Abstract
In this article, the writer notes that Cubism as an art movement is considered one of the most revolutionary in art history. It was part of the modernist art movement during the Twentieth Century, which altered the principles of art that had been dominant for centuries. A central thesis or theme explored in this paper is that Cubism was much more than just another artistic style and that it heralded a new way of perceiving and understanding reality and the world. The writer maintains that in this sense Cubism was in essence a protest or a refusal to accept the norms and value that were prevalent at the time. The writer concludes that the Cubist movement as a form of artistic protest against the conventions of art also opened the way to other areas of artistic experimentation and creativity. The writer also maintains that in sculpture this led to many innovative works of art that explored the possibilities of alternative perceptions of space and depth and enriched the ways in which sculpture could be created and appreciated.

Outline:
Introduction
Cubism and Reality
Cubism and Modernism
Cubist Art and Sculpture
Conclusion

From the Paper
"There was a general feeling among many thinkers and artists in the early years of the Twentieth Century that the views and ideas that were prominent in society were false and needed to be radically questioned. One example of this type of questioning was the opposition to the view that reality was fixed, static and obvious. In terms of art history this view of reality was known as representation. In other words, all that an artist was required to do was to copy or re-present what the eyes saw, which was already there in the outside world.
"This view was questioned by artists like Picasso and other modern artists. They were of the opinion that reality was relative or dependent on context and point of view. Reality therefore was not 'fixed' or static but was continually changing according to one's perspective or point of view. This questioning of the accepted views about reality was to have a great influence on the development of Cubism and other artistic movements in the Twentieth Century, such as Dadaism and Surrealism."

Tags:solid, forms, space, technique, Picasso

Abstract
The cubist art work has certain attributes which define its construction and conception. These ideas, clustering around these works of art, were applied to other art forms with varying results. This paper explores how these new and original ideas about cubism manifested themselves in the productions of art in other genres.

From the Paper
"The Cubist style must be viewed as an extension of the anti-Romanic, anti-Impressionistic mood expressed by progressive artists in many creative genres in the fin de siecle period and later. As Cocteau wrote in his "Le Coq et l'Arlequin," the artists were sickened "by the vague, the melting, the superfluous"(82). It had its most intensely creative period between roughly 1908 and beginning of the First World War. The most important center for this "reaction" in all of the arts was Paris. Picasso and Braque are generally seen as the seminal artists in this new form called Cubism. They were interested in getting beyond what they saw as the limiting concept of perspective, which the artistic tradition had inherited from the Renaissance."

Tags:renaissance

Abstract
The writer asks the question of why George Braque did not enjoy the same renown as Pablo Picasso. The paper looks at the history of the artistic life of Braque and gives an overview of his work, noting the maturation and development of style. The paper concludes with the assertion that Braque is the father of cubism because he created the first analytic work.

From the Paper
"During the summer of 1908 in southern France, Braque painted a series of radically innovative canvases, of which the most celebrated is "Houses at L'Estaque"; in this painting we can see the slab volumes, sober coloring, and warped perspective typical of the first part of what has been called the analytical phase of Cubism. This painting was shown in a show at Kahnweiler's gallery. It provoked from the Paris critic Louis Vauxcelles a remark about "cubes" that soon blossomed into a stylistic label. This painting was the painting that gave cubism its name. Vauxcelles's remarked about the canvas being full of small cubes, and this comment was the spark that constituted the name of the movement."

Tags:Houses, at, L?Estaque, Vauxcelle, Large, Nude

Abstract
This paper explains the history of the Cubist movement and describes how Cubist paintings reduce images to their most essential elements to create an eye-catching design. The paper explains the two different Cubist styles and describes the first Cubist painting, "Les Demoiselles d'Avignon" by Pablo Picasso. The paper includes the criticism there was of Cubist artists and their defense. Finally, the author concludes with his/her plans to use the Cubist style of art to represent his/her ideas in a clear yet forceful way.

From the Paper
"According to the popular Internet art encyclopedia, 'Artcyclopedia,' the Cubist movement in art developed between the years of 1908 and 1912, amongst a small colony of European artists. The early Cubist's main influences were said to have been Tribal Art, as prefigured in the works of the post-impressionist Paul Cezanne. (Artcyclopedia, 2005) Unlike these earlier artist's works, however, which still had recognizable, realistic forms, in Cubist paintings the subject matter was broken up, analyzed by the painter, and then reassembled in an abstracted form of shapes and stark designs."

Tags:Picasso, basic, shapes, artist, painting

Abstract
This art study analyzes the premise of George Braques' role in the creation of analytic cubism within the Cubist movement of the early twentieth century. It shows how 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.

From the Paper
"This was the major influence that Braques had in conjunction with Picasso, forming a new style of painting that had become far more conceptual than anything done before. Although certain forms of cubism did use a various geometric patterns in a one-dimensional application, Analytic Cubism was created by Braques in order extend the way that Nature often depicted objects in the human mind, rather than from externally inspired perceptions that may be seen by the eye. Braques played an integral part in learning to see objects within his mind's eye, which would translate into various still life objects found in his works. In this manner, his painting describe the way and manner in which he played a crucial role in how cubes were to be conceptualized in a simultaneous perspective."

Tags:Picasso, perceptions, dimension

Abstract
The writer examines the works of George Braque and shows how he was the lesser known of the two founders of Cubism, always in the shadow of Pablo Picasso. This essay examines the artistic foundations behind one of the earliest Cubist works of Braque, "The Portuguese," and explains the unique importance of this painting in its day and even now.

From the Paper
"An examination of Georges Braque's The Portuguese, painted in 1911, and the Cubist movement created by Braque and Picasso, helps show how technology was first widely used both instinctively and deliberately by artists. The Portuguese is an oil on canvas work approximately four feet by three feet in size; the colors are monochromatic in tone, thus emphasizing structure over the gently shaded colors. The subject matter of the painting is not the external world or nature; the painting exists within a reality and world of its own. This alone was revolutionary. Like most Cubist art, it has a restricted setting and manmade objects predominate over natural ones (Hughes 16). In this phase of what was known as analytical cubism objects were taken apart (dissected) and reshaped with the use of flat intersecting planes; perspective is two-dimensional and depth is limited. Four hundred years of Renaissance traditions (form, color, and space) were thrown out by The Portuguese and other Cubist works. Instead of a single vantage point at a single moment in time, the viewer sees the painting from many angles and at many different moments; the fixed point of view is gone. The painting also includes stenciled letters and numbers. Braque wrote, "...as part of a desire to to come as close as possible to a certain kind of reality, in 1911 I introduced letters into my paintings." In summary then, the elements above make The Portuguese one of the first examples of a painting as a unique object set in a revolutionary form. The degree of abstraction in Cubist art was also revolutionary. This new perception of the world came at a time of great transformation in society, and this work of Braque, seen within the larger context of Cubism, borrows much from the elements of the new world. "

Tags:art, braque, cubism, george, modern, picasso, painting

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

Abstract
This paper explains the explication of Braque's "Violin and Candlestick", with reference to the Cubist movement in art. It explores the painting's schematic structure and color range. The author briefly discusses the style of Cubism.

From the Paper
"Pablo Picasso and Georges Braque are said to have begun developing the art form known as cubism. Therefore by the time Braques painted Violin and Candlestick in the movement was well underway. Certainly this developed style ..."

Tags:braque, georges, cubism, violin and candlestick, art, history

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