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Pablo Picasso and the Universe of Art

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Marek H Dominiczak, Pablo Picasso and the Universe of Art, Clinical Chemistry , Volume 58, Issue 9, 1 September 2012, Pages 1384–1385, https://doi.org/10.1373/clinchem.2012.182022

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Pablo Picasso (1881–1973) is regarded as the most influential artist of the 20th century. One key feature of his oeuvre is that he effortlessly crossed techniques, styles, and disciplines of art ( 1 , 2 ). Another is that he appropriated styles and templates of both past and contemporary artists, creating works that “conversed” with them ( 3 ).

Picasso created paintings and sculptures, used a wide range of printing techniques, made posters, and in the 1940s revived the production of pottery in the village of Vallauris in Provence. His earliest paintings were conventionally academic, albeit perfectly executed. For a short time he studied in Madrid, where he became acquainted with the works of Velázquez and El Greco in the Prado museum. Later, in Barcelona, he was exposed to modernism. In Paris, where he settled in 1904, he admired not only Delacroix and Ingres but also contemporary artists, including Cézanne, Toulouse-Lautrec, Bonnard, and Degas. The Fauves exhibition in 1905, and the work of Matisse, made a particular impression on him. At the time, he produced several Expressionist paintings, such as The Absinthe Drinker (Melville Hall Collection, New York) ( 4 ). The Blue Period paintings, created in 1901–1904, were figurative and monochromatic. The Pink Period (1904–1906) coincided with an interest in classicism and Greek sculpture. The interest in archaic sculpture and African art, as well as the influence of Cézanne, were evident in Analytic Cubism, which he developed in collaboration with Georges Braque ( 5 ). In the 1920s, after he saw the Parthenon Marbles in the British Museum in London, the elements of classicism appeared again, in such pictures as Large Bather (1921) ( 6 ). In the 1930s, there was the influence of Surrealism. Later, he combined Cubist elements, realist figurative painting, and Surrealist abstract forms, such as in Bathers with a Toy Boat , which is in the Peggy Guggenheim Collection in Venice ( 7 ).

Picasso's appropriations are variations on the original painter's works. They maintain the theme or composition but demonstrate a totally different style and approach. Early in his career he copied Velázquez's Portrait of Philip IV , introducing elements of El Greco's (1541–1614) style, the characteristic elongation of features. In 1901, The Burial of the Count of Orgaz , painted by El Greco in 1586, and the paintings of Francisco de Zurbarán (1598–1664) inspired the piece dedicated to the memory of his friend Carlos Casagemas, Evocation (The Burial of Casagemas) .

Later in his life, Picasso created a series of paintings based on works of a particular master. There is one painting based on Delacroix's The Women of Algiers ( Les Femmes d'Alger ) and one on Velázquez's The Maids of Honor ( Las Meninas ). The third painting relates to Édouard Manet's work The Luncheon on the Grass (Le déjeuner sur l'herbe ), painted in 1863 and now in the Musée d'Orsay, in Paris ( 8 ).

Picasso painted his Le déjeuner series between 1959 and 1962. It includes 27 paintings and 140 drawings, as well as linocuts and cardboard models for sculptures. Within the common theme, the different paintings vary in style: there is a version (1961) in the Musée Picasso, in Paris, that contains figures that remind one of Cézanne's The Bathers , and a Cubist version painted in 1960 ( 9 ).

In the painting shown ( Fig. 1 ), the palette is green and white with a hint of pink, a combination also seen in some of the Cézanne paintings. Manet's composition is loosely maintained, but the figures are simplified with Cubist and Surrealist distortions, clearly evident in the nude figure on the left.

Taking Lunch ( Les Dejeuners ). February 28, 1960 (oil on canvas, 113 × 145 cm). Private collection. ©2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New York. Courtesy of Bridgeman Art Library. Reproduced with permission.

The painting is darker than Manet's original. Picasso compartmentalizes the light by making the figures nearly white and placing streaks of white in the left upper corner. The painting provides enough clues to anchor it in the original theme; however, it expresses it in an entirely different language.

This is what Picasso had to say about art of the past ( 10 ):

To me there is no past or future in art. If a work of art cannot live always in the present it must not be considered at all. The art of the Greeks, of the Egyptians, of the great painters who lived in other times, is not an art of the past; perhaps it is more alive today than it ever was. Art does not evolve by itself, the ideas of people change and with them their mode of expression.

As a result of his responses to various styles, and his engagement with the works of others, Picasso inhabits the entirety of art.

There is an analogy to science: a scientist, by publishing an article and providing a list of references, places himself on the map of science past and present. One could, if one wished, trace the works through the decades that influenced a particular publication by uncovering the successive layers of citations that concern the factual part. The formality of scientific presentations, however, precludes routinely linking scientific results to personal influences, life's events, and charismatic individuals who may have influenced the investigator's ideas; yet, all these factors have their effects on discoveries. The stories that excite the public about scientists often focus on credit for discoveries and associated feuds: from Newton and Leibniz, through the controversies surrounding the discovery of insulin, to Rosalind Franklin's role in the discovery of the DNA structure. Is science putting too little emphasis on the people who make it?

Author Contributions: All authors confirmed they have contributed to the intellectual content of this paper and have met the following 3 requirements: (a) significant contributions to the conception and design, acquisition of data, or analysis and interpretation of data; (b) drafting or revising the article for intellectual content; and (c) final approval of the published article.

Authors' Disclosures or Potential Conflicts of Interest: No authors declared any potential conflicts of interest.

The author thanks Jacky Gardiner for excellent secretarial assistance.

Walther IF . Pablo Picasso 1881–1973: genius of the century . Cologne : Benedikt Taschen ; 1986 .

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Léal B , Piot C , Bernadac ML . The ultimate Picasso . New York : Harry N. Abrams ; 2000 .

Cowling E . Competition and collaboration: Picasso and the Old Masters . In: Cowling E , Cox N , Fraquelli S , Galassi SG , Riopelle C , Robbins A . Picasso. Challenging the past . London : National Gallery Company ; New Haven (CT) : Yale University Press ; 2009 . p 11 – 23 .

Picasso. Museums: New York, Melville Hall Collection . The Absinthe Drinker . http://www.pablo-ruiz-picasso.net/museums.php?museum=34 (Accessed June 2012).

Dominiczak MH . Languages of art and languages of science . Clin Chem 2012 ; 58 : 1270 – 1 .

National Gallery of Victoria . Renoir to Picasso: masterpieces from the Musée de l'Orangerie . Pablo Picasso, Large Bather, 1921 . http://www.ngv.vic.gov.au/orangerie/picassoimage.html (Accessed June 2012).

Olga's Gallery . Pablo Picasso. Bathers with a Toy Boat . http://www.abcgallery.com/P/picasso/picasso203.html (Accessed June 2012).

Musée de l'Orsay . Edouard Manet. Luncheon on the Grass . http://www.musee-orsay.fr/index.php?id=851&L=1&tx_commentaire_pi1%5BshowUid%5D=7123&no_cache=1 (Accessed June 2012).

Bernadac ML . Picasso Museum, Paris: the masterpieces . Paris : Réunion des Musées Nationaux ; Munich : Prestel ; 1991 . p 190 – 1 .

Walther IF . Pablo Picasso 1881–1973. Genius of the century . Cologne : Benedikt Taschen ; 1986 . p 24 .

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“The Tragedy” by Pablo Picasso Research Paper

Pablo Picasso (1881-1973) made outstanding contributions to artwork. He always tried to leave hidden images in his paintings and mainly used collages in his works of art. “The Tragedy” is a three-dimension piece of artwork created using oil and wood to represent image. An impression of three people at a beach on the sea creates an open form, and the artist used blue colour to indicate the beach and the sea.

Pablo used lines mainly to draw in the images. Contour lines bring out the shape of the faces of the three people depicted in this art piece. Vertical lines bring out the shape of the people, who are standing, and an outline to show significant parts of this piece of art. Geometric shapes bring out clear images of the three people in the picture (Picasso, The Tragedy). Pablo used one key shade and tint.

The picture is monochromatic with different shades of blue. The shades bring out a high unity level in the artwork. A balance in the scene is created because the three images fill the whole surface. There is a visual texture that allows this piece of art to look smooth.

The picture represents a tragedy that befell Pablo. His close friend, Carlos Casagemas, died in 1901. It also shows empathy for the poor by Pablo and the fact that he was longing for his home as he was always away from Spain. The masterpiece is an abstract showing a man and woman in a sombre mood and a child who is clapping, probably to get some warmth on the cool beach.

Blue colour symbolizes the Blue Period, a time when there were several prostitutes, beggars as well as other social misfits in urban areas (Picasso, “The Tragedy”). It portrays the reality of contemporary societies whereby some families have conflicts with the wife and husband in a sad mood and the children trying to bring joy into the family.

Hedgerow Birds, piece of art by Helen Musslewhite

Helen Musslewhite’s painting can be described as utilitarian since it improves the looks of many offices in the UK. She visualizes every image before putting it down, and her work is full of creativity. This particular artwork is two-dimensional, represented on a picture plane. The artist used paper to create a painting. She cut it, folded it, and drew the images on the piece of paper.

She used neutral colours to draw this piece of art. Different shades of grey create unity in this work of art whereas white colour shows the nature’s peace (Musselwhite, “Hedgerow Birds”). The artist used curved, vertical and diagonal lines to create the shape of plants and the birds, and an outline to enclose the images. There are several organic shapes of birds and plants, and geometric shapes of flowers.

She balanced the artwork since the images occupied the entire surface of the painting. Texture is not one of the principal elements here, but there is a visual texture of smoothness.

The piece of art is representational, and anyone observing it can see four birds on a hedgerow amidst plants. The artwork represents a typical countryside in the UK where Helen grew. Thus she urged people to conserve the nature (plants as well as animals). This masterpiece shows an influence of nature on the artist (Musselwhite, “Hedgerow Birds”) and helps people appreciate the countryside.

The artist represents social history in the form of folk art. The work is a strong appreciation of social development shown through the life of birds in the same environment. Thus, human beings can keep away from conflict and live in unity and harmony, just like those birds.

Works Cited

Musselwhite, Helen. “Hedgerow Birds.” 1950. JPEG file. Web.

Picasso, Pablo. “ The Tragedy .” 1903. JPEG file. Web.

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IvyPanda. (2021, September 6). "The Tragedy" by Pablo Picasso. https://ivypanda.com/essays/the-tragedy-by-pablo-picasso/

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Bibliography

IvyPanda . ""The Tragedy" by Pablo Picasso." September 6, 2021. https://ivypanda.com/essays/the-tragedy-by-pablo-picasso/.

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Research paper on pablo picasso.

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Not just a famous person – a living legend – the artist Pablo Picasso was born in a small Spanish town of Malaga, famous for giving the name for varieties of wine. He was born in 1881. Pablo took the surname of the mother, because his father’s name – Ruiz – was very ordinary, besides the father of the future artist was himself an artist, and Pablo had someone to learn from.

As a child, his father allowed Pablo to finish his work, for example, to finish a pigeon’s foot. One day, when Pablo had a chance to perform a more extensive work, Jose Ruiz was struck by his technique, and, as stated in one of the legends of Picasso, he was struck so much that he gave up painting from that day on.

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At the age of 16, Pablo went to Madrid, to the best art school at the time. He did not studied there for long, though, but managed to amaze his fellow students and teachers by his craftsmanship. He became much more interested in the various aspects of the life of the big city, and immersed himself in studying the art of the artists interesting to him, such as Diego Velázquez, Francisco Goya, and especially El Greco.

Picasso lived a very long life, never ceasing to create. For almost a century of his life, he has experienced many creative changes, romantic encounters with women, changed dozens of luxury residences, and died a multimillionaire.

In 1901, in the life of Picasso so-called blue period started. At this time, deep emerald blue tones prevail in his paintings, creating a pessimistic decadent mood, it was reflected by such paintings as Breakfast blind (1903), Lean Meal (1904), and others. This period was followed by pink, African, and finally cubist period. Cubism originated by Picasso, was fatal to the culture of the XX century.

Many believe that the first Picasso painting in this style – Demoiselles d’Avignon – was the starting point of modern art.

Interestingly, how public did not accept Cubism at first, criticizing the artist spoilt with the attention, and how it was disappointed with he decided to leave Cubism to work in the neo-classical, realistic style. In 1925, at the start of the Surrealism period, Picasso also began to sculpt and create some surreal sculptures.

If you need to understand the principles of proper research proposal writing, it would be very helpful to consult free research paper on Pablo Picasso, which will teach that after the World War II, he became interested in ceramics. He created figurines of beloved characters – fauns and centaurs. In this small town in the south of France, where he was living, there are still ceramic workshops, holding the brand and manufacturing products in the style of Picasso.

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Pablo Picasso’s Guernica, Research Paper Example

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The painting titled simply Guernica is one of Pablo Picasso’s most famous works. Guernica was created as a mural, and it is over eleven feet tall and more than 25 feet wide. It is painted on canvas with oil paint, and was completed in 1937. Guernica was inspired by real-life events that took place in Spain during the Spanish Civil War. This painting holds a significant place in the world of 20 th century art; in a century marked by two World Wars and advances in military technology that led to the deaths of tens of millions of people, Guernica serves a stark reminder of the horrors of war as seen through the eyes of one of the world’s most famous artists.

Pablo Picasso is, of course, one of the most famous artists of the 20 th century, and indeed of all human history. His exploration and outright invention of different styles was enormously influential during his lifetime and continues to influence new generations of artists to this day. Art historians have categorized different periods of his work according to the stylistic approach and choice of media Picasso used in different times throughout his life. Among the most well-known of the styles Picasso helped to create and define is Cubism, wherein forms and figures are rendered according to their basic, underlying shapes[1]. Elements of Cubism would continue to emerge in his later styles; in the aftermath of the First World War Picasso was among the many artists who explored surrealism, though Picasso’s approach to surrealism was markedly different from those of other artists. Guernica is among Picasso’s most famous surrealist works, though it contains elements of his earlier Cubist approach as well as reflecting his then-current interest in classicism[2].

Picasso was commissioned to paint a mural for the Spanish Pavilion at the Paris International Exposition in 1937. The artist labored for weeks as he searched for inspiration, trying to come up with an idea that would adequately and appropriately reflect the spirit of his native country of Spain[3]. Sadly, inspiration came in the form of tragedy, when military forces led by Francisco Franco and aided by Germany, led a bombing campaign against Basque resistance forces in the village of Guernica in Northern Spain. As news of the attack was heard around the world, outrage against Franco and his actions began to spread. After reading a detailed account of the events in Guernica, Picasso scrapped the initial sketches he had created for the Paris Exposition, and began work on an entirely new project in response to the attack in his native country. Although Guernica was inspired by the real-life events in Spain, Picasso had not visited his homeland since 1934, and would never return to Spain in his lifetime.

The sheer size and scope of Guernica serves to reinforce the painting’s dramatic effect. Although there are elements of Cubism and surrealism apparent in the stylistic approach Picasso took to creating Guernica , the images of people and animals rendered within it are distinct and clear, reflecting the artist’s interest in classicism. At the center of the painting is a wounded, fallen horse, its mouth open in a scream. Beneath the horse a severed human arm holding a broken sword is visible. All around the horse, human forms are visible; like the horse, each of the human figures appears to be crying out in pain and fear. The figure to the right of the horse appears to be a man with his arms extended upward to the sky, as if he is calling out for help. To the left of the horse the figures of several women can be seen; beneath them lies what looks to be a fallen soldier.

In the upper-left section of Guernica appears the image of the head of a bull. Interpretations about what this bull represents vary, and Picasso himself was hesitant to apply a specific interpretation of his own. On his last trip to Spain in 1934 Picasso witnessed the famous running of the bulls in Pamplona[4], and it is possible that the image of the bull in Guernica simply represents the nation of Spain. Other interpretations include the suggestion that the bull is actually a Minotaur, which was a common image used by many artists in the surrealist era of the early 20 th century[5]. Whatever the interpretation, the bull in Guernica adds to the tableau of living creatures and people affected by the horrors of war. At the top of the painting, looking down at the terrible scene below is a single eye with the image of a light bulb where the pupil should be. As is the case with the image of the bull, the image of the electrified eye is open to interpretation; one possibility is that the eyeball-with-light bulb represents the influence of technology and how it affected and amplified mankind’s capacity to kill.

When Guernica was first exhibited to the public at the Paris Exposition, reaction to it was mixed. While some critics were quite impressed by the painting, others complained that it was too graphic and hopeless, or simply did not live up to the artist’s earlier works[6]. Over subsequent decades, however, Guernica ’s reputation would grow, and it is now one of the world’s most revered works of art. The painting remained the property of Picasso for the remainder of his life, though it was sent out on multiple tours of museums around the world in the decades following its creation[7]. When Picasso died, he left Guernica in the hands of the Museum of Modern Art (MOMA) in New York, though he made it clear that he wished for it to be sent to Spain for permanent display once the political situation in his home country had moved beyond the fascist dictatorship of the Franco era[8]. While Picasso stipulated that the painting should not be sent to Spain until that nation had a republic government, the adoption of a constitutional monarchy several years after his death was seen by the new government of Spain as an appropriate time to request that Guernica be handed over by MOMA. Picasso died in 1973, but it was not until 1981 that MOMA would relinquish Guernica to Spain. Guernica was held and displayed in several different Spanish museums over the next several years; it currently resides in a museum in the city of Madrid, in a building that was built specifically for the purpose of displaying and providing security for the famous painting[9].

Although Guernica was painted in response to the specific events in Spain in 1937, it has come to represent much more. Among the venues where a reproduction of the painting was displayed was the United Nations building, where it loomed over the inner lobby for several years. Picasso painted Guernica between the first and second world wars, and the political and social aftermath of World War II may have served to reinforce the stark drama of the images presented in the work. Despite the initial cool reception Guernica received, it has become an image known by people around the world, and the timeless depiction of war presented by Picasso continues to resonate with all those who view it.

Works Cited

Cantelupe, Eugene. “Picasso’s Guernica.”  Art Journal  31.1 (1971): 18-21. Web. 29 Nov. 2013.

“Guernica: Testimony of War.”  PBS: Public Broadcasting Service . N.p., n.d. Web. 29 Nov. 2013.

Richards, Jessie. “Picasso’s Guernica, The Masterpiece of the 20th Century.”  The Art World . N.p., n.d. Web. 29 Nov. 2013.

Van Hensbergen, G.  Guernica: The Biography of a Twentieth-Century Icon . New York, NY: Bloomsbury, 2004. Print.

[1] Cantalupe 21

[2] Eugene Cantalupe, “Picasso’s Guernica.”  Art Journal  31.1 (1971), 18

[3] “Guernica: Testimony of War.”  PBS: Public Broadcasting Service . N.p., n.d.

[4] G. Van Hensenberg, Guernica: The Biography of a Twentieth-Century Icon . New York, NY: Bloomsbury, 2004, 8

[5] Eugene Cantalupe, “Picasso’s Guernica.”  Art Journal  31.1 (1971), 18

[6] “Guernica: Testimony of War.”  PBS: Public Broadcasting Service . N.p., n.d.

[7] “Guernica: Testimony of War.”  PBS: Public Broadcasting Service . N.p., n.d.

[8] Jessie Richards, “Picasso’s Guernica, The Masterpiece of the 20th Century.” n.d.

[9] Richards, Jessie, n.d.

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Research Paper On Pablo Picasso

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Topic: Art , Time , Vehicles , Painting , Pablo Picasso , Aviation , Artists , Airline

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Looking at the history of art, one name stands out. This is Pablo Picasso. He was born on 25th of the month of October 1881 in Malaga Spain. Jose’ Ruiz Blasco, his father who was also a painter, trained him at an early age; hence he was able to start his career at a tender age. Though he attended several art schools while growing, Picasso never completed any college level course; instead he left the Academic Academy of arts within one year. One of the reasons why he dropped out of school was due to the teachers’ inability to assist him in solving technical problems. He had two sisters, Delores and Conchita and his marriage life was a bit complicated; he got married to Olga Khoklova in 1918 but still got involved with mistresses. He got married twice and fathered four children with three different women. Career wise, Picasso rose fast due to his father’s influence in the art industry. His father had lots of connections that in some way benefited him in getting the audience. Among Picasso’s works, “The Picador” was his first painting which he did at a tender age of eight. By 1900, he had started gaining national recognition and had his first exhibition. His “Blue period” began around 1901 when he used blue colors to paint after losing a close friend through suicide. Picasso continued rising in the art industry and moved to Paris in 1904 where he bought a studio and marked the start of his “Rose Period” where he used cheerful colors such as orange and red. The style of art in France was different. His interaction with Fernande Oliver brought some happiness which led to a change in his art work. His first major sale around 1906 was to an art merchant Ambroise Vollard for 2000 francs. His style changed drastically from the usual dry style to a more romantic one . Between 1900 and 1901 Picasso started painting circus artists. He started experimenting on cubism which made him famous. Picasso and another artist called Braque are viewed as the founders of cubism, with their works being vital to the movement. The paintings were more sculptural as they presented simultaneous view of the subject. Picasso renounced the traditional chia-roscuro in which three-dimensional forms were evoked by reproducing how incident light plays across it; thus a sequence of shadows and highlights were produced. Picasso’s first cubist painting ‘Les Demoiselles d’Avignon’ which was done at around 1907, brought about a huge following by other young artists such as Georges Braque who had previously followed his rival Matisse . Picasso’s interest was in plastic creation, mid way between painting and sculpture. His interest in Cubist collages somehow affected his painting. The famous guitar (the construction of a cardboard, wire and string, 65.1 x 33 x 19 cm by the museum of modern art, New York) is one of his key works. Together with the constructions and collages which followed, they introduced a different way of sculpture making. Picasso could present the surfaces, spaces, contours by playing with the parts and the relationships of an object rather than sculpting the solid mass. Picasso played a major role in developing Analytic cubism that involved analysis of individual things according to their shapes and use of brown colors, and Synthetic Cubism that involved collage making . Cubists tend to think that the essence of something can be truly captured if it’s viewed from all the angles at the same time. Les d’Avignon was one such painting which captured all the angles. It was so contentious and described as unconventional work because of the quintet of bold nude whore. Cubists would break down the objects in the painting before reassembling them in a dissimilar order creating a few insights of the object. The movement is among the most powerful in arts history due to the completely different technique of viewing things. Artists were likened to writers; instead of painting the regular form of the object, they would analyze the subjects in a different way thus allowing them to view different aspects of the object in a single view . Analytic cubism was one of the styles used in the cubism movement. It was an uncompromising and intellectual style in the cubism movement. The objects were fragmented to form several intricately hinged transparent and opaque planes that were set at a slight angle to the plane’s picture at lower relief. The contents of the plane’s edges were allowed to dissolve and leak into one another. Picasso’s “girl with mandolin” is a typical example in which the forms are dense and compact in the centre of the painting and more diffuse near the edges. This approach can be likened to taking several photographs of an object from different angles at different times, then cutting the photographs and rearranging randomly on a level surface to let them overlap . The workings were mostly made of muted tones. Some traces of the visual practicality were maintained while breaking down and analyzing the image. The paintings were detailed, with images gathered firmly towards the centre, and grew sparser towards the edges. Muted colors would draw attention to the shifting perspective which embodied the artist’s perspective . Analytic cubism later gave rise to synthetic cubism. This movement removed the three dimensional sense. Entirely new and expansive structures were synthesized in place of the then breaking down and reassembly of the original image. Picasso realized that in repeating the “analytic” signs, the paintings were more geometrically simplified, flatter and more generalized. Overlapping planes would at times share a single color. The painted flat depictions of paper were replaced by real papers. Drawn musical notations replaced by real music. Playing cards, fragments of news papers, advertisements and cigarette packs which were either painted or real interacted on the level plane as the artists were trying to get the real interpretation of art and life . Collage that interpreted fragments and signs of real things was invented. “Still life with chair caning” was Picasso’s first collage, created in 1912. Synthetic Cubism was able to last way past the World War I, with the 20th century artists such as Jacob Lawrence, Romare Bearden, Hans Hoffman and several others being influenced by it. The integration of “low” and “high” art of the Synthetic Cubism is viewed as the first pop Art. The collage methods included graphics, patterns, words and several overlapping media to attain a desired result. Much brighter colors were used; different textures emerged such as sand, paper or gesso and more distinct geometric forms. The “Bowl of Fruit” and “The Bottle, Newspaper, Pipe and Glass” by Picasso are some of the synthetic styles . Around 1912, simultaneity which revolutionized cubism was introduced. Jean Metzinger’s Tea Time also known as the “Mona Lisa with a Teaspoon” were broken into several planes. These planes grow transparent revealing the planes behind them which then cross and combine with other planes. On the left, a saucer and teacup are divided in the centre, one side seen from above and the other side head on. Metzinger’s teacup is a demonstration of the simultaneity. The real image is expressed through the simultaneous revelation of more than one aspect of the object . Cubism in general is an art that revolutionized the industry in different ways. It is however hard to view Picasso and Braque as the creators of the new visual language in visual arts. At its time, Analytic Cubism was definitely viewed as revolutionary by the critics, dealers and other artists but not the public. This was mainly, except for the 1913 Armory, to show that it took place in New York. Neither Braque nor Picasso was able to exhibit analytic Cubist workings in public. Various painters in Paris adopted and developed the idiom and promoted it and by 1911 a cubist school came about. Picasso persisted in employing multiple-viewpoint of the cubist style and some of his works are the Portrait of Dora Maar (1937), Musee Picasso, Female Nude and smoker (1968), Galerie Rosengart, Lucerne among others. On his part Braque devoted much of his time to “still life painting” in different styles. Though cubism was a revolutionary style, it mostly motivated painters to adjust the traditional art .

Works Cited

Ehrlich, Erika González. "Analytical and Synthetic Cubism: Picasso and Braque." (2012): 163-171. ENCYCLOPEDIA OF ART. 28 April 2012. Analytical Cubism. 24 June 2013 <http://visual-arts-cork.com>. Gersh-Nesic, Beth. 3 august 2009. Art History Definition: Synthetic Cubism. 20 april 2013 <http://www.sntheticcubinsm.htm>. Jansen, Marten. 24 January 2013. Pablo Picasso cubism. 28 June 2013 <http://www.pablopicasso.htm>.

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