initially the force and influence that persuaded Braque by 1908 to move away from Fauvism.

The two artists began working closely together in late 1908ï¿½early 1909 until the outbreak of World War I in 1914. The movement spread quickly throughout Paris and Europe. French art critic Louis Vauxcelles first used the term "cubism", or "bizarre cubiques", in 1908 after seeing a picture by Braque. He described it as "full of little cubes", after which the term quickly gained wide use although the two creators did not initially adopt it. 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 coloured canvas." Cubism was taken up by many artists in Montparnasse and promoted by art dealer Daniel-Henry Kahnweiler, becoming popular so quickly that by 1911 critics were referring to a "cubist school" of artists. However, many of the artists who thought of themselves as cubists went in directions quite different from Braque and Picasso.

The Puteaux Group or Section d'Or was a significant offshoot of the Cubist movement; it included Guillaume Apollinaire, Robert Delaunay, Marcel Duchamp, his brothers Raymond Duchamp-Villon and Jacques Villon, and Fernand Lï¿½ger, and Francis Picabia. Other important artists associated with cubism include: Albert Gleizes, Jean Metzinger, Marie Laurencin, Max Weber, Diego Rivera, Marie Vorobieff, Louis Marcoussis, Jeanne Rij-Rousseau, Roger de La Fresnaye, Henri Le Fauconnier, Alexander Archipenko, Frantiï¿½ek Kupka, Amï¿½dï¿½e Ozenfant, Jean Marchand, Lï¿½opold Survage, Patrick Henry Bruce among others. Section d'Or is basically just another name for many of the artists associated with cubism and orphism. Purism was an artistic offshoot of Cubism that developed after World War I. Leading proponents of Purism include Le Corbusier, Amï¿½dï¿½e Ozenfant, and Fernand Lï¿½ger.

In 1913 the United States was exposed to cubism and modern European art when Jacques Villon exhibited seven important and large drypoints at the famous Armory Show in New York City. Braque and Picasso themselves went through several distinct phases before 1920, and some of these works had been seen in New York prior to the Armory Show, at Alfred Stieglitz's "291" gallery. Czech artists who realized the epochal significance of cubism of Picasso and Braque attempted to extract its components for their own work in all branches of artistic creativityï¿½especially painting and architecture. This developed into Czech Cubism which was an avant-garde art movement of Czech proponents of cubism active mostly in Prague from 1910 to 1914. Analytical Cubism Analytical Cubis m 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.

Colour was almost non-existent except for the use of a monochromatic scheme that often included grey, blue and ochre. Instead of an emphasis on colour, 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. In Paris in 1907 there was a major museum retrospective exhibition of the work of Paul Cezanne shortly after his death. The exhibition was enormously influential in establishing Cï¿½zanne as an important painter whose ideas were particularly resonant especially to young artists in Paris. Both Picasso and Braque found the inspiration for Cubism from Paul Cï¿½zanne, who said to observe and learn to see and treat nature as if it were composed of basic shapes like cubes, spheres, cylinders, and cones.

Picasso was the main analytic cubist, but Braque was also prominent, having abandoned Fauvism to work with Picasso in developing the Cubist lexicon. Synthetic Cubism Synthetic Cubism was the second main movement within Cubism that was developed by Picasso, Braque, Juan Gris and others between 1912 and 1919. Synthetic cubism is characterized by the introduction of different textures, surfaces, collage elements, papier collï¿½ and a large variety of merged subject matter. It was the beginning of collage materials being introduced as an important ingredient of fine art work. Considered the first work of this new style was Pablo Picasso's "Still Life with Chair-caning" (1911ï¿½1912), 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". Newspaper clippings were a common inclusion, physical pieces of newspaper, sheet music, and like items were also included in the collages.

JOU may also at the same time be a pun on the French words jeu (game) or jouer (to play). Picasso and Braque had a friendly competition with each other and including the letters in their works may have been an extension of their game. Whereas Analytic Cubism was an analysis of the subjects (pulling them apart into planes), Synthetic Cubism is more of a pushing of several objects together. Less pure than Analytic Cubism, Synthetic Cubism has fewer planar shifts (or schematism), and less shading, creating flatter space. Far from being an art movement confined to the annals of art history, Cubism and its legacy continue to inform the work of many contemporary artists. Not only is cubist imagery regularly used commercially but significant numbers of contemporary artists continue to draw upon it both stylistically and perhaps more importantly, theoretically. The latter contains the clue as to the reason for cubism's enduring fascination for artists.

As an essentially representational school of painting, having to come to grips with the rising importance of photography as an increasingly viable method of image making, cubism attempts to take representational imagery beyond the mechanically photographic and to move beyond the bounds of traditional single point perspective perceived, as though, by a totally immobile viewer. The questions and theories which arose during the initial appearance of cubism in the early 20th century are, for many representational artists, as current today as when first proposed.

Question: Which avant-garde art movement, pioneered by Pablo Picasso and Georges Braque around 1906, revolutionized European painting and sculpture and inspired related movements in music and literature?
Answer: Cubism