#Modern cubism art series

During 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. 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. In Cubist work up to 1910, the subject of a picture was usually discernible. They also used multiple or contrasting vantage points. So they reduced and fractured objects into geometric forms, and then realigned these within a shallow, relieflike space. They wanted instead to emphasize the two-dimensionality of the canvas. The Cubist painters rejected the inherited concept that art should copy nature, or that artists should adopt the traditional techniques of perspective, modeling, and foreshortening. 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 stylization and distortion of Picasso’s groundbreaking Les Demoiselles d’Avignon ( Museum of Modern Art, New York), painted in 1907, came from African art.

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 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. It was created by Pablo Picasso (Spanish, 1881–1973) and Georges Braque (French, 1882–1963) in Paris between 19. Cubism was one of the most influential visual art styles of the early twentieth century.

Modern cubism art