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Although the artists themselves did not use these terms, [2] the distinction between "analytic cubism" and "synthetic cubism" could also be seen in sculpture, writes Read (1964): "In the analytical Cubism of Picasso and Braque, the definite purpose of the geometricization of the planes is to emphasize the formal structure of the motif represented.
In one scheme, the first phase of Cubism, known as Analytic Cubism, a phrase coined by Juan Gris a posteriori, [10] was both radical and influential as a short but highly significant art movement between 1910 and 1912 in France. A second phase, Synthetic Cubism, remained vital until around 1919, when the Surrealist movement
Girl with a Mandolin (1910) by Pablo Picasso. Girl with a Mandolin is a 1910 painting within the Cubist movement by Pablo Picasso in Paris. The artwork was one of Picasso’s early Analytic Cubist creations. [1]
Analytic cubism, exemplified by Violin and Candlestick, Paris, was jointly developed by Pablo Picasso and Georges Braque from about 1908 through 1912. Analytic cubism was followed by Synthetic cubism, characterized by the introduction of different textures, surfaces, collage elements, papier collé and a large variety of merged subject matter ...
The painting is a portrait of Ambroise Vollard and displays Picasso's analytical approach to Cubism. In contrast to earlier, more traditional portraits of Vollard, created by Cézanne and Renoir, Picasso's painting uses sharp, geometric shapes and planes to convey the form of the subject.
Crystal Cubism (French: Cubisme cristal or Cubisme de cristal) is a distilled form of Cubism consistent with a shift, between 1915 and 1916, towards a strong emphasis on flat surface activity and large overlapping geometric planes. The primacy of the underlying geometric structure, rooted in the abstract, controls practically all of the ...
Natalia Goncharova, Cyclist (1913), oil on canvas, 78×105 cm, State Russian Museum Cubo-Futurism (Russian: кубофутуризм, romanized: kubofuturizm) was an art movement, developed within Russian Futurism, that arose in the early 20th-century Russian Empire, defined by its amalgamation of the artistic elements found in Italian Futurism and French Analytical Cubism. [1]
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