2 Pablo Picasso, Les Demoiselles D’Avignon, 1907. I paintformsas I thinkthemnotas I seePablo Picasso, Les Demoiselles D’Avignon, 1907.
3 Picasso, Enamel Saucepan, 1945 (Synthetic Cubism) show the‘concept’of an objectrather thandetailsof thereal thingPicasso, Enamel Saucepan, 1945 (Synthetic Cubism)
4 different views of an object SIMUTANEOUSLY, emphasizing: time, space & the Machine AgePicasso, A Portrait of David-Henry Kahnweiler, 1910
5 and multiple perspective Picasso & Braqueused techniquesas faceting,‘passage’and multiple perspectivePablo Picasso, Ma Jolie, , Oil on Canvas
6 'Factory, Horta de Ebbo', 1909 (oil on canvas) Duringthe earlyprocesstheydid not realizethey were creating MOVEMENTCUBISM'Factory, Horta de Ebbo', 1909 (oil on canvas)
7 by their own understanding of Cézanne influencedandguidedby their own understanding of CézannePAUL CÉZANNE ( ) 'Bibemus Quarry', 1895 (oil on canvas
8 "Every thing in nature takes it's form from the sphere, cone or cylindar." - Paul Cezanne
9 in Georges Braque's work Road near L'Estaque. Cezanne’s quotebasis of paintingfor seven years.Paul Cezanne'sinfluence most notedin Georges Braque's workRoad near L'Estaque.GEORGES BRAQUE 'Viaduct at L'Estaque', 1908 (oil on canvas)
10 Primitive Cubism 1907 to 1908 or Proto Cubism Analytical Cubism to 1912High Analytical to 1912or Hermetic CubismSynthetic Cubism to 1920
14 figures & objects were dissected or "analyzed“ into many small facets PicassoGirl with a Mandolin (Fanny Tellier)
15 figures & objects reassembled, to evoke those same figures or objects. Juan Gris,Portrait of Picasso1912
16 Exploration of a subject’s pure form Mentally broke the subject Analytical CubismBegan 1908 to 1912Exploration of a subject’s pure formMentally broke the subjectinto flat planes and arranged themin complex, overlapping relationshipsGeorges Braque (French, ). Violin and Palette (Violon et palette), September 1, Oil on canvas.
17 Limited Monochormatic Palette grays, browns, dark greens, ochre, dark yellowsmaintains an emotionless scenePicasso's Ma Jolie from 1912is a classic example of this technique.
18 "high" Analytic Cubism (1910–12), also called hermetic Candlestick and Playing Cards on a Table, Autumn 1910 Georges Braque (French, 1882–1963)Oil on canvas
19 The composition of this small oval painting consists of clearly defined Cubist planesin hues of brown and ocher highlightedby black and white.
20 At the centercan be identified the corner of a table upon which rests the round base of a brass candlestick
21 and, at the right,two playing cards—the ace of heartsand the sixof diamonds.
22 This still lifepresentsone of theearliestinstancesof Braque's choiceof anoval format.
23 both Braque and Picasso would make frequent Soon,both Braque and Picasso would make frequentuse of this shape.Woman with a Mandolin(Georges Braque ,1910)
24 In rectangular Analytic Cubism, planes and facets of forms concentrate in the centerof a composition,Still Life with a Bottle of Rum, 1911Pablo Picasso (Spanish, 1881–1973)Oil on canvas
25 and the corners remain relatively empty. Still Life with a Pair of Banderillas, Summer 1911Georges Braque (French, 1882–1963)Oil on canvas
26 An oval format avoids such corners, and therefore Braque and Picasso sometimes favored this shape.The Clarinet(La clarinette),summer-fall 1912.Oil with sand on fine linen canva
27 Picasso and Braqueso abstracted their worksthat they were reducedto just a seriesof overlapping planesand facetsmostly in monochromaticbrowns, grays, or blacks.In their work from this period,frequently combinedrepresentational motifswith letters
28 Their favorite motifs were still lifes with musical instruments, bottles, pitchers, glasses, newspapers, playing cardsand the human face.Landscapes were rare.
29 These quasi-scientific and mathematical interests were linked with the ‘hermetic sciences’,the occult and alchemy………….
30 Paul Cezanne La Montagne Saint Victoire Barnes, 1885 BRAQUE, Houses at L'Estaque L'Estaque,1908CUBISM name by:French art critic Louis Vauxcellesafter seeing Braque’s landscapes at L'Estaque in emulation of Cezanne
31 Paul Cezanne (Post-Impressionist) Major Influences…Paul Cezanne (Post-Impressionist)Femme de Vert 1909
32 Les Demoiselles d’Avignon, 1907. Major Influences…African Zimba MaskLes Demoiselles d’Avignon, 1907.
33 Les Demoiselles d’Avignon, 1907. Major Influences…African Zimba MaskLes Demoiselles d’Avignon, 1907.
34 Analytical Cubism REVOLUTIONARY STYLE Invented by Picasso and George BraqueREVOLUTIONARY STYLEresponse to a world that was changing with unprecedented speedaim was to develop a new way of seeing reflecting the modern age
35 western societywitnessed moretechnologicalprogressthan in the previousfour centuriesduring this periodinventionssuch as photography,cinematography,sound recording,the telephone,the motor carand the airplaneheralded the dawn of a new age.
36 The problem for artists at this time was how to reflect the modernity of the erausing traditionsfrom the lastfour centuries.Pablo PicassoCarafe, Jug and Fruit Bowl, 1909
45 Pablo Picasso, Composition with Skull, 1908. SYNTHETICCUBISMmore colourfulPablo Picasso, Composition with Skull, 1908.
46 Puts forms back together after breaking them apart Pablo Picasso, Three Musicians, 1921.Puts formsback togetherafter breakingthem apart
47 pasted makes the collage look like a real surface Synthetic Cubism“Collage”French word “glue”Foreign materialspasted makes the collage look like a real surfaceScraps are changed and painted on, giving them a double meaningGeorge Braque, Gillet, 1914.
48 Picasso, Bottle of Pernod and Glass, 1912 collage and papier colles,bridged the gapbetween life and artinserting piecesof the real worldonto the canvas.Picasso, Bottle of Pernod and Glass, 1912
49 Pablo Picasso, Glass and Bottle of Suze, 1912. Synthetic CubismPablo Picasso, Glass and Bottle of Suze, 1912.SYNTHETIC CUBISM
50 Picasso, Man with a Hat and a Violin, 1912 from a a group of seventeen papiers colléscreated from newspaper articlesarranged cuttings from Le JournalDecember 3 and 9, 1912 ,straight and slightly curved charcoal lines scaffoldedtext refers to:Balkan Wars,unrest of miners in the NordPas-de-Calais départements, issues debated in Parliament and to local announcements and advertisements.
51 On one hand, the Cubist artists shared the unease about the increasing industrialization of their way of life as evidenced by their pre-Cubist fascination with all that was “primitive,” from tribal art, to children’s art, to folk art, to low art in an attempt to relocate a kind of artistic expression that was natural and simple and unsophisticated. On the other hand, these same Cubists were equally fascinated with the brave new world of machine driven objects, cars, airplanes and the modern ocean liner. The Cubists were the generation that will absorb and adjust to the Machine Age and the end of the old ways, accepting the new ways of living. The Eiffel Tower, once hated by Parisians who were used to and preferred Charles Garnier’s Opéra, was greatly admired by a new generation that saw the towering structure as the symbol of everything new and modern. Striding over the city of Paris, the Eiffel Tower nakedly revealed the nature and the “truth” of its materials and its method of construction—a deliberately modern statement of all that was new.
53 RelatedMapsWorld, 1900 A.D. – PresentEurope, 1900 A.D. – PreesntTimelinesFrance 1900 A.D. to PResent
54 TermsART MOVEMENT/STYLECubism in Modern and Contemporary ArtCubism in Twentieth–Century European ArtSchool of Paris in Twentieth–Century European ArtARTISTBraque, Georges (French, 1882–1963
55 presentThematic EssaysCubismWorks of Art by CollectionModern and Contemporary ArtIndex)MATERIAL AND TECHNIQUEPainting in Oil on Canvas from FranceSUBJECT MATTER/THEMEStill LifeARTIST BIOGRAPHYBraque, Georges (French, 1882–1963)TECHNICAL GLOSSARYCanvasOil Paint