![]() ![]() Pablo Picasso, The Demoiselles D’Avignon, 1907 ![]() The resulting picture is a mosaic of shifting and fragmented planes, as if the subject were being viewed in a fractured mirror. The object is no longer seen from a fixed position in time and space, but is rather seen from multiple viewpoints.Ĭubism therefore destroyed once and for all the Renaissance conception of the painting as a “window.” After Cubism, painting was conceived as a flat surface upon which the artist arranges elements. Rather than represent things as a fixed object in space (say a cup), the Cubists fragmented three-dimensional forms into their two-dimensional components (remember Cézanne?) and rearranged them on the canvas (so we would see our cup from the top, the side, and maybe even the bottom all at once). The Cubists wanted to break free from this old-fashioned, static way of seeing and invent a new way of representing experience as unfolding over time and through space. According to the “old way” of painting, objects were arranged on an imaginary picture-stage in relation to a fixed viewpoint in time and space, using such familiar devices as chiaroscuro, foreshortening, and linear perspective. The first phase of Cubism is called “Analytic Cubism.” It involved a complete re-analysis of how we “see,” and how we represent what we see on canvas. Inspired by the shifting planes and ambiguous spatial relations of Cézanne’s paintings, Cubism represented a deeply intellectual analysis of form and space, and the invention of an entirely new way of seeing. Cubism was the creation of two artists – Georges Braque and Pablo Picasso – who worked closely together between 1908-1914. ![]()
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