Abstract
The paper relates that Cubism was an artistic movement initiated and based in France from the late 1900s to the early 1920s, developed by George Braque and Pablo Picasso. The paper explains that the term Cubism was borne out of a critic's comment that all the elements in the paintings [presented by Picasso and Braque] were reduced to 'cubes'. The paper explains that the style was a reaction to the advances in science and industry at the time, as well as rapture from traditional art that had dominated since the Renaissance. The paper describes how it is characterized by the fracturing of images, the simplification of form to its essential elements, and the use of multiple as well as unnatural perspectives.

From the Paper
"Cubism was an artistic movement initiated and based in France from the late 1900s to the early 1920s, developed by George Braque and Pablo Picasso. The term Cubism was borne out of a critics comment that all the elements in the paintings [presented by Picasso and Braque] were reduced to `cubes'. The style was a reaction to the advances in science and industry at the time, as well as rapture from traditional art that had dominated since the Renaissance. It is characterized by the fracturing of images, the simplification of form to its essential elements, and the use of multiple as well as unnatural perspectives. Early works, such as the..."

Tags:cubism, picasso, les demoiselles daE(TM)avignon

Abstract
This paper explains that Cubism is the process of passage from a bar-baric dis-symmetry to an advanced abstract geometry. The paper then looks at how the the term analytical Cubism refers to Picasso and Braque's work of 1910 through early 1912 and how the term synthetic Cubism refers to their work of later 1912 through 1914. It also examines the objective contributions of Picasso and Braque to the development of modern art, particularly towards abstraction.

From the Paper
"By 1909, Picasso, working in close collaboration with Georges Braque, had invented Cubism, a kind of painting more sculptural than any before, since it presented simultaneously more than one view of the subject. Indeed, Picasso had definitely renounced the traditional chia roscuro - the technique of evoking three-dimensional form by reproducing the way that incident light plays across it, producing a sequence of highlights and shadows. Picasso apparently considered chiaroscuro a "dishonest" way of representing three-dimensional form; he therefore turned to faceting as a means of describing three-dimensional form without using conventional shading. After the dematerialization of form in Impressionism, and the flattening of form in Post-Impres sionism, this restoration of a sense of sculptural solidity (without a return to conventional real ism) was a major achievement. "

Tags:abstraction, dissociation, painting

Abstract
This paper examines the style, artists and impact of cubism, the most prominent art movement of the early 20th century. The paper discusses early influences on the development of cubism, including Paul Cezanne, Georges Braque and Pablo Picasso. Next, the paper studies analytic cubism and critiques some of the style's most well-known paintings and sculptures. The paper concludes with an investigation of the passing of cubism and its legacy on the art world.

From the Paper
"Cubism is the most influential art movement to emerge in the first quarter of the Twentieth Century. "It may have said to have begun in 197 with Pablo Picasso's Les Demoiselles d'Avignon. The movement was influenced by archaic and primitive sculpture. Particularly of West Africa." (Alexander, p. 288) Another influence was Paul Cezanne, whose works were exhibited in Paris in 1905 and 1907. It was something he said that started some of the other Parisian artists moving toward Cubism. "You must see in nature the cylinder, the sphere, and the cone." He published this in 1907, but the actual term "cubism" may have come from Henri Matisse's phrase: "avec les petits cubes" (with little cubes). He said that in a disparaging way upon seeing some of the works of Georges Braque."

Tags:picasso, cezanne, braque, sculpture, painting, blue, rider, papier, colle, expressionism, analytic

Abstract
This paper discusses how the early 20th century saw a number of radical and eviscerating critiques of representational styles of art. In particular, it looks at Cubism and Surrealism and discusses how although they shared many complementary attitudes, the two movements sprung from very different artistic impulses. The paper further examines how Cubism sprang from an interest in different types of art and new concepts of geometry, space, and anatomy and how in comparison, Surrealism is linked with Dadaism, an anti-art movement that drew inspiration from parody, pastiche, and strange and arresting images that were often realistic in style and depiction.

From the Paper
"Like Picasso drew inspiration from El Greco, although they supposedly disdained all tradition in theory, many Surrealists remained profoundly influenced by artists of the past. Salvador Dali, was "inspired by the Dutch masters of the 17th century realism" in its style even while Dali used "multiple symbolic images to suggest his subconscious. His paintings were odd, influenced by his dreams" but his technique and previous study of Western art is even more evident than in Picasso's Cubist works (Historical origins of the Surrealist art movement, 2009, Art History Archive). In the Persistence of Memory, "Dali rendered his fantastic visions with meticulous verisimilitude, giving the representations of dreams a tangible and credible appearance. In what he called 'hand painted dream photographs,' hard objects become inexplicably limp, time bends, and metal attracts ants like rotting flesh. "

Tags:Picasso, Dadaism, Dali

Abstract
This paper draws a comparison between the advent of cubism in 1907-08, when Pablo Picasso and Georges Braque turned the art world on its head with their strange misshapen paintings, and compares this to the impact which Samuel Beckett had with his "Waiting for Godot," on the leading modern dramatic works.

From the Paper
"A consideration of the interrelationship between Beckett's plays and the cubist paintings of Picasso and Braque must begin with a point of difficulty: art historians generally date Cubism as an artistic movement that dominated art from approximately 1906 to 1925 (Rosenblum 307-11). Beckett published his first pieces, a critical essay "Dante . . . Bruno . . . Vico . . . Joyce," and a short story, "Assumption" in 1929 and wrote his first play only in 1947 (Amos, Price, and Henderson). Further, an examination of several biographies and critical studies of Beckett and his work found that the terms "Cubism," "Picasso," and "Braque" never appeared..."

Tags:picasso, braque, godot

Abstract
This paper explains how Cubist painters and sculptors rejected many of the formally accepted elements of art in favor of ambiguous and indeterminate representations of art. The paper also describes the unique characteristics of Cubism and takes a look at the importance of the Cubist movement, its influence on modern art, the philosophy behind the movement, and some of the more famous Cubist artists.

From the Paper
"Cubism was a philosophy and style of art that also questioned all established values of art. It also "created an artistic language of intentional ambiguity". (ibid) In order to understand Cubist sculpture beyond just its formal and technical innovations, it is important to understand something of the background to the modernist era of artistic re-evaluation."

Tags:picasso, theory, fragmentation, plane, form, shallow, depictions, overlap, transparent

Abstract
The paper analyzes the innovative role of George Braques in the Analytic Cubist Movement and explains that Braques brought forth a popularization of the Cubist Movement alongside Pablo Picasso to generate conceptual and simultaneous perspective on cubes, which had made a great impact on the success of the overall movement. The paper discusses how by using cubes and various forms of shading, the necessity of conceptualized abstraction was Braques' contribution to Cubism by successfully portraying a combination of flat and three-dimensional objects that were geometrically inspired within the mind.

Tags:art, abstract, paris

Abstract
In this article, the writer studies Picasso's painting "Les Demoiselles d'Avignon" and notes that Picasso is considered one of the persons that most revolutionized the history of art. The writer points out that the painting reveals a new point of view where Picasso eliminates all tradition, denying realism, the canons of depth and the classical ideal of the female body. Specifically, the writer describes the painting's composition, its structure, the lack of light or shadows in the drawing, how logic and colors are used in the work, and how a new element, the movement, that would be developed by contemporary art, is introduced in the painting.

From the Paper
"The entire composition is reduced to a group of angular planes, with no background or space perspective. The shapes are marked by light and dark lines. Five nude women are seen in the centre. On the lower part there is a still nature, typical of cubist preferred subjects, created by a group of fruits over a clothed table. This combination of many elements, that seemed put together on top of the flat background, reminds the collage fashion of contemporary art.
"The two most cubist faces, that resemble masks, are clearly influenced by African art, that was beginning to be known in Europe around that time. They seem unnaturally colored as real masks, and present exaggerated features more caricaturist that portraitist. The two faces on the centre are inspired on medieval frescoes and primitive Iberian sculptures. The woman on the left resembles ancient Egyptian paintings, not only by her profile design, but the body posture: standing up, rigid, arms close to the body, one foot forward."

Tags:shapes, structure, lines, edges

From the Paper
"Cubism was one of the major transformations of Western art in this century and is seen as a revolutionary shift in thought and technique. The traditional distinction is between solid form and the space around it, but Cubism offers a different few with a radically new fusion of mass and void. Cubism allowed the artist to depart from preconceived notions of place and perspective which gave discrete objects an exact location and illusion of depth. Rather the artist could now create "an unstable structure of dismembered planes in indeterminate spatial positions" (Rosenblum 13). Thus the Cubist work of art was not simply a representation of a separate external, but considered "that the work of art was itself a reality that represented the very process by which nature is transformed into art (Rosenblum 13).

Apollinaire's definition of Cubism contains elements that could ..."

Abstract
The paper discusses Cubism and compares and contrasts the Cubist works of Picasso and Braque.

From the Paper
"Cubism was essentially a revolution in the approach taken by an artist to space both on the flat surface of a canvas and in sculpture. As noted by Laurie Adams, the main European impetus for Cubism came from Cezanne's new spatial organization building up an image from constructions of color. Other decisive currents of influence came from so-called primitive' cultures and the art of the Iberian peninsula. Two of the most influential figures in the Cubism movement were Pablo Picasso..."

Tags:Cubism, Pablo Picasso, Georges Braque