Cubism was an influential early 20th century avant-garde art movement that revolutionized European painting and sculpture. Led by Pablo Picasso and Georges Braque, Cubism involved depicting subjects from multiple viewpoints to represent the subject in a multidimensional way. Cubism was divided into two phases - Analytic Cubism from 1907 to 1912 focused on geometric forms, while Synthetic Cubism from 1912 to 1919 incorporated collage materials into compositions. Cubism's radical approach to depicting subjects without traditional perspective had a significant impact on modern art and design.

2. CUBISM INTRODUCTION
• Cubism was one of the most influential visual art styles of
the 20th century.
• Movement dates back to 1907
• It is generally accepted that Picasso and Braque were the
founders of the movement
• Heavily influenced by Cezanne a post impressionist painter.
• Cubist painter rejected the inherited notion that art should
mimic nature and traditional techniques of perspective.
Instead they tried to approximate the 4th dimension by
using multiple viewpoints in one painting.
• Cubism can be split into 2 categories: Analytic and
Synthetic.
Pablo Picasso –
Factory, Horta de
Ebbo, 1909 (oil on
Canvas
Little,S., (2004)
Rewald, S., (2004

3. ANALYTIC CUBISM
Analytic Cubism was developed only by Picasso and Braque during
the winter of 1909-10, it last until the middle of 1912, when collage
simplified versions of the “ analytic” forms.
Picasso and Braque invented specific shapes and characteristics
details that would represent the whole object or person.
The word “analytic” comes from the Daniel Henri Kahnweiler’s book
The Rise Of Cubism ( Der Weg zum Kubimus), published in 1920.
Kahnweiler was their dealer and he wrote the book while in exile
from France during World War l. Kahnweiler did not invent the term
“ Analytic Cubism”
The term “Analytic Cubism” was introduced by Carl Einstein in his
article “ Notes sur le cubisme (Notes on Cubism),” published in
Documents (Paris, 1929.
http://arthistory.about.com/od/glossary_
a/a/a_analytic_cubism.htm
Georges Braque –
Violin and Palette,
September 1, 1909 (Oil on
Canvas

4. SYNTHETIC CUBISM
Synthetic Cubism grew out of Analytic Cubism. It was developed
by Pablo Picasso and George Braque. Picasso and Braque
discovered that this through the repetition of “analytic” signs there
work more generalized, more geometrically simplified and flatter.
Synthetic Cubism’s Integrated of “high” and “low” art ( art made by
artist who combined with art made for commercial purposes, such
as packaging) can be considered the first Pop Art.
The term “Analytic Cubism” and “Synthetic Cubism” were
popularized by Alfred H. Barr, Jr. ( 1902-1981) in his books
on Cubism and Picasso, Alfred Barr was the first director of
the Museum of Modern Art, New Your.
Pablo Picasso –
Still Life with Compote and Glass,
1914-1914, ( Oil on Canvas)
http://arthistory.about.com/od/glossary_s/a/s_sy
nthetic_cubism.htm

5. CUBIST IN CONTEXT
• Cubism came about at a time when the world was dramatically
changing: Science, technology, pace of life and the world being more
mobile.
• Cubism was a way of representing this new world.
• Cultural interactions where beginning to take place between east and
west, mixing primitive with industrialized. Each culture brining a new
way of looking at things.
• Einstein’s work was prominent at the time of cubism, he suggested
that we live in a world of shifting perspectives, where the appearance
of objects is in constant flux depending on the view from which it is
seen. This is basically what cubism was trying to achieve; to portray
every aspect of something.

6. GEORGES BRAQUE
• His art focused mainly on a still life subject as he wanted to convey a
feeling of be able to move around a painting.
• Leader of Cubism, but his works that included the styles of
Impressionism and collage leave just as much as an impression on art
today.
• embodies the dynamic and
energetic qualities of
Analytic Cubism.
• three-dimensional objects on a flat
canvas without the use of traditional
Renaissance perspective
• forms are broken down, fractured,
flattened, and then reconstructed in
multiple-point perspective
Georges Braque, Violin and Candlestick, 1910; oil on canva
http://www.artchive.com/artchive/B/braque.html
http://www.theartstory.org/artist-braque-georges.htm

7. PAUL CEZANNE
Bibemus House and trees
Born:19th January 1839, France
Died: 22nd October 1906, France
Work laid foundations of the transition from the 19th- century to a
new art in the 20th- century
Influences;
Camille Pissarro
Gustave Courbet
Eugene Delacroix
Techniques:
Heavy brush strokes during earlier years.
Influenced by Monet’s ability to create shapes on the canvas.

8. JUAN GRIS
- he is recognized for his independent and distinctive approach to
Cubism and as one of its most influential later practitioners and
theoreticians.
- refined the cubist vocabulary into his own instantly recognizable
visual language. He is often referred to as 'the third cubist'.
- Still Life with Open Window, Rue Ravignan' is a great example
of Gris' cubist style. traditional objects, a bowl of fruit, a bottle
and a glass, a newspaper and a book, all carefully arranged on a
table top at a balcony window.
-The objects are lit by electric light which contrasts with the
moonlit scene outside the window. The subject may have been
clichéd and predictable but its arrangement was revolutionary.
- Every element of a painting was considered with classical
precision: line, shape, tone, colour and pattern were carefully
refined to create an interlocking arrangement free from any
unnecessary decoration or detail.
- flattens the composition of 'Still Life with Open Window, Rue
Ravignan' into a grid of overlapping planes.
http://www.artyfactory.com/ar
ppreciation/still_life/juan_gris

9. OTHER ARTIST
María Blanchard
-rich use of colour and the
incorporation of personal
elements.
-The drawings would be
harsh, and the colours
would be bright and would
often clash
-the images were extremely
expressive and sometimes,
even intimidating.
‘Three Studies of
Lucian Freud’
Worlds most expensive
paintings: sold for $142
million
'Painting' (litually the name of the painting) is a
coagulated masterpiece, a grinning or grimacing man—
only the bottom of whose face is seen—is jammed
between splayed cow carcasses and what looks like a
witness stand.
- Bacon hits on many of the themes, techniques, and
formal concerns that occupied him for the rest of his life:
Man, animal, and meat merge.
- no narrative, just a conjuration of some malevolent
force
- Bacon isolates this one within an enclosure in the
middle of the canvas.
- The space feels hallucinatory, menacing, sullen,
shallow. Best of all, the paint is physical and visceral—
clotted, smeared, wiped off, applied with rags and fingers
and brushes or straight from the tubes. Intense lilacs,
pinks, and magentas multiply the effect.
Francis Bacon

10. INFLUENCEMODERN CULTURE
Cubism has had big influence on
modern art and design in general.
Notably the art school, Bauhaus
heavily influenced todays design.
Especially minimalist geometric work.
Bauhaus ran from 1919 – 1932. - It
was unique in that it merged all
disciplines together from architecture,
to fine art, to sculpture.
Looking at todays design, one
company that sticks out as being
influenced by cubism and partically the
Bauhaus is Ikea.
The simplistic nature and geometric
forms a lot of the furniture has I can
see is influenced by principles of this
movement.
Also in advertising, and poster
design:
These designs by Charis Tsevis
for Yahoo’s 2012 Olympic
coverage:
Illustrator Riccardo Guasco
posters for the Milano Bicycle
Film Festival:
You can see cubism is
more relevant than ever,
the minimalist approach of
breaking an object down
into a simpler form, I think
transfers well to
advertising. The clean
aesthetic conveys a
product or message well.

11. LEGACY
“LEGACY: the canvas, rather than acting as an illusory window
onto the world, became "the picture plane," tasked not with
representing the world as our eyes see it, but instead with
recalibrating vision for the purview of a radical modern culture.”
-Ian Wallace, Cubism's Revolutionary
Legacy,
http://www.artspace.com/magazine/art_
101/cubism_legacy

12. OUR OWN INTERPRETATION

13. REFERENCES
Little,S., (2004) Isms: understanding art. London: A&C Blacks Publishers Ltd
Rewald, S., (2004). In Heilbrunn Timeline of Art History "Cubism". [Online]. New York: The Museum of
Metropolitan Art. Available from: http://www.metmuseum.org/toah/hd/cube/hd_cube.htm
[Accessed on: 18/11/2014 at 16.38].
Cubism: Anew vision (online). Available from:
http://www.mdc.edu/wolfson/academic/artsletters/art_philosophy/humanities/cubism.htm
(accessed on 23/11/14, at 10.03)
Willette,J., (2011). Cubism and Modernity: Cubism and its context (online). Available from:
http://www.arthistoryunstuffed.com/cubism/ (accessed on 28/11/2014, at 17.31).