Picasso And Braque Cubism Art

Shapes and geometrical figures were first introduced by the ancient Egyptians and Babylonians around 2000BC, artists would think that it is the immature version of cubism. However, it was not a very popular form of art since before the 20th century; art was recognized as imitation of nature. Painting and portraits were created to look as realistic as possible, mimicking the three dimensional form. Artists painted using the flamboyant fauvism style. The style was first defied by the French postimpressionist Paul, who's flattened still lives, and African sculptures gained popularity in Western Europe. Artists went looking for new methods to present their ideas and express their views. Artists like Picasso and Geoges Bracque introduced Cubism,
which was the art form that penetrated the surface of objects and stressed basic abstract geometric forms that presented the object from many angles simultaneously.
In 1907, Pablo Picasso created the painting Les Damsoilles d'Avignon, portraying five women whose bodies are constructed of geometric shapes and heads of African masks rather than faces. This new image grew to be known as 'cubism'. The name originating from the critic Louis Vauxcelles, who after revising French artist and fellow Cubist Georges Braque exhibition wrote of 'Bizzeries Cubiques', and that objects 'had been reduced to cubes (Arnheim, 1984). Cubism changed the way art was represented and seen. Cubism abandoned traditional notions of perception, foreshadowing and modeling and aimed to represent solidarity and volume in a three-dimensional plane without converting the two-dimensional.
The experiments of Picasso and Braque owe much to Kahnweiler, who was the major supporter of their work.
Picasso and Braque were both quite poor in 1907 and Kahnweiler offered to buy their work as they painted them, therefore liberating the artists from distressing about pleasing viewers or getting negative criticisms. Subsequent to the 1908's exhibit, with few exceptions, the two artists exhibited only in Kahnweiler's gallery. The collaboration between Picasso and Braque commencement in 1909 was essential to the genesis of cubism. The two artists met frequently to discuss their evolvement, and at times it became difficult to discriminate between the works of one artist from another. Both lived in the bohemian Montmartre section of Paris years before and during World War I, which made their collaboration easy. Though Picasso and Braque returned to Cubism periodically throughout their careers and there were some exhibitions of their work up until 1925, the two-man movement did not last much beyond World War
I.
It was through the work of the Salon Cubists that the movement became widely recognized in the community by the early 1910s and influenced various artists who were also composed of sculptors and architects. These artists involved Robert Delaunay, Albert Gleizes, Fernand Léger, Juan Gris, Henri Le Fauconnier, Robert de La Fresnaye, and Jean Metzinger. Metzinger and Delaunay, who had been friends at least since 1906, began collaborating with Gleizes as a result of the yearly Salon d'Automne. It was through Gleizes that they met Le Fauconnier who had published Note sur la peinture (1910) in which he praised Picasso and Braque for their "full liberation" of painting.
These artists exhibited together at the 1911 Salon des Independants, introducing Cubism to the general public.
The Independants was a non-juried exhibition where public reaction depended on how and where paintings were hung. In addition to showing their works in large exhibitions, the Salon Cubists were also different from Picasso and Braque in that they often operated on a great scale, leading one art historian to coin the term 'Epic Cubism' to distinguish their work from the more intimate paintings of Picasso and Braque. While they broke apart objects and bodies into geometric forms like those of Picasso and Braque, the Salon Cubists did not challenge Renaissance conceptions of space to the same extent nor did they embrace the monochromatic color of Analytic Cubism or the collage elements of Synthetic
Cubism.