Cubism

Cubism has been defined in different ways by artists, critics and historians. Some have written about cubism as a form of plastic geometry.

## Contents

* 1 Appolonaire's definitions
* 1.1 Scientific Cubism
* 1.2 Physical Cubism
* 1.3 Orphic
* 1.4 Instinctive
* 2 Historification
* 2.1 Analytic v Synthetic
* 2.1.1 Analytic Cubism
* 2.1.2 Synthetic Cubism
* 2.2 Early/ High/Late
* 2.2.1 Early Cubism
* 2.2.2 High Cubism
* 2.2.3 Late Cubism

## Appolonaire's definitions[edit | edit source]

At Section d'Or in 1912, Guillame Apolonaire gave a lecture outlining 4 types of Cubism :

### Scientific Cubism[edit | edit source]

Including Picasso and Braques

### Physical Cubism[edit | edit source]

Le Fouconnier - who didn;t break fully with traditional perspective

### Orphic[edit | edit source]

Duchamp, Picabia, Delauney

### Instinctive[edit | edit source]

those jumping on the bandwagon!

## Historification[edit | edit source]

### Analytic v Synthetic[edit | edit source]

#### Analytic Cubism[edit | edit source]

Coined by Juan Gris a posteriori . Goes from 1910 to 1912 in France. Main practiced by Braque

* Use of Trompe-l'œil
* Refusal of perspective
* Multi-angled (dimension of time)
* Use of collage
* monochromatic colours.

#### Synthetic Cubism[edit | edit source]

* fewer and simpler forms based to a lesser extent on natural objects.
* Brighter colors
* more decorative effect,
* more use of collage and other two-dimensional materials.

until around 1919, when the Surrealist movement gained popularity.

### Early/ High/Late[edit | edit source]

English art historian Douglas Cooper describes three phases of Cubism in his book, The Cubist Epoch.

#### Early Cubism[edit | edit source]

1906 to 1908 - developed in the studios of Picasso and Braque;

#### High Cubism[edit | edit source]

1909 to 1914 during which time Juan Gris emerged as an important exponent (after 1911)

#### Late Cubism[edit | edit source]

from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement. Douglas Cooper's restrictive use of these terms to distinguish the work of Braque, Picasso, Gris (from 1911) and Léger (to a lesser extent).

The assertion that the Cubist depiction of space, mass, time, and volume supports (rather than contradicts) the flatness of the canvas was made by Daniel-Henry Kahnweiler as early as 1920,[15] but it was subject to criticism in the 1950s and 1960s, especially by Clement Greenberg.[16] <wikipedia>

see w:Cubism