Between 1907 and 1914, a new visual style of art was created and developed. Until now, the artists painted pictorial illusions organized compositional space in terms of linear perspective. Led by Pablo Picasso and Georges Braque, the style emerging from this period of time rejected the theory that art should copy nature, and rejected the traditional techniques of perspective, modeling and views. Picasso and Braque chose to embrace and emphasize the two-dimensionalitycanvas. Reduced and fractured objects then realigned by shallow, raised as a place with multiple viewpoints and contractors.
Influenced by the works of Jean Dominique Ingres and Paul Cezanne, Picasso was fascinated with silhouettes ambiguous. Picasso also began to incorporate elements of African and primitive art. It is believed that after he saw Braque Picasso Les Demoiselles d'Avignon, Braque that aim to deliberately change his style in a friendly rivalry with hisfriend, Pablo Picasso. Heeding advice to Cézanne that artists should treat nature in terms of cylinder, the sphere, the cone of advertisements, Picasso and Braque in view of their subject and then fragmented, analyzed, and reassembled in an abstract form. Proportions, the biological integrity and continuity of life samples and material objects have been abandoned. One critic said that the works seemed to circle a field of broken glass. Cubism movement was the most radical and influential art of the twentieth century.The movement has started a revolution in the field of visual arts that all painters later treated in some way. French art critic Louis Vauxcelles, viewing highly abstract landscapes 1908 Braque, cubism word coined to describe the new style that seemed to be composed of cubic geometry.
In reality it is the aspect, not the cube that is the key to Cubism. From 1908 to 1913, the size aspect varies, but basically it is a small area bounded by straight lines and curves with the twoadjacent edges defined by light tones and dark tones with two opposite edges. The area between modulates between the two extremes. There are three basic principles of facets that provide a look that is almost bas-relief. Facets are almost always painted as if at an angle to the vertical surface of the canvas. Facets overlap, and cast shadows on each other so inconsistent. The edges of the facets dissolve. Some think that Cubism shows a shift of several spatialperspectives within the same time and space and emphasizes real two-dimensional flatness of the canvas, instead of transmitting the illusory appearance of depth.
Through 1910, the subject was evident in the cubist works. Data were dissected and analyzed, but reassembled into something resembling the original object. During 1911, Picasso and Braque began experimenting with simulated textures, shadows, and modern stenciled typography. The conceptual plans of figures and objects have been developedin an austere and impersonal. Also called tight, which is ultimately an object, this period of analytical cubism fragmented three-dimensional shapes on a two-dimensional plane. Picasso and Braque reduced their subjects to a series of overlapping planes and facets of browns, grays and blacks. Their compositions are divided into similar plans with open edges sliding into each other, with no depth. The monochromatic color is applied uniformly in small brush strokescreating vibrations of light. Sand or sawdust applied with a relief of paint created and made the picture more of a physical object. Often inverted objects artistic illusionism as if mocking two-dimensional representation, including those favorite musical instruments, bottles, pictures, glasses, newspapers, playing cards, and the human face and figure. Landscapes were rare.
Color returned during the synthetic cubism, around 1912-1913. Picasso and Braque incorporatedpapier hill, or a college paper, in works of this period of time, adding things like the actual newsprint, ticket stubs, wallpaper, and real playing cards. These objects have been modified, stacked and glued onto the canvas. With these additions, the final vestiges of a three-dimensional space, or illusion that has remained in the analytic cubism were swept away. Instead of evoking objects through reassembled facets, synthetic cubism used large pieces of paper or colored to allude to aparticular object. Often they were cut into the desired shape or would have had a graphic that explained the association. Bright colors, ornamental patterns, undulating lines and round shapes as jagged are in place through 1930.
Max Weber was an American artist who has been exposed to Cubism in its early stage, when he worked in Paris from 1905 until 1909. During the winter of 1910-1911, after returning to New York City, Weber built on Cubism in its Americanquestion. His works combine his interest in Cubism with the futuristic vision of the Italian avant-garde movement and the dynamic nature of constant change. While Weber's interest in the cubist-futurist experiments lasted only a few years, has had a profound impact on John Marin and Joseph Stella, both active in New York City.
The war of 1914-1919 ended the collaboration between Picasso and Braque, Cubism, but the core group remained active until 1920. Cubist adopted an analytical approach to form and geometricallycolor and shatter an object into focus in pieces geometrically sharp edges. Cubism formal notice all the images seen by the eye, rejects those images, and recognizes that the invention is illusory perspectival space. Cubism attempts to imitate the power of the mind to abstract and synthesize different impression of the world together in new images. The Cubist view whether a similar nature, but constructed according to different principles. Picasso and Braque created this new visual language, but many othersfollowed and further developed the style. Among them were Fernand Léger, Robert and Sonia Delaunay, Juan Gris, Roger de La Fresnaye, Marcel Duchamp, Albert Gleizes, Jean Metzinger, and Diego Rivera. The concepts of liberation begun by Cubism can be seen in later works of Dada and Surrealist artists abstract but also in many countries. In addition, Cubism also had a great influence on the architecture and sculpture of the 20th century. Noted sculptors include Alexander Archipenko Cubists, HenriLaurens and Jacques Lipchitz.
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