This effect is meant to allow for the viewer to adjust how they see and understand the subject. Depending on whether you are discussing Picasso or Braque these fragmented pieces of the larger whole either seem to be pulling the subject towards the center of the piece, or exploding outward towards the edge of the canvas, respectively. As previously mentioned Cubism, especially Analytical Cubism uses simple subjects so that the fragmented planes of color that represent these subjects are easily identifiable. Analytical Cubist works focus on the deconstruction of the ideas of perspectives, planes, and dimensions of previous movements. One way to think about this part of the movement is as the perfection of the basic technique of the period. From 1910 to 1912, the works of art created are considered Analytical Cubism. When looking back at Cubism as a movement, it is divided into two different parts. This work captures the characteristic traits of Cubism a simplified color palette, fragmented planes that capture the larger picture abstractly, presents the reality of the subject as it could be seen instead of how the artist sees it. One of Picasso's first truly Cubist works is Daniel Henry-Kahnweiler painted in 1910. Alternately, this work does begin the Cubist movement because the purpose of this work was not to explore the dissection of color and shapes but rather for Picasso to explore his influences and combine them into one work. This work is the arguable beginning of Cubism because it begins the breakdown of figures into fragments and planes, and has a limited color palette. If you are one of the art historians who believe that Cubism began in 1907, then the movement begun with Pablo Picasso's Les Demoiselles d'Avignon. To simplify, Cézanne tried to be the forward-thinking artist of the Impressionist movement and succeeded by inspiring Picasso and Braque to create a new movement entirely. However, Cézanne falls at the end of the Impressionism movement and therefore pays more attention to the evolution of his art away from the central ideas of the movement, like abstraction in favor of emotion, and instead focuses on dissecting how he and others see the world. Cézanne is firmly a contributor to the Impressionism movement and focused on capturing the impression of the landscape depicted. Picasso and Braque’s favourite motifs during the period of Cubism were still lifes with musical instruments, bottles, pitchers, glasses, newspapers, playing cards, the human face and the human figure.Cubism grew out of Paul Cézanne's late work like Mont Sainte-Victoire which attempts to simplify the landscape by breaking it down to its colors and shapes. This inclusion of real objects in art was the beginning of one of the important ideas in modern art, to work with already existing (readymade) objects. Synthetic cubism began when cubist artists started using textures and patterns in their paintings and experimenting with the collage form. Synthetic cubism art is the later phase of cubism, dating from around 1912 to 1914, and characterised by simpler shapes and brighter colours. This simplified palette was chosen so as not to distract the viewer from the structure of the form and the density of the image at the centre of the canvas. The artworks look severe, and are made up of an interweaving of planes and lines in muted tones of blacks, greys and ochres. Analytical cubism art is considered to run from 1908-1912. Cubism developed in two distinct phases: analytical cubism and (later) synthetic cubism.
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