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Pablo Picasso's Cubism Period - 1909 to 1912. Analytical Cubism is one of the two major branches of the artistic movement of Cubism and was developed between 1908 and 1912. In contrast to Synthetic cubism, Analytic cubists "analyzed" natural forms and reduced the forms into basic geometric parts on the two-dimensional picture plane.
In an attempt to classify the revolutionary experiments made by Pablo Picasso, Georges Braque and Juan Gris when they were exponents of cubism, historians have tended to divide cubism into two stages. The early phase, generally considered to run from 1908–12 is called analytical cubism and the second is called synthetic cubism.
The basic principles of Analytic Cubism (1910–12), with its fragmentation of three-dimensional forms on a two-dimensional picture plane, are embodied in Still Life with a Bottle of Rum (1999.363.63), painted in 1911. The techniques of Analytic Cubism were developed by Picasso and the French artist Georges Braque (1882–1963), who met in 1907.
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- Cubism of Pablo Picasso
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- Parade
Picasso and Braque worked together closely during the next few years (1909–12)—the only time Picasso ever worked with another painter in this way—and they developed what came to be known as Analytical Cubism. Early Cubist paintings were often misunderstood by critics and viewers because they were thought to be merely geometric art. Yet the painters themselves believed they were presenting a new kind of reality that broke away from Renaissance tradition, especially from the use of perspective and illusion. For example, they showed multiple views of an object on the same canvas to convey more information than could be contained in a single limited illusionistic view.
As Kahnweiler saw it, Cubism signified the opening up of closed form by the “re-presentation” of the form of objects and their position in space instead of their imitation through illusionistic means; and the analytic process of fracturing objects and space, light and shadow, and even colour was likened by Apollinaire to the way in which the surgeon dissects a cadaver. That type of analysis is characteristic of Picasso’s work beginning in 1909, especially in the landscapes he made on a trip to Spain that summer (Factory at Horta de Ebro). Those were followed in 1910 with a series of hermetic portraits (Ambroise Vollard; Daniel-Henry Kahnweiler); and in his 1911–12 paintings of seated figures, often playing musical instruments (The Accordionist [1911]), Picasso merged figures, objects, and space on a kind of grid. The palette was once again limited to monochromatic ochres, browns, and grays.
Picasso and Braque worked together closely during the next few years (1909–12)—the only time Picasso ever worked with another painter in this way—and they developed what came to be known as Analytical Cubism. Early Cubist paintings were often misunderstood by critics and viewers because they were thought to be merely geometric art. Yet the painters themselves believed they were presenting a new kind of reality that broke away from Renaissance tradition, especially from the use of perspective and illusion. For example, they showed multiple views of an object on the same canvas to convey more information than could be contained in a single limited illusionistic view.
As Kahnweiler saw it, Cubism signified the opening up of closed form by the “re-presentation” of the form of objects and their position in space instead of their imitation through illusionistic means; and the analytic process of fracturing objects and space, light and shadow, and even colour was likened by Apollinaire to the way in which the surgeon dissects a cadaver. That type of analysis is characteristic of Picasso’s work beginning in 1909, especially in the landscapes he made on a trip to Spain that summer (Factory at Horta de Ebro). Those were followed in 1910 with a series of hermetic portraits (Ambroise Vollard; Daniel-Henry Kahnweiler); and in his 1911–12 paintings of seated figures, often playing musical instruments (The Accordionist [1911]), Picasso merged figures, objects, and space on a kind of grid. The palette was once again limited to monochromatic ochres, browns, and grays.
By 1912 Picasso and Braque were gluing real paper (papier collé) and other materials (collage) onto their canvases, taking a stage further the Cubist conception of a work as a self-contained constructed object. That Synthetic phase (1912–14) saw the reintroduction of colour, while the actual materials often had an industrial reference (e.g., sand or printed wallpaper). Still lifes and, occasionally, heads were the principal subjects for both artists. And in Picasso’s works the multiple references inherent in his Synthetic compositions—curves that refer to guitars and at the same time to ears, for instance—introduce an element of play that is characteristic of so much of his work (Student with a Pipe [1913]) and lead to the suggestion that one thing becomes transformed into another. Absinthe Glass (1914; six versions), for example, is in part sculpture (cast bronze), in part collage (a real silver sugar strainer is welded onto the top), and in part painting (Neo-Impressionist brush strokes cover planes of white paint). But the work is neither sculpture nor collage nor painting; planes refer to two-dimensionality, while the object indeed possesses three dimensions. The work of art thus hovers between reality and illusion.
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By 1915 Picasso’s life had changed and so, in a sense, had the direction of his art. At the end of that year his beloved Eva died, and the painting he had worked on during her illness (Harlequin [1915]) gives testimony to his grief—a half-Harlequin, half-Pierrot artist before an easel holds an unfinished canvas against a black background.
World War I dispersed Picasso’s circle; Apollinaire, Braque, and others left for the front, while most of Picasso’s Spanish compatriots returned to their neutral homeland. Picasso stayed in France, and from 1916 his friendship with the composer Erik Satie took him into a new avant-garde circle that remained active during the war. The self-appointed leader of that nucleus of talents who frequented the Café de la Rotonde was the young poet Jean Cocteau. His idea to stage a wartime theatrical event in collaboration with Serge Diaghilev’s Ballets Russes resulted in the production of Parade, a work about a circus sideshow that incorporated imagery of the new century, such as skyscrapers and airplanes. Cocteau went to Satie for the music and then to Picasso for the sets and costumes. Work began in 1917, and although Picasso disliked travel, he agreed to go with Cocteau to Rome, where they joined Diaghilev and the choreographer of Parade, Léonide Massine. It was on that occasion that Picasso met his future wife, Olga Khokhlova, among the dancers.
Parade was first performed in May 1917 at the Théâtre du Châtelet in Paris, where it was considered no less than an attempt to undermine the solidarity of French culture. Satie seems to have been the principal target of abuse (partly because of his inclusion of airplane propellers and typewriters in the score), while Picasso disarmed the public with the contrast between his basically realistic stage curtain and the startling Synthetic Cubist constructions worn by the characters, the sideshow managers, in the ballet.
Summary of Analytic Cubism. In 1920 the leading promoter of Georges Braque's and Pablo Picasso's work, Daniel-Henry Kahnweiler, published his book Der Weg zum Kubismus (The Rise of Cubism). It would become the first authoritative text on Cubist history and practice and it was here that the term Analytic Cubism was first introduced.
Aug 2, 2023 · Pablo Picasso was a revolutionary Spanish artist of the Analytical Cubist style and a prolific figure in the 20th-century art world. Picasso played a crucial role in the development of Analytical Cubism, who alongside Georges Braque, pioneered its distinct style through an experimentation with form, space, and perception.
Cubism. 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 ...
