Cubism

The Cubist painters rejected the inherited concept that art should copy nature, or that they should adopt the traditional techniques of perspective, modeling, and foreshortening.
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Candlestick and Playing Cards on a Table, Georges Braque  French, Oil on canvas
Georges Braque
spring 1910
Still Life with Banderillas, Georges Braque  French, Oil and charcoal with sand on canvas
Georges Braque
1911
Artillery, Roger de la Fresnaye  French, Oil on canvas
Roger de la Fresnaye
1911
Violin and Playing Cards on a Table, Juan Gris  Spanish, Oil on canvas
Juan Gris
1913
The Café Terrace, Diego Rivera  Mexican, Oil on canvas
Diego Rivera
1915
Still Life with Checked Tablecloth, Juan Gris  Spanish, Oil and graphite on canvas
Juan Gris
Paris, spring 1915
Table by a Window, Jean Metzinger  French, Oil on canvas
Jean Metzinger
1917
Still Life with a Bottle of Rum, Pablo Picasso  Spanish, Oil on canvas
Pablo Picasso
1911
Mechanical Elements, Fernand Léger  French, Oil on canvas
Fernand Léger
1920
Man with a Hat and a Violin, Pablo Picasso  Spanish, Cut and pasted newspaper, and charcoal, on two joined sheets of paper
Pablo Picasso
1912
Bottle and Wine Glass on a Table, Pablo Picasso  Spanish, Charcoal, ink, cut and pasted newspaper, and graphite on paper
Pablo Picasso
1912

Cubism was one of the most influential visual art styles of the early twentieth century. It was created by Pablo Picasso (Spanish, 1881–1973) and Georges Braque (French, 1882–1963) in Paris between 1907 and 1914. The French art critic Louis Vauxcelles coined the term Cubism after seeing the landscapes Braque had painted in 1908 at L’Estaque in emulation of Cézanne. Vauxcelles called the geometric forms in the highly abstracted works “cubes.” Other influences on early Cubism have been linked to Primitivism and non-Western sources. The stylization and distortion of Picasso’s groundbreaking Les Demoiselles d’Avignon (Museum of Modern Art, New York), painted in 1907, came from African art. Picasso had first seen African art when, in May or June 1907, he visited the ethnographic museum in the Palais du Trocadéro in Paris.

The Cubist painters rejected the inherited concept that art should copy nature, or that artists should adopt the traditional techniques of perspective, modeling, and foreshortening. They wanted instead to emphasize the two-dimensionality of the canvas. So they reduced and fractured objects into geometric forms, and then realigned these within a shallow, relieflike space. They also used multiple or contrasting vantage points.

In Cubist work up to 1910, the subject of a picture was usually discernible. Although figures and objects were dissected or “analyzed” into a multitude of small facets, these were then reassembled, after a fashion, to evoke those same figures or objects. During Analytic Cubism (1910–12), also called “hermetic,” Picasso and Braque so abstracted their works that they were reduced to just a series of overlapping planes and facets mostly in near-monochromatic browns, grays, or blacks. In their work from this period, Picasso and Braque frequently combined representational motifs with letters (); (). Their favorite motifs were still lifes with musical instruments, bottles, pitchers, glasses, newspapers, playing cards (), and the human face and figure. Landscapes were rare.

During the winter of 1912–13, Picasso executed a great number of papiers collés (). With this new technique of pasting colored or printed pieces of paper in their compositions, Picasso and Braque swept away the last vestiges of three-dimensional space (illusionism) that still remained in their “high” Analytic work. Whereas, in Analytic Cubism, the small facets of a dissected or “analyzed” object are reassembled to evoke that same object, in the shallow space of Synthetic Cubism—initiated by the papiers collés–large pieces of neutral or colored paper themselves allude to a particular object, either because they are often cut out in the desired shape or else sometimes bear a graphic element that clarifies the association.

While Picasso and Braque are credited with creating this new visual language, it was adopted and further developed by many painters, including Fernand Léger (), Robert and Sonia Delaunay, Juan Gris (), Roger de la Fresnaye (), Marcel Duchamp, Albert Gleizes, Jean Metzinger (), and even Diego Rivera (). Though primarily associated with painting, Cubism also exerted a profound influence on twentieth-century sculpture and architecture. The major Cubist sculptors were Alexander Archipenko, Raymond Duchamp-Villon, and Jacques Lipchitz.

The liberating formal concepts initiated by Cubism also had far-reaching consequences for Dada and Surrealism, as well as for all artists pursuing abstraction in Germany, Holland, Italy, England, America, and Russia.


Contributors

Sabine Rewald
Department of Modern and Contemporary Art, The Metropolitan Museum of Art

October 2004


Further Reading

Cooper, Douglas, and Gary Tinterow. The Essential Cubism, 1907–1920: Braque, Picasso & Their Friends. Exhibition catalogue. London: Tate Gallery, 1983.

Leonard A. Lauder Research Center for Modern Art

Rubin, William, ed. Pablo Picasso: A Retrospective. Exhibition catalogue. New York: Museum of Modern Art, 1980.


Citation

View Citations

Rewald, Sabine. “Cubism.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/cube/hd_cube.htm (October 2004)