#Cubism style series#

Picasso’s Violin (1912) is another example of this rigid cubist style. George Braque’s Still Life (Violin and Candles) (1910) is a good example of the artist experimenting with structural space within a two-dimensional frame.

#Cubism style series#

Analytical cubism simplifies a painting into a severe series of planes and lines with a limited color palette. The first, analytical cubism, was popular with the dudes from 1908-12. With the birth of cubism, two different sub-styles emerged. In short, these cubists were all about flattening a painting to its basic form. For them, cubism touted the belief that nature was not to be mimicked but instead simplified, placing the focus on techniques of perspective, modeling, and foreshortening. While Picasso shifted from narrative to pictorial imagery, Braque focused on his use of materials to manipulate light and space. Picasso and Braque found inspiration in the work of Paul Cezanne and African art, particularly tribal masks, as the basis for cubism (appropriation, anyone?!). While Picasso was brash, Braque was diplomatic and soft-spoken, yet these two opposing forces complemented their partnership and helped shape art history in the twentieth century and beyond. While Picasso was a womanizer, attention-grabbing, loud Spaniard, Braque shied away from the limelight and remained married to the same woman for the rest of his life.

Both fathers strove to instill their profession into their sons. Braque’s father was a house painter and decorator, while Picasso’s father was an academic painter. Picasso was only born seven short months before Braque. In addition, these two certainly gave off soulmate vibes as their lives perfectly mirrored one another. Pablo Picasso, Les Demoiselles d’Avignon, Museum of Modern Art They not only supported one another but constantly challenged and motivated each other to push their styles further. These cubists in crime weren’t your typical bromance. Not exactly a compliment that proves your buddy has your back. Even so, his statement must have made quite the first impression because from there their friendship caught fire and the two were nearly inseparable. Braque was not only dismayed by the painting, but it made him want to “drink petrol and eat old rope.” Ouch. Given the close relationship between the two artists, one would assume Braque was enthralled with Picasso’s latest masterpiece. Only in 1914 did Picasso allow a circle of close friends, including Braque, to view the piece. Picasso would not let anyone, not even his nearest and dearest see the painting. The story begins when Braque visited Picasso’s studio to view Les Demoiselles d’Avignon (1907), the painting that propelled cubism into the limelight (though it remained behind closed doors from 1907-1914). that no one will be able to understand.”īraque was the only artist throughout Picasso’s lifetime with whom he shared a deep, intimate connection. Their relationship ended abruptly with the outbreak of World War I, and Braque is quoted to say, “Picasso and I said things to one another that will never be said again. Although their bond was reportedly close, they weren’t above hurling snide remarks each others’ way. Like any passionate relationship, there were great highs and the lowest of lows.

Picasso and Braque’s friendship was intense, and yet ultimately short-lived. In less art history speak: geometric shapes rule, man. Revolutionary! These brothers-in-crime believed that by breaking down objects into distinct planes they could demonstrate to the viewer that different viewpoints could be seen at the same time. It all began when our playboy Pablo Picasso and dear Georges Braque began using cubes and simplistic forms in their paintings. Cubism was one of the first -isms to hit our collective senses in the twentieth-century art world.