Three Stages Of Cubism

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Chapter 1: Introduction to Cubism
Creators of Cubism
Cubism is the single most important development in the history of art during the twentieth-century. It was an art movement created between 1907 and 1914, by Spaniard Pablo Picasso (1881-1973) and Frenchman George Braque (1882-1963). These two were known to have created this artistic movement; they worked along side each other in Paris, and invented a new process of making paintings and sculptures, that broke the formalities and codes that were established five hundred years earlier in the Renaissance. Although it was only created by two artists, their work had a strong impact that it spread across Europe and the Americas with astounding speed. Its fast profusion was all thanks to the artists
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Early Cubism can be referred to as Proto-Cubism or Pre-Cubism, it was around the times of 1906 to 1909, and this was the beginning of distorting objects and using multiple perspectives. It was the experimental stage where the paintings produced were a result of Cubists experiments, influences and different situations, rather than one fixed event. Analytical Cubism was developed by Picasso and Braque during 1909 to 1910, it lasted until 1912 give or take. It is a more structured and monochromatic point of view than that of synthetic Cubism. It is called analytical Cubism as a result of its structured analysis of an object, where the colour palette is simplified so that the spectator is not distracted from the structure of the form, as shown in Figure 1. Synthetic Cubism is the later stage of Cubism, from around 1912 to1914. It began when artists started adding textures and patterns to their paintings, experimenting with different media, such as collage from newspaper print and patterned paper. Collage is defined as using a combination of newspapers, music sheets, fabrics, painted text, etc. to create an artistic piece. Analytic Cubism was more about breaking down an object to be reassembled as a fragmented piece, whereas synthetic Cubism was about flattening the piece and removing any indication of illusion or three-dimensional…show more content…
He was a post-impressionist painter whose work is recognized by his highly characteristic brushstrokes. He is said to have built the bridge that connects late nineteenth-century Impressionism and the early twentieth-century Cubism. From 1882, Cezanne produced a generous number of landscape paintings of Aix and L’Estaque, a small fishing village near Marseille (south of France). In Gardanne (1886), this landscape he painted had been made with intense volumetric patterns of geometric rhythms mainly focused on the houses(Figure 3). This painting is then also reinterpreted by Barques’ impression of L’Estaque in

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