2Pablo Picasso, Les Demoiselles D’Avignon, 1907. I paintformsas I thinkthemnotas I seePablo Picasso, Les Demoiselles D’Avignon, 1907.
3Picasso, Enamel Saucepan, 1945 (Synthetic Cubism) show the‘concept’of an objectrather thandetailsof thereal thingPicasso, Enamel Saucepan, 1945 (Synthetic Cubism)
4different views of an object SIMUTANEOUSLY, emphasizing: time, space & the Machine AgePicasso, A Portrait of David-Henry Kahnweiler, 1910
5and 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)
7by 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
9in 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)
10Primitive Cubism 1907 to 1908 or Proto Cubism Analytical Cubism to 1912High Analytical to 1912or Hermetic CubismSynthetic Cubism to 1920
14figures & objects were dissected or "analyzed“ into many small facets PicassoGirl with a Mandolin (Fanny Tellier)
15figures & objects reassembled, to evoke those same figures or objects. Juan Gris,Portrait of Picasso1912
16Exploration 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.
17Limited 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
19The composition of this small oval painting consists of clearly defined Cubist planesin hues of brown and ocher highlightedby black and white.
20At the centercan be identified the corner of a table upon which rests the round base of a brass candlestick
21and, at the right,two playing cards—the ace of heartsand the sixof diamonds.
22This still lifepresentsone of theearliestinstancesof Braque's choiceof anoval format.
23both Braque and Picasso would make frequent Soon,both Braque and Picasso would make frequentuse of this shape.Woman with a Mandolin(Georges Braque ,1910)
24In 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
25and the corners remain relatively empty. Still Life with a Pair of Banderillas, Summer 1911Georges Braque (French, 1882–1963)Oil on canvas
26An 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
27Picasso 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
28Their favorite motifs were still lifes with musical instruments, bottles, pitchers, glasses, newspapers, playing cardsand the human face.Landscapes were rare.
29These quasi-scientific and mathematical interests were linked with the ‘hermetic sciences’,the occult and alchemy………….
30Paul 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
31Paul Cezanne (Post-Impressionist) Major Influences…Paul Cezanne (Post-Impressionist)Femme de Vert 1909
34Analytical 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
35western 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.
36The 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
45Pablo Picasso, Composition with Skull, 1908. SYNTHETICCUBISMmore colourfulPablo Picasso, Composition with Skull, 1908.
46Puts forms back together after breaking them apart Pablo Picasso, Three Musicians, 1921.Puts formsback togetherafter breakingthem apart
47pasted 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.
48Picasso, 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
49Pablo Picasso, Glass and Bottle of Suze, 1912. Synthetic CubismPablo Picasso, Glass and Bottle of Suze, 1912.SYNTHETIC CUBISM
50Picasso, 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.
51On 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.
53RelatedMapsWorld, 1900 A.D. – PresentEurope, 1900 A.D. – PreesntTimelinesFrance 1900 A.D. to PResent
54TermsART MOVEMENT/STYLECubism in Modern and Contemporary ArtCubism in Twentieth–Century European ArtSchool of Paris in Twentieth–Century European ArtARTISTBraque, Georges (French, 1882–1963
55presentThematic 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