2. Cubism is the most
radical, innovative, and
influential ism of twentieth-
century art. It is complete
denial of Classical conception
of beauty.
Cubism itself follows Paul
Cezanne statement that
"Everything in nature takes its
form from the sphere, the
cone, and the cylinder." in
which these 3 shapes are used
to depict the object of the
painting.

3.  In Cubism, 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.
 Forms are abstracted by using an
analytical approach to the object
and painting the basic geometric
solid of the object.

4.  Oftenthe 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.

5.  Cubism was the joint invention of
two men, Pablo Picasso and
Georges Braque. It revolutionized
European painting and
sculpture, and inspired related
movements
in music, literature and architecture.
 This began in the city of Paris
between the years 1907-1914.

6. CUBISM
The starting
point of cubism
began from the
later paintings of
Paul Cézanne,
which were
common interests
of both Picasso
Paul Cézanne; ―Bibemus Quarry‖ 1895 and Braque.

7. Why Cubism Was Formed
Cubism was the first style of abstract
art, which was an attempt by artists to
revitalize the tired traditions of Western
art, challenging conventional forms of
representation, such as perspective, which
had been the rule since the Renaissance.
Their aim was to develop a new way of
seeing which reflected the modern
age, which came with unprecedented
speed.

8. Rejecting the inherited concept that art
should copy nature, they wanted
instead to emphasize the two-
dimensionality of the canvas, reducing
and fracturing objects into
geometric forms, and then realigning
these within a shallow, relief-like space.
They sought after a more radical
approach at this time to reflect the
modernity of the era, or ―a new way of
seeing‖, which was Cubism.

9.  Analytical Cubism
 Synthetic Cubism

10.  This type of cubism is hard to interpret and is
very ambiguous.
 Analytic cubism was mainly practiced by
Braque, and is very simple, with dark, almost
monochromatic colours.
 "analyzed― cubism is natural forms that are
reduced into basic geometric parts on a
two-dimensional picture plane.
 focused on forms like the cylinder, sphere
and the cone to represent the natural
world.

11. Braque’s ―Violin and Pitcher‖
reflects on how intellectual cubism is.
The violin is easy to see, while the
pitcher is less obvious, but still easily
spotted a little above
and to the left of the violin.
Studying the bottom two-thirds
of the canvas, your eye moves around
the violin and the pitcher, seeing depth
and distance and space–an
odd, faceted space, but space
nonetheless that you
could, presumably, stick your arm into.
You imagine you could reach behind
the violin or between it and the pitcher.
It’s puzzling, because it’s not clear if the
violin is in front of the pitcher or vice
versa, and the two seem to switch
places as you look between them, but
you are certain the pitcher is round and
the neck of the violin is standing free.
Georges Braque’s ―Violin and Pitcher‖ 1910

12. Portrait of Ambroise Vollard
Pablo Picasso (1910)
Analytical Cubism shares many of the They also show similarities to
same colors. one another.

13.  Synthetic cubism was much more
energetic, and often made use of collage
including the use of several two-
dimensional materials.
 This type of cubism was developed by
Picasso.
 Synthetic Cubism grew out of Analytical
Cubism and the experimental nature of
collage.
 It is also more decorative and appealing
and somewhat easier to interpret.

14. Woman in an Armchair
Pablo Picasso (1913)
Three Musicians Painting
Pablo Picasso (1921)
The colors used in synthetic cubism is
much different than analytical
because it is more brighter.
Synthetic Cubism grew out of Analytical Cubism and the experimental nature
of Collage. Synthetic Cubism developed through a construction process
rather than the analytical process and deconstruction of Analytical Cubism.
It is also more decorative and appealing and somewhat easier to interpret.

15. Georges Braque Pablo Picasso

16.  CUBISM is an overwhelmingly
intellectual art.
 It’s certainly not an art overly
concerned with beauty or
pleasure or aesthetics as we
traditionally understand them.

17.  The Renaissance said that a painting
provides a glimpse into a three-
dimensional world, looking through a
frame as if through a window, but
Braque and Picasso said no, a painting is
pigment on canvas. There is no other
world.
 only a flat surface contrived by the artist
to give the illusion of space and depth.
 artist is under no obligation to make the
world of canvas resemble
 our world–he or she can take apart the
world and reassemble it anyway he or
she likes.

18.  Picasso was a Spanish
painter, sculptor, printmaker, ceramicist,
and stage designer, one of the greatest
and most influential artists of the 20th
century.
 He is widely known for co-founding the
Cubist movement, the invention of
constructed sculpture, the co-invention
of collage, and for the wide variety of
styles that he helped develop and
explore.

19. Les Demoiselles d'Avignon (The Young
Ladies of Avignon, and originally titled
The Brothel of Avignon)
A large oil painting of 1907 by the Spanish
artist Picasso. The work portrays five nude
female prostitutes from a brothel on Carrer
d'Avinyó (Avinyó Street) in Barcelona.
Each figure is depicted in a disconcerting
confrontational manner and none are
conventionally feminine. The women
appear as slightly menacing and rendered
with angular and disjointed body shapes.
Two are shown with African mask-like faces
and three more with faces in the Iberian
style of Picasso's native Spain, giving them a
savage aura.

20. Guernica
It was created in response to the bombing of
Guernica, Basque Country, by German and Italian warplanes
at the behest of the Spanish Nationalist forces, on 26 April
1937, during the Spanish Civil War. The Spanish Republican
government commissioned Picasso to create a large mural for
the Spanish display at the Paris International Exposition at the
1937 World's Fair in Paris.

21.  Braque was a major 20th century French
painter and sculptor who,
 along with Pablo Picasso, developed the
art style known as 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.

22. Georges Braque. House at
L'estaque. 1908
Oil on Canvas
Kunst Museum, Berne
In his village scenes, 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".

23. Braque, Georges (1882-1963)
Violin and Candlestick. 1910
The Violin and the Palette
George Braque (1909)

24.  Juan Gris
 Robert Delaunay
 Albert Gleizes
 Fernand Legar
 Jean Metzinger
 Romare Bearden

25. José Victoriano González-Pérez
(March 23, 1887 – May
11, 1927), better known as Juan
Gris, was a Spanish painter and
sculptor who lived and worked
in France most of his life. His
works, which are closely
connected to the emergence
of an innovative artistic genre—
Cubism—are among the
movement's most distinctive.
Violin and Glass
Juan Gris (1915), an example
of Synthetic Cubism