Proto-Cubism - Knowledge

1658: 3172: 1144: 1209: 3491: 3395: 3706: 20: 2853: 3725: 1264: 2563: 1228: 1563: 244: 4062: 955: 2710: 4041: 3665: 2770: 299: 2647: 1712: 613: 2915: 1611:"The 1906 exhibition of Gauguin's work left Picasso more than ever in this artist's thrall. Gauguin demonstrated the most disparate types of art—not to speak of elements from metaphysics, ethnology, symbolism, the Bible, classical myths, and much else besides—could be combined into a synthesis that was of its time yet timeless. An artist could also confound conventional notions of beauty, he demonstrated, by harnessing his demons to the dark gods (not necessarily Tahitian ones) and tapping a new source of divine energy. If in later years Picasso played down his debt to Gauguin, there is no doubt that between 1905 and 1907 he felt a very close kinship with this other Paul, who prided himself on Spanish genes inherited from his Peruvian grandmother. Had not Picasso signed himself 'Paul' in Gauguin's honor." 1333: 3914:

fact that a group of artists are all working in similar directions, gives rise to the term 'Cubism'. Although similar terms (i.e., "cubes") have been used before in relation to the works of Cross (1901), Metzinger and Delaunay (1906, 1907) and Braque (1908), the term "Cubism" emerges for the first time at the inauguration of the 1911 Salon des Indépendants; imposed by 'scandal-mongering journalists who wished to create sensational news' (to use the words of Gleizes). The term was used derogatorily to describe the diverse geometric concerns reflected in the paintings of five artists in continual communication with one another: Metzinger, Gleizes, Delaunay, Le Fauconnier and Léger (but not Picasso or Braque, both absent from this massive exhibition).

2683:"Picasso, keen as a whip, spirited as a devil, mad as a hatter, runs to his studio and contrives a huge nude woman composed entirely of triangles, and presents it in triumph. What wonder Matisse shakes his head and does not smile! He chats thoughtfully of the "Harmony and volume" and "architectural values," and wild Braque climbs to his attic and builds an architectural monster which he names Woman, with balanced masses and parts, with openings and columnar legs and cornices. Matisse praises the direct appeal to instinct of the African wood images, and even a sober Dérain, a co-experimenter, loses his head, moulds a neolithic man into a solid cube, creates a woman of spheres, stretches a cat out into a cylinder, and paints it red and yellow!" 1255:, 1905–06), each individual square of pigment associated with another of similar shape and color to form a group; each grouping of color juxtaposed with an adjacent collection of differing colors; just as syllables combine to form sentences, and sentences combine to form paragraphs, and so on. Now, the same concept formerly related to color has been adapted to form. Each individual facet associated with another adjacent shape form a group; each grouping juxtaposed with an adjacent collection of facets connect or become associated with a larger organization—just as the association of syllables combine to form sentences, and sentences combine to form paragraphs, and so on—forming what Metzinger described as the 'total image'. 3150: 3579: 276:

light. Cézanne's departure from classicism, however, would be best summarized in the treatment and of application of the paint itself; a process in which his brushstrokes played an important role. The complexity of surface variations (or modulations) with overlapped shifting planes, seemingly arbitrary contours, contrasts and values combined to produce a strong patchwork effect. Increasingly in his later works, as Cézanne achieves a greater freedom, the patchwork becomes larger, bolder, more arbitrary, more dynamic and increasingly abstract. As the color planes acquire greater formal independence, defined objects and structures begin to lose their identity.

2673:"Though the school was new to me, it was already an old story in Paris. It had been a nine-days’ wonder. Violent discussions had raged over it; it had taken its place as a revolt and held it, despite the fulmination of critics and the contempt of academicians. The school was increasing in numbers, in importance. By many it was taken seriously. At first, the beginners had been called "The Invertebrates." In the Salon of 1905 they were named "The Incoherents." But by 1906, when they grew more perfervid, more audacious, more crazed with theories, they received their present appellation of "Les Fauves"—the Wild Beasts. And so, and so, a-hunting I would go!" 1282:"Artists of the years 1910-1914, including Mondrian and Kandinsky as well as the Cubists", writes Robert Herbert, "took support from one of its central principles: that line and color have the ability to communicate certain emotions to the observer, independently of natural form." He continues, "Neo-Impressionist color theory had an important heir in the person of Robert Delaunay. He had been a Neo-Impressionist in the Fauve period, and knew intimately the writings of Signac and Henry. His famous solar discs of 1912 and 1913 are descended from the Neo-Impressionists' concentration upon the decomposition of spectral light." 410: 733: 3277: 2790: 2434:"Here the nights of the Blue Period passed... here the days of the Rose Period flowered... here the Demoiselles d'Avignon halted in their dance to re-group themselves in accordance with the golden number and the secret of the fourth dimension... here fraternized the poets elevated by serious criticism into the School of the Rue Ravignan... here in these shadowy corridors lived the true worshippers of fire ... here one evening in the year 1908 unrolled the pageantry of the first and last banquet offered by his admirers to the painter Henri Rousseau called the Douanier." 4191:

was clearly the starting point of a new movement in painting, perhaps the most remarkable in modern times, It revealed not only that artists are beginning to recognise the unity of art and life, but that some of them have discovered life is based on rhythmic vitality, and underlying all things is the perfect rhythm that continues and unites them. Consciously, or unconsciously, many are seeking for the perfect rhyth, and in so doing are attaining a liberty or wideness of expression unattained through several centuries of painting. (Huntly Carter, 1911)

3022:"In neither case" notes Daniel Robbins, "did the use of the word "cube" lead to the immediate identification of the artists with a new pictorial attitude, with a movement. The word was no more than an isolated descriptive epithet that, in both cases, was prompted by a visible passion for structure so assertive that the critics were wrenched, momentarily, from their habitual concentration on motifs and subjects, in which context their comments on drawing, color, tonality, and, only occasionally, conception, resided." (Robbins, 1985) 2021: 2045: 6340: 1422: 2691:"Metzinger once did gorgeous mosaics of pure pigment, each little square of color not quite touching the next, so that an effect of vibrant light should result. He painted exquisite compositions of cloud and cliff and sea; he painted women and made them fair, even as the women upon the boulevards fair. But now, translated into the idiom of subjective beauty, into this strange Neo-Classic language, those same women, redrawn, appear in stiff, crude, nervous lines in patches of fierce color." 861: 644: 2033: 3040: 3867:

of "a free, mobile perspective", and the "mixing... of the successive and the simultaneous". He was the first to write of the fact that artists had abandoned traditional perspective and were now free to move around their subjects to paint them from various points in space, and at various moments in time. Metzinger's role at center of Cubism both as a painter and theorist prompted Guillaume Apollinaire to write of Picasso, Braque and Metzinger as the first three Cubist painters.

2009: 2520: 1777: 537:, had emphasized the importance of this new formal device". Kahn's free verse was revolutionary because, in his own words, "free verse is mobile, like mobile perspective". In classical French poetry, writes Robbins, "meaning and rhythm were united, and sense and rhythm stopped simultaneously. The unity consisted in the number and rhythm of vowels and consonants together forming an organic and independent cell". The system began to break down, according to Kahn, with the 4205:"To understand Cézanne is to foresee Cubism. Henceforth we are justified in saying that between this school and previous manifestations there is only a difference of intensity, and that in order to assure ourselves of this we have only to study the methods of this realism, which, departing from the superficial reality of Courbet, plunges with Cézanne into profound reality, growing luminous as it forces the unknowable to retreat. (Jean Metzinger and Albert Gleizes, 1912) 769:. Comparative morphological analyses of the two painters works reveal common elements: the distortion of the human body, the reddish and unworked backgrounds, and the similarities in the rendering of space. According to Brown, "Cézanne and El Greco are spiritual brothers despite the centuries which separate them". Fry observed that Cézanne drew from "his great discovery of the permeation of every part of the design with a uniform and continuous plastic theme". 11435: 2412:, "one of the most notable social events of the twentieth century", writes Brinnin, "was neither an orgiastic occasion nor even an opulent one. Its subsequent fame grew from the fact that it was a colorful happening within a revolutionary art movement at a point of that movement's earliest success, and from the fact that it was attended by individuals whose separate influences radiated like spokes of creative light across the art world for generations." 3688: 2639:. Cézanne's explorations of geometric simplification and optical phenomena inspired not just Matisse, Derain, Braque and Metzinger, but the other artists who exhibited earlier with the Fauves. Those who had not transited through a Fauve stage, such as Picasso, experimented, too, with the complex fracturing of form. Cézanne had thus sparked a wholesale transformation in the area of artistic investigation that would profoundly affect the development 1360:"With the advent of monochromatic Cubism in 1910-1911," Herbert continues, "questions of form displaced color in the artists' attention, and for these Seurat was more relevant. Thanks to several exhibitions, his paintings and drawings were easily seen in Paris, and reproductions of his major compositions circulated widely among the Cubists. The Chahut was called by André Salmon "one of the great icons of the new devotion", and both it and the 326:

by those who chose to see in his work the imitation of nature and perspective, and as a revolutionary by those who saw in him a revolt against imitation and classical perspective. Timid, yet clearly manifest, was the will to deconstruct. Artists at the forefront of the Parisian art scene at the outset of the 20th century would not fail to notice these tendencies inherent in the work of Cézanne, and decided to venture still further.

1521: 1188:. Each brushstroke of color was equivalent to a word or 'syllable'. Together the cubes of pigments formed sentences or 'phrases', translating various emotions. This is an important aspect of Metzinger's early work, proto-Cubist work, and an important aspect of Metzinger's entire artistic output (as a painter, writer, poet, and theorist). Prior to the advent of Cubism Metzinger coupled Symbolist/Neo-Impressionist color theory with 2598:

amounts to a wavering schematicism that proscribes modeling and volumes in the name of I-don't-know-what pictorial abstraction. This new religion hardly appeals to me. I don't believe in this Renaissance... M. Matisse, fauve-in-chief; M. Derain, fauve deputy; MM. Othon Friesz and Dufy, fauves in attendance... and M. Delaunay (a fourteen-year-old-pupil of M. Metzinger...), infantile fauvelet. (Vauxcelles, Gil Blas, 20 March 1907).

2079:, with its hyperbolic or spherically curved space, was thus, at the very least, an equally valid alternative. This discovery in the world of mathematics overthrew 2000 years of seeming absolutes in Euclidean geometry, and threw into question conventional Renaissance perspective by suggesting the possible existence of multi-dimensional worlds and perspectives in which things might look very different. 1204:"I ask of divided brushwork not the objective rendering of light, but iridescence and certain aspects of color still foreign to painting. I make a kind of chromatic versification and for syllables I use strokes which, variable in quantity, cannot differ in dimension without modifying the rhythm of a pictorial phraseology destined to translate the diverse emotions aroused by nature." (Metzinger, 1907) 2298: 1991:

the very form of the equation). He investigated the nature of trajectories of integral curves in a plane; classifying singular points (saddle, focus, center, node), introducing the concept of a limit cycle and the loop index. For the finite-difference equations, he created a new direction – the asymptotic analysis of the solutions. He applied all these achievements to study practical problems of

3600:(1885-1961) announces the appearance of a new school of French painters concentrating their attention on form rather than on color. A group forms that includes Gleizes, Metzinger, Delaunay (a friend and associate of Metzinger), and Fernand Léger. They meet regularly at Henri Le Fauconnier's studio near the Bld de Montparnasse, where he is working on his ambitious allegorical painting entitled 2603: 2628:

simplified form began to overtake the representational aspect of the works. The simplification of representational form gave way to a new complexity; the subject matter of the paintings progressively became dominated by a network of interconnected geometric planes, the distinction between foreground and background no longer sharply delineated, and the depth of field limited.

2490:, in far-reaching ways, diverging significantly from the developments of Cézanne or Seurat. The symptoms of that shift during the first decade of the 20th century are countless and redoubtable, bursting practically overnight, and were soon to be perceived by the reactionary adversaries as no more than grotesque, incomprehensible, to be considered with haughty amusement. 2143: 1815: 3570:. No sign of any compromise there. Braque and Picasso only showed in Kahnweiler's gallery and we were unaware of them. Robert Delaunay, Metzinger and Le Fauconnier had been noticed at the Salon des Indépendants of that same year, 1910, without a label being fixed on them. Consequently, although much effort has been put into proving the opposite, the word 2231:

discoveries relating to the fourth dimension. M. Jacob informed the ingenious M. Picasso of it, and M. Picasso saw there a possibility of new ornamental schemes. M. Picasso explained his intentions to M. Apollinaire, who hastened to write them up in formularies and codify them. The thing spread and propagated. Cubism, the child of M. Princet, was born".

1059:. Though his subject matter is always taken from an unsentimental observation of the world, writes Brooke, 'Gleizes has a marked preference for urban and semi-urban scenes with an emphasis on human labour'. Though he often uses bright colors there is little or no interest in either Fauvism or Divisionism, the two schools that now dominate the Parisian 2678:"It was Matisse who took the first step into the undiscovered land of the ugly. Matisse himself, serious, plaintive, a conscientious experimenter, whose works are but studies in expression, who is concerned at present with but the working out of the theory of simplicity, denies all responsibility for the excesses of his unwelcome disciples." 1325:

their established theory, Signac and Cross now painted in enormous strokes which could never pretend to mix in the eye, and which did not even retain nuance of tone. Raw, bold yellows, magentas, reds, blues, and greens sprang forth from their canvases, making them as free of the trammels of nature as any painting then being done in Europe."

1119:, 16 October 1911, Apollinaire writes: "I am honoured to be the first model of a Cubist painter, Jean Metzinger, for a portrait exhibited in 1910 at the Salon des Indépendants." It was not only the first Cubist portrait, according to Apollinaire, but it was also the first great portrait of the poet exhibited in public, prior to others by 3168:"Derain, too, had abandoned decorative light painting in 1907", Kahnweiler writes, "preceding Braque by a few months. But from the outset, their roads were diverse. Derain's endeavor to retain fidelity to nature in his painting separates him forever from Cubism, no matter how closely his ideas may otherwise parallel those of Braque." 3145:"Thus Picasso painted figures resembling Congo sculptures, and still lifes of the simplest form. His perspective in these works is similar to that of Cézanne. Light is never more than a means to create form — through chiaroscuro, since he did not at this time repeat the unsuccessful attempt of 1907 to create form through drawing." 3431:. Apollinaire writes of the paintings exhibited nothing about cubes, but mentions "the synthetic motifs he paints" and that he "no longer owes anything to his surroundings". It was Vauxcelles who called Braque a daring man who despises form, "reducing everything, places and a figures and houses, to geometric schemas, to cubes. 3991:, 1910-11 (Haags Gemeentemuseum, Den Haag), partly due to its large size and partly to the treatment of its subject matter, was an eye-catcher, causing a sensation. This painting was soon bought by the Dutchman art critic and painter Conrad Kickert (1882-1965), who was secretary of the Contemporary Art Society ( 3210:

representational form gave way to a new complexity; the subject matter of the paintings progressively became dominated by a network of interconnected geometric planes, the distinction between foreground and background no longer sharply delineated, and the depth of field limited. And Picasso had almost completed

2623:, Russia. The dance theme passed through several stages in Matisse's work prior to this canvas. Only here, however, did it acquire its famous passion and expressive resonance. The frenzy of the pagan bacchanalia is embodied in the powerful, stunning accord of red, blue and green, uniting Man, Heaven and Earth. 3300:(1 May 1908), Apollinaire claims that Braque's work is the most original presented at the salon. Even in the absence of Matisse and Picasso, Vauxcelles, in Gil Blas (20 March 1908) refers to the most innovative artists of the exposition as 'barbarous schematizers'... who want to create an 'abstract art'. 2746:

his work suggested with such-and-such an archetype. It would be judged – exclusively – by what distinguished this artist from all the others. The age of the master and pupil was finally over; I could see about me only a handful of creators and whole colonies of monkeys. (Jean Metzinger, Cubism was Born)

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It was at the Salon d'Automne, amid the Rhythmists , I found the desired sensation. The exuberant eagerness and vitality of their region, consisting of two room remotely situated, was a complete contrast to the morgue I was compelled to pass through in order to reach it. Though marked by extremes, it

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Never had the critics been so violent as they were at that time. From which it became clear that these paintings - and I specify the names of the painters who were, alone, the reluctant causes of all this frenzy: Jean Metzinger, Le Fauconnier, Fernand Léger, Robert Delaunay and myself - appeared as a

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Albert Gleizes writes of the Salon d'Automne of 1911: "With the Salon d'Automne of that same year, 1911, the fury broke out again, just as violent as it had been at the Indépendants." He writes: "The painters were the first to be surprised by the storms they had let loose without intending to, merely

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The first group exhibition of Cubism transpired at the 1911 Indépendants. The result of the group show is a major scandal. Both the public and the press are outraged by the obscurity of the subject matter, represented as cones, cubes and spheres. The predominance of sharp geometrical faceting and the

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on the other. Of this group of five, only Metzinger and Braque were familiar with the works of Picasso, and Metzinger alone, familiar with the works of everyone in the group. It is now universally believed that Metzinger was the first to recognize explicitly and implicitly the significance of the use

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In the foreground, however, alien to the style of the rest of the painting, appear a crouching figure and a bowl of fruit. These forms are drawn angularly, not roundly modeled in chiaroscuro. The colors are luscious blue, strident yellow, next to pure black and white. This is the beginning of Cubism,

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Early in 1907 Picasso began a strange large painting depicting women, fruit and drapery, which he left unfinished. It cannot be called other than unfinished, even though it represents a long period of work. Begun in the spirit of the works of 1906, it contains in one section the endeavors of 1907 and

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Now, the king of the Fauves... Henri Matisse... with one word cast out Jean Metzinger and Robert Delaunay from the family. With that feminine sense of the appropriate, the basis of his taste, he baptized the cottages of the two painters, "Cubist." An ingenuous or ingenious art critic was with him. He

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writes, "It was Matisse who took the first step into the undiscovered land of the ugly." Picasso, at the time, painted a nude woman "composed entirely of triangles". Braque "builds an architectural monster which he names woman". Braque was, according to Burgess, "the originator of architectural nudes

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During the month of March, 1905, Louis Vauxcelles, in his review of the Salon des Indépendants, published on the front page of Gil Blas, writes: "M. Metzinger, still very young, mimics his elders with the candor of a child throwing handfuls of multicolored confetti; his « point », very big,

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on a surface that is rigorously flat. With this type of illusion other artist of his generation such as Gleizes and Picasso wanted nothing to do. "Quite clearly" Metzinger notes, "nature and the painting make up two different worlds which have nothing in common..." Already, in 1906, "it could be said

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Pictorial space could now be transformed in response to the artists own subjectivity (expressing primal impulses, irrespective of classical perspective and Beaux Arts artistic expectations). "Adherence to subjectivity in turn" write Antliff and Leighten, "signalled a radical break from past pictorial

1768:"The idea of describing the movement of a nude coming downstairs while still retaining static visual means to do this, particularly interested me. The fact that I had seen chronophotographs of fencers in action and horse galloping (what we today call stroboscopic photography) gave me the idea for the 1373:

The concept was well established among the French artists that painting could be expressed mathematically, in terms of both color and form; and this mathematical expression resulted in an independent and compelling 'objective truth,' perhaps more so than the objective truth of the object represented.

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Robert Herbert writes, of the changes occurring in the early 20th century: "By about 1904, the resolution of the dilemma was made in favor of the abstract side of the equation. "Harmony means sacrifice", Cross said, and much of early Neo-Impressionism was jettisoned. Although they paid lip service to

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An interpretation of this statement was made by Robert L. Herbert: "What Metzinger meant is that each little tile of pigment has two lives: it exists as a plane where mere size and direction are fundamental to the rhythm of the painting and, secondly, it also has color which can vary independently of

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At the Salon d'Automne of 1910, held from 1 October to 8 November, Jean Metzinger introduced an extreme form of what would soon be labeled Cubism, not just to the general public for the first time, but to other artists that had no contact with Picasso or Braque. Though others were already working in

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The word "cube" for Chassevent in 1906, with regard to the large, thickly painted, and highly geometrized paintings of Metzinger and Delaunay, did not imply a movement. Nor did the word "cube" for Vauxcelles hold any special meaning two and a half years later when he wrote (in November 1908) a brief

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There were no limits to the audacity and the ugliness of the canvasses. Still-life sketches of round, round apples and yellow, yellow oranges, on square, square tables, seen in impossible perspective; landscapes of squirming trees, with blobs of virgin color gone wrong, fierce greens and coruscating

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within which he built a new branch of mathematics called "qualitative theory of differential equations". Poincaré showed that even if the differential equation can not be solved in terms of known functions, a wealth of information about the properties and behavior of the solutions can be found (from

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superimposed on a single photographic negative, while Muybridge used multiple cameras to produce separate images that could be projected by his zoopraxiscope. In 1887, Muybridge's photos were published as a massive portfolio comprising 781 plates and 20,000 photographs in a groundbreaking collection

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Throughout 1906, Gleizes and his associates pursue an idea proposed by Charles Vildrac of establishing of a self-supporting artists community which would enable them to develop their art free of commercial considerations. A suitable house and grounds is found in Créteil, then a small village outside

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Before the Indépendance, the Cubists infiltrated the placement committee to make sure they would all be shown as a group. Le Fauconnier, the secretary of the salon, facilitated the goal of hanging their works together. Until then, works had been placed according to alphabetical order of the artists

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The term "Cubisme" is employed for the first time outside France in June 1911 by Apollinaire, speaking in the context of an exhibition in Brussels which includes works by Archipenko, Gleizes, Delaunay, Léger, Metzinger, Segonzac, Le Fauconnier, and Jean Marchand. Apollinaire's impulse was to define

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I wanted an art that was faithful to itself and would have nothing to do with the business of creating illusions. I dreamed of painting glasses from which no-one would ever think of drinking, beaches that would be quite unsuitable for bathing, nudes who would be definitively chaste. I wanted an art

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I had measured the difference that separated art prior to 1900 from the art which I felt was being born. I knew that all instruction was at an end. The age of personal expression had finally begun. The value of an artist was no longer to be judged by the finish of his execution, or by the analogies

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A movement I consider dangerous (despite the great sympathy I have for its perpetrators) is taking shape among a small clan of youngsters. A chapel has been established, two haughty priests officiating. MM Derain and Matisse; a few dozen innocent catechumens have received their baptism. Their dogma

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which was prominently displayed in 1906, was to stimulate Picasso's interest in both sculpture and ceramics, while the woodcuts would reinforce his interest in print-making, though it was the element of the primitive in all of them which most conditioned the direction that Picasso's art would take.

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on the subject of myth. Without doubt, writes Podoksik, Picasso's proto-Cubism—coming as it did not from the external appearance of events and things, but from great emotional and instinctive feelings, from the most profound layers of the psyche—clairvoyantly (as Rimbaud would have said) arrived at

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With the exception of Picasso (his Blue and Pink periods being entirely different intellectually), all the leading Cubists and Futurists came from Neo-Impressionism, believing its objective validity to be a scientific discovery. It was in part this scientific basis that left the avant-garde artists

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was the result of a vision Romains had in 1903, writes Peter Brooke, "in which he had seen all the phenomena of daily life as intimately related like the different parts of a single huge beast". On the strength of its association with Romains the Abbaye de Créteil is often described as 'Unanimist'.

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on the other; together to forming a hybrid. His own generation would see in his contradictory codes nothing more than impotence, unaware of his intentions. However, the next generation would see in Cézanne greatness, precisely because of this duality. Cézanne was seen simultaneously as a classicist

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and mobile perspective. In this seminal text Metzinger stressed the distance between their works and traditional perspective. These artists, he wrote, granted themselves 'the liberty of moving around objects', and combining many different views in one image, each recording varying experiences over

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Vauxcelles recounts how Matisse told him at the time, "Braque has just sent in a painting made of little cubes". The critic Charles Morice relayed Matisse's words and spoke of Braque's little cubes. The motif of the viaduct at l'Estaque had inspired Braque to produce three paintings marked by the

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The illusion had been maintained up to 1906 or 1907 through the negligence of those whose job it was to clear away the rubbish, but the break was achieved in 1908. No-one would again dare to look at a Puvis de Chavannes or read Balzac. No-one, I mean, among those who walked above the Moulin Rouge,

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As for Picasso... the tradition he came from had prepared him better than ours for a problem to do with structure. And Berthe Weil was right when she treated those who compared him/confused him with, a Steinlen or a Lautrec as idiots. He had already rejected them in their own century, a century we

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described the intellect as an instrumental tool, a by-product of evolution. The intellect was no longer considered a cognitive faculty able to grasp reality in an impartial manner. Instead, argued Bergson, we should rely on intuition to inspired creative insights in both the sciences and the arts.

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Poincaré postulated that the laws believed to govern matter were created solely by the minds that 'understood' them and that no theory could be considered 'true'. "The things themselves are not what science can reach..., but only the relations between things. Outside of these relations there is no

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In 1906, working at the Bateau Lavoir, Picasso continued to explore new directions; portraying monumental female figures standing in abstract interior spaces. Now, in addition to the bathers of Cézanne, Spanish romanesque art and Iberian sculpture provide a prominent influences for Picasso. Around

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Kahnweiler's conclusion, similar to those leveled against Cézanne, was that Picasso's painting 'never constitutes a unified whole' and was thus unsuccessful. "After months of the most laborious searching, notes Kahnweiler, "Picasso realized that the complete solution of the problem did not lie in

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These problems were the basic tasks of painting: to represent three dimensions and color on a flat surface, and to comprehend them in the unity of that surface... Not the simulation of form by chiaroscuro, but the depiction of the three dimensional through drawing on a flat surface...(Kahnweiler,

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along similar lines dubbed Princet, sarcastically, the 'father of Cubism': "M. Princet has studied at length non-Euclidean geometry and the theorems of Riemann, of which Gleizes and Metzinger speak rather carelessly. Now then, M. Princet one day met M. Max Jacob and confided him one or two of his

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In addition to his preoccupation for the simplification of geometric structure, Cézanne was concerned with the means of rendering the effect of volume and space. His rather classical color-modulating system consisted of changing colors from warm to cool as the object turns away from the source of

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and one year after the "cubes" of Braque's L'Estaque paintings) were considered the first Cubist painting by Gertrude Stein. It is generally recognized, however, that the first Cubist exhibition transpired in 1911. Jean Metzinger, judging from the Burgess interview, appears to have abandoned his

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But the nudes! They looked like flayed Martians, like pathological charts—hideous old women, patched with gruesome hues, lopsided, with arms like the arms of a Swastika, sprawling on vivid backgrounds, or frozen stiffly upright, glaring through misshapen eyes, with noses or fingers missing. They

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Marey also made movies. His chronophotographic gun (1882) was capable of taking 12 consecutive frames a second, and the most interesting fact is that all the frames were recorded on the same picture. Using these pictures he studied a great variety of animals. Some call it Marey's "animated zoo".

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The evolution towards a more rectilinear style with simplified forms continues with greater emphasis on clear geometric principles (derived from the works of Cézanne) not solely visible in the works of Braque, but too in the works of Metzinger, Gleizes, Le Fauconnier and Delaunay (Picasso being

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The Fauvism of Matisse and Derain was virtually over by the spring of the 1907 Indépendants. And by the Salon d'Automne of 1907 it had ended for many others as well. The shift from bright pure colors loosely applied to the canvas gave way to a more calculated geometric approach. The priority of

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Metzinger, followed closely by Delaunay—the two often painting together in 1906 and 1907—would develop a new style of Neo-Impressionism incorporating large cubic brushstrokes within highly geometrized compositions that had great significance shortly thereafter within the context of their Cubist

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can be seen in Picasso's work of the period. A significant innovation of El Greco's later works is the interweaving of form and space; a reciprocal relationship is developed between the two that unifies the painted surface. This interweaving would re-emerge three centuries later in the works of

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studio on the rue Lamarck to Picasso's Bateau Lavoir studio on the rue Ravignan, writes Metzinger, "the attempt to imitate an orb on a vertical plane, or to indicate by a horizontal straight line the circular hole of a vase placed at the height of the eyes was considered as the artifice of an

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chronologically extending from 1906 to 1910. Evidence suggests that the production of proto-Cubist paintings resulted from a wide-ranging series of experiments, circumstances, influences and conditions, rather than from one isolated static event, trajectory, artist or discourse. With its roots

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means of expression promoted by the Academia. The representation of fixed objects occupying a space, was replaced by dynamic colors and form in constant evolution. Yet other means would be necessary to jettison completely the long-standing foundation that surrounded them. While the freedom of

4400:

The Chronology of Proto-Cubism: New Data on the Opening of the Picasso/Braque Dialogue. In Picasso and Braque: A Symposium. Edited by L. Zelevansky, organized by William Rubin; moderated by Kirk Varnedoe; Proceedings of a symposium held at the Museum of Modern Art, New York, November 10–15,

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in the fall of 1907 it had ended for many others as well. The shift from expressing bright pure colors loosely applied to the canvas gave way to a more calculated geometric approach. Simplified form began to overtake the representational aspect of the works. For Metzinger and Delaunay, too,

1760:

Eadweard Muybridge's sequential photography of movements broken down frame by frame produced in the late 19th century depicting a wide variety of subjects in motion, were known in Europe at the beginning of the 20th century. Muybridge often traveled to Europe to promote his work, and he met

456:

in Germany, it also created currents that flowed throughout Parisian art world threatening to destabilize (if not topple) at least three of the core foundations of the academia: the geometrical method of perspective used to create the illusion of form, space and depth since the Renaissance;

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In light of the headway made by Cézanne, the multiple use of the word "cube" with reference to diverse works by diverse artists, and the other factors involved (political, social, cultural), it has been suggested that Cubism, with its proto-phase, would have emerged regardless of Picasso's

1811:. In 1881, Muybridge first visited Marey's studio in France and viewed stop-motion studies before returning to the US to further his own work in the same area. Marey was a pioneer in producing multiple exposure sequential images using a rotary shutter in his so-called "Marey wheel" camera. 1746:, including Jean Metzinger, Albert Gleizes and Marcel Duchamp. A predecessor to cinematography and moving film, chronophotography involved a series or succession of different images, originally created and used for the scientific study of movement. These studies would directly influence 1772:. It doesn't mean that I copied these photographs. The Futurists were also interested in somewhat the same idea, though I was never a Futurist. And of course the motion picture with its cinematic techniques was developing then too. The whole idea of movement, of speed, was in the air." 1879:

Towards the turn of the century, he returned to studying the movement of quite abstract forms, like a falling ball. His last great work, executed just before the outbreak of Fauvism in Paris, was the observation and photography of smoke trails. This research was partially funded by

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and could also be read into Metzinger's work of 1910–12, though rather than simultaneously superimposing successive images to depict the motion, Metzinger represents the subject at rest viewed from multiple angles; the dynamic role is played by the artist rather than the subject.

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The next step, wrote Kahn, was to impart unity and cohesion by means of a union of related consonants, or the repetition of similar vowel sounds (assonance). Poets were thus free to create novel and complex rhythms, with, if so desired, inversions that destroyed the beat of the

3804:"The question of when Cubism began and who led the way in its development", writes art historian Christopher Green, "is inextricably tied up with the question of what distinguishes Cubist art, how it can be defined and who can be called Cubist". Picasso's landscapes painted at 2951:. Cubism is a style of painting inspired by puzzles or these popular guessing-game designs for children found in certain newspapers, which consist of finding, for example, a hare pursued by a hunter in the landscape accessories. That's how "Cubism" proceeds. Under the title of 3944:

observed in a range of paintings, from proto-Cubist quasi-Fauve landscapes to the semi-abstract geometric compositions of artists such as Metzinger, Delaunay, Gleizes and a growing group of followers. In his chapter on Picasso, however, there is no mention of the term Cubism.

1702:

and others, so popular in Paris a few years earlier. Grasset stresses the principle that various simple geometric shapes (e.g., the circle, triangle, the square, along with their respective volumes, spheres, cones and cubes) are the basis of all compositional arrangements.

3419:(1908), a prototypical proto-Cubist period painting consisting both of Cézannian trees and houses depicted in the absence of any unifying perspective. Houses in the background do, however, appear smaller than those of the foreground, consistent with classical perspective. 1507:. They became friendly rivals and competed with each other throughout their careers, perhaps leading to Picasso entering a new period in his work by 1907, marked by the influence of ethnographic art. Picasso's paintings of 1907 have been characterized as proto-Cubism, as 1328:

Where the dialectic nature of Cézanne's work had been greatly influential during the highly expressionistic phase of proto-Cubism, between 1908 and 1910, the work of Seurat, with its flatter, more linear structures, would capture the attention of the Cubists from 1911.

772:

In 1904 Picasso moved to Paris, where the work of post-impressionist painters Van Gogh, Cézanne, Seurat, Gauguin were exhibited at galleries and Salons. Rapidly assimilating these influences, he adapted to new styles and techniques, as the use of bright unmixed colors.

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of 1904. Current works were exhibited at the Salon d'Automne of 1905 and 1906, followed by two commemorative retrospectives after his death in 1907. The influence generated by the work of Cézanne suggests a means by which some of these artist made the transition from

2239:

Maurice Princet joined us often. Although quite young, thanks to his knowledge of mathematics he had an important job in an insurance company. But, beyond his profession, it was as an artist that he conceptualized mathematics, as an aesthetician that he invoked

2267:, the most widely known and most discussed of his books, appeared in 1907, constituting one of the most profound and original contributions to the philosophical consideration of evolution. The proto-Cubists would have known of his work through, amongst others, 3223:

The 1907 Salon d'Automne impels Apollinaire to refer to Matisse as the "fauve of fauves". Works by both Derain and Matisse are criticized for the ugliness of their models. Braque and Le Fauconnier are considered as Fauves by the critic Michel Puy (brother of

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Louis Vauxcelles, this time in his review of the 26th Salon des Indépendants (1910), made a passing and imprecise reference to Metzinger, Gleizes, Delaunay, Léger and Le Fauconnier, as "ignorant geometers, reducing the human body, the site, to pallid cubes."

1559:, emotive figural distortions, and the dynamic rhythms generated by repetitive ornamental patterns. These were the profound energizing stylistic attributes, present in the visual arts of Africa, Oceana, the Americas, that attracted the Parisian avant-garde. 3056:, New York. Picasso later called this his "first exorcism painting." A specific danger he had in mind was life-threatening sexual disease, a source of considerable anxiety in Paris at the time; earlier studies more closely link sexual pleasure to mortality. 3604:. "In this painting" writes Brooke, "the simplification of the representational form gives way to a new complexity in which foreground and background are united and the subject of the painting obscured by a network of interlocking geometrical elements". 2988:

with square feet, as square as boxes, with right-angled shoulders". Derain, "a co-experimenter," writes Burgess, "moulds a neolithic man into a solid cube, creates a woman of spheres, stretches a cat out into a cylinder, and paints it red and yellow!"

2955:, Jean Metzinger shows us "cubes" of various tones, but of the same color. The trick is to find the head, the arms at different points on the canvas. It's a distraction like any other, but it is not art. This is the latest cry of pictorial craziness . 950:

arrives in the Spring of 1907 with a Russian wife who speaks no French. The group supports itself through the fine quality printing run by Linard and Gleizes. Occasional visitors include the painters Berthold Mahn, Jacques d'Otémar and Henri Doucet.

132:

The building blocks that led to the construction of proto-Cubist works are diverse in nature. Neither homogeneous nor isotropic, the progression of each individual artist was unique. The influences that characterize this transition period range from

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and symbolist art and verse (from Baudelaire and Rimbaud to Daumier and Seurat), where melancholy and social alienation pervade the saltimbanque. Corresponding to the tone of Picasso, acrobats represent both mystery and enchantment in the poems of

3115:

And Cottington following through notes that "the problems were quite unrelated, however, to the picture's subject of an encounter with five naked staring whores (even though Kahnweiler's choice of adjectives seems to have registered its affect)".

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was pinpointed in the early 1980s, when the stylistic similarities and the relationship between the motifs of both works were analysed. Art historian Ron Johnson was the first to focus on the relationship between the two paintings. According to

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Louis Vauxcelles, in his review of the 26th Salon des Indépendants (1910), made a passing and imprecise reference to Metzinger, Gleizes, Delaunay, Léger and Le Fauconnier, as "ignorant geometers, reducing the human body, the site, to pallid

3540:(1913), Metzinger, following Picasso and Braque, was chronologically the third Cubist artist. Jean Metzinger, the same year, managed to convince the jury of the Salon d'Automne to admit some highly geometric paintings into the exhibition. 1554:

European artists (and art collectors) prized these objects for their stylistic traits defined as attributes of primitive expression: absence of classical perspective, simple outlines and shapes, presence of symbolic signs including the

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I admit to not understanding. An ugly nude woman is stretched out upon grass of an opaque blue under the palm trees... This is an artistic effect tending toward the abstract that escapes me completely. (Vauxcelles, Gil Blas, 20 March

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His movies were at a high speed of 60 images per second and of excellent image quality: coming close to perfection in slow-motion cinematography. His research on how to capture and display moving images helped the emerging field of

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transited through a proto-Cubist period, while some delved deeper into the problems of geometric abstraction, becoming known as Cubists, others chose different paths. And not all underwent the transformation by passing through the

1621:(literally meaning 'savage'), a gruesome phallic representation of the Tahitian goddess of life and death intended for Gauguin's grave. First exhibited in the 1906 Salon d'Automne retrospective, it was likely a direct influence on 3651:, in which he compares the similarities in the works Picasso, Braque, Delaunay, Gleizes and Le Fauconnier. In doing so he enunciated for the first time, not the term "Cubism", but what would become known as the characteristics of 3607:

This exhibition preceded the 1911 Salon des Indépendants which officially introduced "Cubism" to the public as an organized group movement. Metzinger had been close to Picasso and Braque, working at this time along similar lines.

2485:

No observer, either academic or independent, could have mistaken the direction of change taken by the avant-garde between 1906 and 1910. The fundamental shift away from nature within artistic circles had advanced to the status of

469:. At the time, it was assumed that all art aims at beauty, and anything that wasn't beautiful couldn't be counted as art. The proto-Cubists revolted against the concept that objective beauty was central to the definition of art. 4148:, Comoedia, Excelsior, Action, L'Oeuvre, Cri de Paris. Apollinaire wrote a long review in the April 20, 1911 issue of L'Intransigeant. Thus Cubism spread into the literary world of writers, poets, critics, and art historians. 573:. Each was to find her own rhythmic force. The classicists feared that the dismantling of meter by the decadent Symbolist 'barbarians' would undermine the French language, and thus attack the very foundations of social order. 2709: 271:

dated 15 April 1904. Cézanne ambiguously writes: "Interpret nature in terms of the cylinder, the sphere, the cone; put everything in perspective, so that each side of an object, of a plane, recedes toward a central point."

2828:). The size and direction of each plane are fundamental to the rhythm of the painting, yet color can vary independently of size and placement. This form of Divisionism was a significant step beyond the preoccupations of 3006:. Living less of an interior life than Picasso, remaining to all outward appearances more like painters than their precursor, these young artists were in a much greater hurry for results, though they be less complete. 2395:

Disposed to accept the unorthodox in life and art, and naturally tolerant of eccentricity, Gertrude Stein had accommodated the tendency of her Parisian contemporaries of spend their time and talent looking for ways to

725:(Sabartès Seated). The modernists also devoted themselves to political anarchy and other social causes, including sympathy for the poor, denizens and the underclass; subjects that would soon emerge in the paintings of 1948:. These ideas were disseminated and debated in widely available popularized publications, and read by writers and artists associated with the advent of Cubism. Popularized too were new scientific discoveries such as 116:, and to variants developed elsewhere in Europe. Proto-Cubist works embrace many disparate styles, and would affect diverse individuals, groups and movements, ultimately forming a fundamental stage in the history of 2699:, published years later, Cubism had been born out of the "need not for an intellectual art but for an art that would be something other than a systematic absurdity"; the idiocies of reproducing or copying nature in 313:. In order to express the mountain's grandeur, Cézanne manipulated the scene by painting the mountain twice as large as it would have appeared, and tipped forward so that it would rise up rather than slope backwards 2290:, a phenomenon hypothesized to occur in people when their attention is divided between two simultaneous intelligent activities such as writing and speaking, yielding examples of writing that appeared to represent " 3440:

According to John Golding's influential history of Cubism published in 1959, it was at the Salon des Indépendants of 1909, held 25 March through 2 May, that the first Cubist painting was exhibited to the public:

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commented that he "uses a large and square pointillism, giving the impression of mosaic. One even wonders why the artist has not used cubes of solid matter diversely colored: they would make pretty revetments."

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because they had hung on the wooden bars that run along the walls of the Cours-la-Reine, certain paintings that had been made with great care, with passionate conviction, but also in a state of great anxiety."

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in 1903 and 1906. Picasso's paintings of monumental figures from 1906 were directly influenced by the paintings, sculptures and writings of Gauguin. The savage power evoked by Gauguin's work lead directly to

2980:, "Metzinger painted a puzzle, cubic and triangular, which after verification, is a naked woman. I managed to discover the head, torso and legs. I had to give up finding arms. This is beyond comprehension". 1843:

After his work at the University of Pennsylvania, Muybridge travelled extensively, giving numerous lectures and demonstrations of his still photography and primitive motion picture sequences. At the Chicago

262:

Several predominant factors mobilized the shift from a more representational art form to one that would become increasingly abstract; one of the most important would be found directly within the works of

2257:

exposed his radical idea that the human experience of time was a creative process associated with biological evolution. He rejected the division of space into separate measurable units. Both Bergson and

2234:

Metzinger, in 1910, wrote of Princet: " lays out a free, mobile perspective, from which that ingenious mathematician Maurice Princet has deduced a whole geometry". Later, Metzinger wrote in his memoirs:

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intervention. The art historian and collector Douglas Cooper viewed Cubist painting to have been the beginning of a stylistic revolution which was inevitable. The American art scholar and MoMA curator

1657: 1538:

The African influence, which introduced anatomical simplifications and expressive features, is another generally assumed starting point for the Proto-Cubism of Picasso. He began working on studies for

3190:

And Derain was not the only one to venture along the path of Cézanne, only to turn away from it in the coming years. Chagall, Friesz, Matisse, Dufy, Redon, Vlaminck and Modigliani are prime examples.

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of 1913 in New York City. The painting, already a certain distance from Fauvism, was deemed so ugly students burned it in effigy at the 1913 Armory Show in Chicago, where it had toured from New York.

1321:"The Neo-Impressionists" according to Maurice Denis, "inaugurated a vision, a technique, and esthetic based on the recent discoveries of physics, on a scientific conception of the world and of life." 3850:, published the same year, Metzinger acknowledges the birth of a new kind of painting; one that employed a mobile perspective. In that seminal text, Metzinger identifies similarities in the works of 3193:

But too, just as Picasso and Braque, other artists independently and simultaneously explored the Cézannian approach, and did continue on to become Cubists, each with his or her own particular style.

65:

stemming from at least the late 19th century, this period is characterized by a move towards the radical geometrization of form and a reduction or limitation of the color palette (in comparison with

2631:

Many of Cézanne's paintings had been exhibited at the Salon d'Automne of 1904, 1905 and 1906. After Cézanne died in 1906, his paintings were exhibited in Paris in the form of a retrospective at the

2590:

In addition to the works of Matisse, Derain and Braque, the Indépendants of 1907 included six works (each) by Vlaminck, Dufy, Metzinger, Delaunay, Camoin, Herbin, Puy, Valtat, and three by Marquet.

231:

Impressionism had certainly jeopardized its integrity, it would take another generation of artists, not just to bring the edifice down piece by piece, but to rebuild an entirely new configuration,

1904:

To justify such a radical move towards the depiction of the world in unrecognizable terms, Antliff and Leighten argue that the emergence of Cubism transpired during an era of dissatisfaction with

1596:

in Paris. Durrio, both a friend of Gauguin's and an unpaid agent of his work, had several of Gauguin's works on hand, in an attempt to help his poverty-stricken friend in Tahiti by promoting his

84:

is progressively stripped away from objective representation to reveal the constructive essence of the physical world (not just as seen). The term is applied not only to works of this period by

2940:

in May 1910 (cited in Fry 58 and Robbins 1985, pp. 12, 22). The exhibition is reviewed by Léon Werth, who used the adjective 'cubic' to describe Picasso's treatment of roofs and chimneys.

2886:'s gallery early in 1907. The two of them were singled out by Louis Vauxcelles in 1907 as Divisionists who used large, mosaic-like 'cubes' to construct small but highly symbolic compositions. 1848:

of 1893, Muybridge presented a series of lectures on the "Science of Animal Locomotion" in the Zoopraxographical Hall, built specially for that purpose. He used his zoopraxiscope to show his

1298:, "is an homage to the decomposition of spectral light that lay at the heart of Neo-Impressionist color theory..." (Herbert, 1968) (See, Jean Metzinger, Rijksmuseum Kröller-Müller, Otterlo). 1143: 3386:: Guérin, Marquet, Rouault and Matisse rejected Braque's entire submission. Guérin and Marquet elected to keep two in play. Braque withdrew the two in protest, placing the blame on Matisse. 4947: 3171: 3532:, two paintings in which the emphasis on simplified geometric form overwhelms to a large extent the representational interest of the painting. The same tendency is evident in Metzinger's 1285:

The height of Metzinger's Neo-Impressionist work was in 1906 and 1907, when he and Delaunay painted portraits of one another in prominent rectangles of pigment. In the sky of Metzinger's

6385:(Cubism was Born), Présence, Chambéry, 1972. (This text written by Jean Metzinger was supplied to the publisher Henri Viaud by Metzinger's widow Suzanne Phocas). Translation Peter Brooke 2947:

Now a note on the grotesque: Among all these "fauves"—the name given to the Impressionists in conventional workshops—the most "fauve" of all is certainly Jean Metzinger, the defender of

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Leading up to 1910, one year before the scandalous group exhibiting that brought "Cubism" to the attention of the general public for the first time, the draftsman, illustrator and poet,

2943:

In a review of the 1910 Salon d'Automne published in L'Ouest-Éclair, a journalist (J.B.) employs the term 'Cubism' demeaningly (several months prior to the popularization of the term):

1208: 549:'s drawings and prints of 1908 and 1909, notes Robbins, "where the hatching lines that create a shape do not stop at the contour, but continue beyond, taking on an independent life". 3490: 1738:

had a profound influence on the beginnings of Cubism and Futurism. These photographic motion studies particularly interested artists that would later form a groups known as the

6104: 4021:. The studios of Jacques Villon and Raymond Duchamp-Villon at 7, rue Lemaître, become, together with Gleizes' studio at Courbevoie, regular meeting places for the newly formed 1592:

in 1907. According to Gauguin biographer David Sweetman, Picasso became an aficionado of Gauguin's work in 1902 when he befriended the expatriate Spanish sculptor and ceramist

5117: 2933:

In his review of the 26th Salon des Indépendants, published 19 March 1910 in Le Petit Parisien, art critic Jean Claude pejoratively combined the terms "Metzinger-le-cubique".

19: 3705: 4136:. The result was a public scandal which brought Cubism to the attention of the general public for the second time. The first was the organized group showing by Cubists in 3536:(1909) exhibited in the same salon. According to Apollinaire this was the "first Cubist portrait (a portrait of myself)". Apollinaire himself has pointed out in his book 3724: 3394: 2925:, oil on canvas, 72.4 x 48.5 cm (28 1/2 by 19 1/8 in). Exhibited in Paris at the 1906 Salon d'Automne (no. 420) along with a portrait of Delaunay by Metzinger (no. 1191) 2852: 3949:

names. In Room 41 hung works by Gleizes, Léger, Delaunay, Le Fauconnier, Archipenko, and Metzinger (now described as "the Emperor of Cubism"). In room 43 hung works by

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consists of Gleizes, Arcos and Vildrac with his wife Rose, sister of Duhamel. Duhamel himself, like Barzun, appears intermittently. The group is joined by the musician

11277: 2889:

In an anonymous review of the 1908 Salon des Indépendants published in Le Matin, Metzinger is accused of making "a salad of Maurice Denis and Egyptian bas-reliefs".

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passage about Braque's landscapes exhibited at the Kahnweiler gallery: "He scorns forms, reduces all sites and figures and houses, to geometric schemas, to cubes":

2244:-dimensional continuums. He loved to get the artists interested in the new views on space that had been opened up by Schlegel and some others. He succeeded at that. 1436:

Another factor in the shift towards abstraction could be found burgeoning in art circles during the late 19th and early 20th centuries. Europeans were discovering

4933: 922:, with the aim of countering the influence of militarist propaganda while providing the elements of a popular and secular culture. Gleizes is responsible for the 6288: 5349: 3758:

According to Gleizes' memoirs, Mercereau introduces him to Metzinger but only after the Salon d'Automne do they become seriously interested in each other's work.

3566:, on the subject of the 1910 Salon d'Automne. It gives a good idea of the situation in which the new pictorial tendency, still barely perceptible, found itself: 3009:

Exhibited, their works passed almost unobserved by the public and by art critics, who...recognized only the Fauves, whether it be to praise or to curse to them.

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Paris. The rent for the first six months is provided by Barzun through a small inheritance. In December, Gleizes and Vildrac move in. At the outset of 1907 the

7026:, The New Age, a weekly review of Politics, Literature, and Art, New series, Vol. 9. No. 26, London: The New Age Press, Ltd., Thursday October 26, 1911. p. 617 4660: 1227: 2741:(who paints first, then draws), "foreshadowed, more perhaps than Cézanne or black African art, not just Cubism but all the painting that followed afterward". 4520: 2209:, and he drifted away from the circle of artists at the Bateau-Lavoir. But Princet remained close to Metzinger and would soon participate in meetings of the 9902: 5917:

J'ai assisté à la naissance du cubisme, à sa croissance, à son déclin. Picasso en fut l'accoucheur, Guillaume Apollinaire la sage-femme, Princet le parrain.

2848:"M. Metzinger is a mosaicist like M. Signac but he brings more precision to the cutting of his cubes of color which appear to have been made mechanically ". 1291:, 1906–1907 (Rijksmuseum Kröller-Müller), is the solar disk which Delaunay was later (during his Cubist and Orphist phases) to make into a personal emblem. 3656: 557:. As Kahn noted, this was shocking because traditionally it was the regularity of the strophe that gave the reader meaning. Symbolist concepts vacated the 3105:

The nudes, with large, quiet eyes, stand rigid, like mannequins. Their stiff, round bodies are flesh-colored, black and white. That is the style of 1906.

1562: 6780:, New York, Wittenborn, Schultz. This is the first translation of the original German text entitled "Der Weg zum Kubismus", Munich, Delphin-Verlag, 1920 243: 6684: 5425: 4061: 954: 3870:

Now well beyond the teachings of Cézanne, the newly formed Montparnasse group (who held meetings not just at Le Fauconnier's studio, but at the cafés

2963:, art critique Edmond Epardaud writes of the 'geometric follies' of Metzinger, and describes both Gleizes and Le Fauconnier as 'specious architects' ( 2224:: "I witnessed the birth of cubism, its growth, its decline. Picasso was the obstetrician, Guillaume Apollinaire the midwife, Princet the godfather." 1795:

briefly worked alongside him, learning about the application of photography to the study of human and animal motion. Eakins later favoured the use of

1761:Étienne-Jules Marey in 1881. His freeze-framed images evoked time and motion. Displayed in a grid, the subject is captured in split-second intervals. 1107:, two paintings in which the emphasis on simplified form clearly overwhelms the representational aspect of the works. The same tendency is evident in 6463:, Published by The Solomon R. Guggenheim Foundation, New York, in collaboration with Musée National d'Art Moderne, Paris, Museum am Ostwall, Dortmund 2646: 1453: 1377:

Indeed, the Neo-Impressionists had succeeded in establishing an objective scientific basis in the domain of color (Seurat addresses both problems in

8864: 1764:

In an interview with Katherine Kuh, Marcel Duchamp spoke about his work and its relation to the photographic motion studies of Muybridge and Marey:

867:, ca.1908. First row: Charles Vildrac, René Arcos, Albert Gleizes, Barzun, Alexandre Mercereau. Second row: Georges Duhamel, Berthold Mahn, d'Otémar 6081:, appear in Hobhouse, 1975, at 68 and Burns, 1970, at 8. The painting now in a private collection was displayed in a 2003 Matisse/Picasso exhibit. 3891:) together with other young painters who also want to emphasize a research into form (as opposed to color) take over the hanging committee of the 11717: 8373: 6813:, Catalogue des ouvrages de peinture, sculpture, dessin, gravure, architecture et art décoratif. Exposés au Grand Palais des Champs-Élysées, 1907 6579:, Catalogue des ouvrages de peinture, sculpture, dessin, gravure, architecture et art décoratif. Exposés au Grand Palais des Champs-Élysées, 1906 3342:, Moscow: Braque, Derain, Metzinger, van Dongen, Friesz, Manguin, Marquet, Matisse, Puy, Valtat and others exhibit. At the 1909 Salon d'Automne, 3183: 2900:'s gallery called Braque a daring man who despises form, "reducing everything, places and a figures and houses, to geometric schemas, to cubes". 994:. Ghil held open evenings every Friday, attended by the members of the Abbaye. The Abbaye published books by a wide variety of authors including 3292:

At the Indépendants of 1908, a painting by Braque strikes Apollinaire by its originality. Though not listed in the catalog, it was described in

5275: 2870:

The history of the word "cube" goes back at least to May 1901 when Jean Béral, reviewing Cross's Neo-Impressionist work at the Indépendants in

2313: 10779: 7006: 505:

was associated, was a principle example of the correspondence between progress in art and politics; a growing conviction among young artists.

4040: 3664: 2737:

For Metzinger, the "entirely intuitive dissociation" between color of the Fauves and form of classical painting, exemplified in the works of

2729:

had no intention of prolonging. Whether or not the Universe was endowed with another dimension, art was going to move into a different field.

10231: 5432:"The Eadweard Muybridge Collection at the University of Pennsylvania Archives contains 702 of the 784 plates in his Animal Locomotion study" 4009:

Another Cubist scandal is produced at the Salon d'Automne of 1911. The Indépendants exhibitors develop relations with the Duchamp brothers,

1090:) show the intention of simplifying form similar to that of Gleizes. The two painters meet through the intermediary of Alexandre Mercereau. 7067: 4186:

writes that "art is not an accessory to life; it is life itself carried to the greatest heights of personal expression." Carter continues:

1791:

Between 1883 and 1886, Muybridge made more than 100,000 images, capturing the interest of artists at home and abroad. In 1884, the painter

1044:. Gleizes' own painting in this period shifts from Post-Impressionism towards a fluid, linear style, with close relations to Symbolism and 291:, 1920). For Vauxcelles the influence had a two-fold character, both 'architectural' and 'intellectual'. He stressed the statement made by 3013:

ran to his newspaper and with style wrote the gospel article; the next day the public learned of the birth of Cubism. (André Salmon, 1912)

1787:, Study in human motion. Eakins invented a camera that could record several sequential exposures of a moving person in a single photograph 298: 10265: 4144:. In room 41 hung the work of Gleizes, Metzinger, Léger, Delaunay, Le Fauconnier and Archipenko. Articles in the press could be found in 1032:

at the Abbaye, with poetry readings, music and exhibitions. Participants included the Italian Symbolist poet, soon to be the theorist of

4391: 3141:

Bypassing the problem of color, simply by eliminating color from his paintings, Picasso in 1908 concentrated on form. Kahnweiler notes:

1066:

In 1909 Gleizes' evolution towards a more linear proto-Cubist style continues with greater emphasis on clear, simplified, construction;

317:

With both his courage and experience to draw from, Cézanne created a hybrid art-form. He combined on the one hand the imitative and the

12273: 10772: 4416: 3679: 4679: 2506:, the well-established anti-establishment art exhibition at this time peppered with proto-Cubist works, he wrote in humorist fashion: 6153: 1739: 7437: 3895:

ensuring that the works of a small group of artists would be shown together: Gleizes, Metzinger, Le Fauconnier, Delaunay, Léger and

3766:

The work of Metzinger, Le Fauconnier and Robert Delaunay were exhibited together. Le Fauconnier showed the geometrically simplified

1154: 381:) had begun reevaluating their own work in relation to that of Cézanne. A retrospective of Cézanne's paintings had been held at the 2769: 1971:. Perception was no longer associated solely with the static, passive receipt of visible signals, but became dynamically shaped by 6739: 2635:

of 1907, greatly attracting interest and affecting the direction taken by the avant-garde artists in Paris prior to the advent of

1711: 5043: 1916:. The 19th century theories upon which such philosophies were based, came under attack by intellectuals such as the philosophers 1583:

had achieved center stage in the avant-garde circles of Paris following the powerful posthumous retrospective exhibitions at the

6943:, translation by Peter Brooke. Originally written by Gleizes in 1925 and published in a German version in 1928, under the title 4527: 875:

too bares its roots in Symbolism. In his father's Montmartre workshop (around 1899), Gleizes joins a childhood friend, the poet

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and then they furiously gave them seven columns out of the ten that were taken up, at that time, by the Salon. (Gleizes, 1925)

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argued that Braque, with his commitment to a Cézannist syntax, would have created early Cubism had Picasso never existed.

1161:

Until 1910 Picasso, Metzinger, and Braque were the only pioneers of the movement and it was they who originated the term

9372: 9355: 8756: 8366: 5382: 10341: 8701: 5000:, vol. 124, 1907, as cited in Robert L. Herbert, 1968, Neo-Impressionism, The Solomon R. Guggenheim Foundation, New York 4716: 3473:

who had been working in a similar geometric style. Constantin Brâncuși exhibited alongside Metzinger, Le Fauconnier and

2816:

between 1905 and 1907 painted in a Divisionist style with large squares or rectangular planes of color (see Metzinger's

80:

Proto-Cubist artworks typically depict objects in geometric schemas of cubic or conic shapes. The illusion of classical

12004: 11972: 10409: 9260: 5595: 5102: 5086:, London: Phaidon in association with the Los Angeles County Museum of Art & the Metropolitan Museum of Art, 1970. 3699: 2312:, New York. When someone commented that Stein didn't look like her portrait, Picasso replied, "She will". Stein wrote " 1752: 178: 8729: 6296: 5361: 4037:

painting based on analogies with music and the progressive abstraction of a subject in motion, joins the discussions.

2574: 1332: 883:, Jacques d'Otémar and Josué Gaboriaud, as well as the printer, Lucien Linard, who will soon run the printshop at the 11868: 10488: 10483: 9328: 8819: 6853: 6799: 6723: 6704: 6328: 6045: 5974: 5935: 5892: 5858: 5769: 5711: 5664: 5633: 5476: 5451: 5407: 5258: 5170: 5091: 4615: 3590: 825:"turns out to have a few more answers to give once we realize that the painting owes at least as much to El Greco as 6201: 5319: 3972:, who died 2 September 1910. Articles and reviews were numerous and extensive in sheer words employed; including in 12458: 11471: 8746: 7060: 4955: 3615:

exhibited coincidentally in Room VIII. This was the moment in which the Montparnasse group quickly grew to include

2818: 1251: 1149: 579:, one of Kahn's favorite words used to describe free verse, would become the title of well known Futurist works by 9494: 3149: 1004: 10914: 10387: 8678: 8594: 7021: 6910:, 1913), translation and accompanying commentary by Peter F. Read, University of California Press, 1 October 2004 6533: 2715: 1845: 1604: 818: 5786: 4151:

Apollinaire took Picasso to the opening of the Salon d'Automne in 1911 to see the cubist works in Room 7 and 8.

3002:

Jean Metzinger and Robert Delaunay painted landscapes planted with cottages reduced to the severe appearance of

1967:

propagating through space, revealing realities not only hidden from human observation, but beyond the sphere of

12379: 12345: 10667: 10216: 10075: 9839: 8859: 8695: 8404: 8359: 6355: 3528: 2837: 2541: 2528: 1099: 482: 5423:

Selected Items from the Eadweard Muybridge Collection (University of Pennsylvania Archives and Records Center)

2404:, this was "a society committed to the systematic outraging of every rule". Picasso's famous dinner party for 761:

The first artist who seems to have noticed the structural code built into the morphology of late El Greco was

9756: 9509: 3924:(the "ism" signifying a tendency of behavior, action or opinion belonging to a class or group of persons (an 3130:

was exhibited to the public for the first time, and not in the gallery of Kahnweiler. It was included in the

1893: 788:, drew on the cool tonality of El Greco and the anatomy of his ascetic figures. While Picasso was working on 692:, characterized by contour lines, simplified form and unnatural colors. Yet, in addition to the influence of 623: 6126:

Museum of Modern Art, 1970, pp. 88–89 provides detailed black-and-white images of the paintings on the wall.

5422: 5028:, University of Iowa Museum of Art, Iowa City, J. Paul Getty Trust, University of Washington Press, pp. 9-23 2882:

In 1906 Metzinger formed a close friendship with Robert Delaunay, with whom he would share an exhibition at

11924: 11852: 11138: 10510: 10351: 10179: 8984: 8896: 8869: 7626: 7447: 3211: 3092: 3062: 3048: 2198: 1539: 1509: 1362: 791: 651: 11980: 6223: 4341: 3958: 3739:

Once launched at the 1910 Salon d'Automne, the burgeoning movement would rapidly spread throughout Paris.

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In Room 7 and 8 of the 1911 Salon d'Automne, held at the Grand Palais in Paris, hung works by Metzinger (

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S. E. Johnson, 1964, Metzinger, Pre-Cubist and Cubist Works, 1900-1930, International Galleries, Chicago

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as Divisionists who used large, mosaic-like 'cubes' to construct small but highly symbolic compositions.

1694:

elements, forms, motifs and their variations, in contrast with (and as a departure from) the undulating

670:

In 1899 Picasso rejected academic study and joined a circle of avant-garde artists and writers known as

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Matisse, Henri." Encyclopædia Britannica. 2007. Encyclopædia Britannica Online. Retrieved 30 July 2007.

4597:, The University of Iowa Museum of Art, J. Paul Getty Trust, University of Washington Press, pp. 34, 35 3578: 2840:

pointed out in his Gleizes Guggenheim catalogue, used the word "cube" which would later be taken up by

2611: 2309: 1346: 1239: 746: 628: 9447: 4521:"Baltimore Museum of Art, Mont Sainte-Victoire Seen from the Bibémus Quarry, c. 1897, by Paul Cézanne" 1180:

technique, too, had its parallel in literature. For him, there was an emblematic alliance between the

12012: 11884: 10295: 10174: 10130: 9538: 9181: 9149: 9047: 8533: 7560: 7242: 5962: 5574: 5354:, interview broadcast on the BBC program 'Monitor', 29 March 1961, published in Katherine Kuh (ed.), 5334:

Philip Brookman, with contributions by Marta Braun, Andy Grundberg, Corey Keller and Rebecca Solnit,

4964: 3876: 3390:

recounts how Matisse told him at the time, "Braque has just sent in a painting made of little cubes".

2349: 2286:. With James's supervision, Stein and fellow student, Leon Mendez Solomons, performed experiments on 1960: 1945: 1037: 802: 697: 506: 7472: 6458: 5269: 4809:, El Greco at the Metropolitan Museum of Art and the National Gallery of Art. Accessed 25 March 2009 4141: 3908: 3892: 3453:). In Room 16 hung works by Derain, Dufy, Friesz, Laprade, Matisse, Jean Puy, Rouault and Vlaminck. 3202: 2908: 2503: 2502:, interviewed and wrote about artists and artworks in and around Paris. After his visit to the 1910 1104: 11956: 11785: 11562: 11059: 11042: 10697: 10540: 10525: 10336: 10206: 10080: 9872: 9827: 9788: 9729: 9700: 9100: 8466: 8441: 8351: 7725: 7693: 7222: 7011:, Los Angeles County Museum of Art, Metropolitan Museum of Art, New York, N.Y., Phaidon Press, 1971 4216: 3880: 3553:

a proto-cubist vein with complex Cézannian geometries and unconventional perspectives, Metzinger's

3450: 3343: 2789: 2352:. Among Stein's acquaintances who frequented the Saturday evenings at her Parisian apartment were: 1532: 1041: 832: 785: 726: 28: 10236: 10196: 7267: 6360:, The Architectural Record, May 1910, documents p. 3, Interview with Jean Metzinger, circa 1908-09 2397: 852:

this time he also created a self-portrait depicting himself as something of a latter-day Cézanne.

33:, oil on canvas. 50.7 x 60.2 cm, (Source entry State Museum of New Western Art, Moscow) The State 12407: 12328: 11964: 11667: 11587: 11220: 10557: 10397: 10152: 9761: 9707: 9311: 9154: 9069: 8996: 8935: 7823: 7416: 6717:

André Salmon on French Modern Art, by André Salmon, Cambridge University Press, November 14, 2005

6716: 5818:

Traité élémentaire de géométrie à quatre dimensions et introduction à la géométrie à n dimensions

5788:

Traité élémentaire de géométrie à quatre dimensions et introduction à la géométrie à n dimensions

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the first upsurge, a desperate titanic clash with all of the problems at once. (Kahnweiler, 1920)

3068: 2897: 2533: 2471: 2217:. He gave informal lectures to the group, many of whom were passionate about mathematical order. 2072: 1980: 1885: 1881: 1802:

Animal Locomotion: an Electro-Photographic Investigation of Connective Phases of Animal Movements

1287: 1275: 995: 891:) who was a friend of the Gleizes family, René Arcos is invited to participate on a new journal, 732: 310: 162: 81: 10329: 10147: 9639: 6037: 6031: 5815: 5081: 4088: 4049: 2422:, 15 January 1914, p. 69, wrote about "Le Banquet Rousseau". Years later the French writer 2253:

The nineteenth-century positivists concept of measurable deterministic time became untenable as

729:(a color associated with despair and melancholy, blue was commonly used in Symbolist painting). 12433: 12368: 11592: 11438: 11331: 10979: 10929: 10889: 10852: 10752: 10392: 9712: 9690: 9550: 8518: 8089: 7720: 7591: 7452: 7406: 4721:, National Gallery of Art (NGA), Washington DC, Exhibition catalogue, March 30 - July 27, 1997" 4014: 3636: 3415: 3245: 2864: 2180: 2159: 2089: 2076: 1933: 1807:

In his later work, Muybridge was influenced by, and in turn influenced the French photographer

1514: 991: 911: 888: 530: 7457: 5884: 5878: 5761: 5755: 5656: 5650: 5625: 5498: 3747:

begins a series of interviews with the avant-garde working currently in Paris and surrounding

1818: 1808: 1735: 1547: 595:

meaning elasticity or spring). These paintings, writes Robbins, are an homage to the prose of

409: 12304: 10969: 10944: 10909: 10879: 10845: 10767: 10545: 10520: 10135: 10014: 9919: 8478: 8400: 8196: 8119: 7998: 7366: 7361: 3992: 3920:, deeming it necessary to deflect the endless attacks throughout the press, accepts the term 3917: 3839: 3673: 2972: 2970:

The critic Jean Claude writes in his review of the same salon, with reference to Metzinger's

2760:

which in the first place would appear as a representation of the impossible. (Jean Metzinger)

2706:

that a good portrait led one to think about the painter not the model". Metzinger continues:

2459: 2373: 2337: 2116: 1465: 1367: 845: 462: 436:

Cézanne syntax didn't just ripple outwards over the sphere, touching those that would become

186: 9397: 6754: 3887: 3382:

Six landscapes painted at L'Estaque signed Georges Braque were presented to the Jury of the

3052:, oil on canvas, 243.9 cm × 233.7 cm (8.00 ft × 7.67 ft) 8"), 2020: 693: 12223: 11607: 11552: 11464: 11091: 10672: 10441: 10346: 10140: 10070: 9986: 9860: 9663: 9489: 9289: 8979: 8814: 8719: 8653: 8584: 8503: 8493: 8483: 8217: 8181: 8166: 7703: 7611: 7553: 4676: 4266: 4125: 4105: 3954: 3717: 3620: 3616: 3548:

of the 1910 Salon des Indépendants was "the first collective manifestation of a new art ".

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were intrigued and inspired by the stark power and stylistic simplicity of those cultures.

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The poets of the Abbaye, Arcos, Duhamel and Barzun, develop a distinctive style dealing in

919: 835:

turns toward the theme of the fairground and circus performers; subjects often depicted in

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It is not known to which painting Matisse had referred, but it has been speculated to be

3347: 3280: 3233: 3080:(cubic oddities). Gertrude Stein referred to landscapes made by Picasso in 1909, such as 2824: 2778: 2221: 2139:, Princet became known as "le mathématicien du cubisme" ("the mathematician of cubism"). 2060: 1996: 1972: 1937: 1921: 1840:

are indisputable, Muybridge's efforts were to some degree more artistic than scientific.

1666:

Méthode de Composition Ornementale, Éléments Rectilignes, Groupement d'Eléments Primitifs

1546:, explored Picasso's Cubism from a formal position in relation to the ideas and works of 1077: 1009: 947: 896: 370: 338: 105: 12334: 11988: 11916: 11393: 10637: 9171: 8059: 7730: 7277: 7192: 4176:

there is no need to devote much space to the Cubists, who are utterly without importance

3786:. In the same hall hung the works of Matisse, Vlaminck, Dufy, Laurencin, van Dongen and 990:. Ghil developed his ideas on language, at first, in close relation with Symbolist poet 887:. At the same time, through Jean Valmy Baysse, an art critic (and soon historian of the 200: 12453: 12384: 11932: 11908: 11825: 11637: 11617: 11356: 10964: 10904: 10647: 10569: 10505: 10319: 10280: 10123: 10024: 9951: 9778: 9565: 9340: 9214: 9144: 9006: 9001: 8778: 8543: 8508: 8296: 8201: 8084: 8025: 7808: 7668: 7467: 7182: 7076: 6975:, London, 1966. Quotation of the original French have been translated by Daniel Robbins 6848:

MAM, Musée d'Art Moderne de la Ville de Paris, Paris 1937, L'Art Indépendant, ex. cat.

6576: 5519: 5486: 4004: 3383: 3206: 2833: 2632: 2272: 2068: 2032: 1968: 1731: 1715: 1638: 1584: 1197: 1073: 836: 387: 382: 134: 11707: 11632: 11557: 11414: 10595: 10275: 7272: 6237: 5037: 4494:

Cézannes Composition: Analysis of His Form with Diagrams and Photographs of His Motifs

4291: 4286: 4121: 4074:, oil on canvas, 161.9 x 114 cm, Tate Modern, London. This painting was reproduced in 4030: 2701: 2008: 1949: 1814: 1310:

developed a similar mosaic-like Cubo-Divisionist technique between 1909 and 1911. The

92:, but to a range of art produced in France during the early 1900s, by such artists as 12281: 12130: 12100: 11597: 11084: 11037: 11007: 10867: 10737: 10652: 10642: 10307: 10290: 10164: 9783: 9746: 9717: 9670: 9533: 9479: 9469: 9459: 9350: 9028: 8940: 8930: 8917: 8906: 8569: 8498: 8473: 8429: 8338: 8323: 8161: 7960: 7945: 7903: 7883: 7833: 7663: 7601: 7371: 7094: 6849: 6810: 6795: 6719: 6700: 6324: 6316: 6264: 6041: 5970: 5931: 5888: 5854: 5792: 5765: 5734: 5707: 5660: 5629: 5618: 5591: 5523: 5472: 5447: 5403: 5299: 5254: 5229: 5187: 5166: 5125: 5087: 4619: 4611: 4311: 4174:

In nearly all the papers, all composure was lost. The critics would begin by saying:

4053:, 75.9 x 70.2 cm, Philadelphia Museum of Art. Exhibited at the 1911 Salon d'Automne. 3872: 2836:. Writing in 1906, the art critic Louis Chassevent recognized the difference and, as 2467: 2415: 1861: 1837: 1826: 1796: 1727: 1500: 1461: 1406: 1393:

vulnerable to the critique of scientific objectivity, of the type developed first by

1185: 1124: 1086: 910:

In 1905 the group of writers and painters is joined by the Symbolist poet and writer

391: 182: 146: 9321: 8741: 7040:, Edition Figuière, Paris, 1912 (First English edition: Cubism, Unwin, London, 1913) 5442:

Brookman, Philip; Marta Braun; Andy Grundberg; Corey Keller; Rebecca Solnit (2010).

5398:

Brookman, Philip; Marta Braun; Andy Grundberg; Corey Keller; Rebecca Solnit (2010).

3821:

associated with analytic Cubism around 1908 or early 1909. Metzinger frequented the

2936:

Picasso's works are exhibited at a small gallery run by the German collector-dealer

2341: 2155: 1929: 1683: 1661: 1402: 12298: 12238: 12156: 12115: 12039: 12031: 11948: 11876: 11830: 11795: 11775: 11722: 11672: 11657: 11420: 11366: 11324: 11027: 10820: 10458: 10365: 10243: 9956: 9939: 9897: 9892: 9887: 9805: 9751: 9474: 9419: 9316: 9284: 9255: 9134: 9127: 9122: 9095: 8957: 8952: 8629: 8390: 8333: 8242: 8186: 8037: 8032: 8015: 8008: 8003: 7923: 7638: 7462: 7411: 7305: 7262: 7126: 6938: 5951: 5874: 4881: 4421: 3751:. These interviews and Burgess' impressions of the works produced are published in 3387: 3264: 3131: 3073: 2841: 2658: 2620: 2616: 2427: 2357: 2277: 2227: 2163: 2064: 1181: 1132: 1120: 880: 777: 718: 580: 486: 449: 430: 280: 138: 121: 34: 11652: 11524: 11148: 7227: 7157: 6984:

Mark Antliff, Patricia Dee Leighten, Cubism and Culture, Thames & Hudson, 2001

6191:, An Atlantic Monthly Press Book, Little, Brown and Company, Boston, Toronto, 1959 5851:

Shadows of Reality, The Fourth Dimension in Relativity, Cubism, and Modern Thought

4346: 4301: 4097: 3612: 3474: 3351: 3241: 1776: 1551:

the suprapersonal and thereby borders on the archaic mythological consciousness."

876: 717:. Adapting these style, the artist produced numerous portraits of friends such as 350: 292: 268: 113: 12443: 12396: 12146: 12095: 12090: 12075: 11835: 11729: 11682: 11642: 11572: 11544: 11514: 11457: 11341: 11198: 11173: 11123: 11047: 10872: 10862: 10757: 10742: 10722: 10605: 10515: 10478: 10463: 10211: 10118: 10060: 9882: 9877: 9634: 9603: 9555: 9245: 9176: 9161: 8989: 8967: 8888: 8836: 8826: 8798: 8751: 8734: 8658: 8599: 8589: 8528: 8191: 7978: 7740: 7534: 7396: 7257: 7172: 7152: 6901: 6776: 6560: 6186: 5513: 5429: 5333: 5291: 5279: 5253:

Tomkins, Calvin (1996). Duchamp: A Biography. U.S.: Henry Holt and Company, Inc.

5204: 5047: 4683: 4387:: Exposition 17 April through 10 May 1964, International Galleries, Chicago, 1964 4383: 4374: 4321: 4296: 4251: 4236: 4133: 4026: 3896: 3851: 3640: 3597: 3582: 3424: 3398: 3201:

The Fauvism of Matisse and Derain was practically over by the spring of the 1907

3161: 2918: 2809: 2793: 2455: 2377: 2210: 2167: 2128: 2096: 2067:

and others, viewed geometric models as mere conventions rather than as absolute.

1743: 1617: 1571: 1437: 1410: 1294:

The vibrating image of the sun in Metzinger's painting, and so too of Delaunay's

1267: 1056: 939: 904: 900: 797: 681: 342: 207: 109: 12310: 12065: 9225: 7341: 7177: 5687: 5675: 4450:

Christopher Green, 2009, Cubism, MoMA, Grove Art Online, Oxford University Press

4246: 4226: 4054: 3510: 3316: 3253: 3153: 3135: 2995: 2566: 2463: 2423: 2365: 2333: 2206: 1477: 1189: 1051:

When the Abbaye closed in January 1908, Gleizes moved into a studio situated in

987: 762: 710: 302: 264: 247: 150: 12448: 12390: 12373: 12350: 12322: 12203: 12080: 11815: 11734: 11677: 11627: 11612: 11582: 11577: 11529: 11509: 11504: 11499: 11403: 11371: 11319: 11267: 11250: 11240: 11168: 10830: 10707: 10677: 10574: 10562: 10436: 10370: 10302: 10169: 10065: 9768: 9464: 9404: 9345: 9209: 9139: 8846: 8768: 8685: 8538: 8318: 8303: 8276: 8271: 8176: 8171: 8099: 8064: 7853: 7848: 7803: 7798: 7793: 7606: 7477: 7386: 7376: 7356: 7336: 7331: 7252: 7232: 7217: 7167: 6397:

Vente de biens allemands ayant fait l'objet d'une mesure de Séquestre de Guerre

6016: 5990: 5590:

Kolmogorov, AP Yushkevich, Mathematics of the 19th century Vol = 3. page = 283

4411: 4351: 4336: 4306: 4281: 4241: 4221: 4117: 4113: 4101: 4065: 4044: 4018: 4010: 3969: 3863: 3787: 3744: 3728: 3691: 3668: 3632: 3628: 3519: 3470: 3324: 3312: 3308: 3304: 3003: 2984: 2893: 2856: 2813: 2773: 2499: 2479: 2443: 2405: 2389: 2381: 2361: 2325: 2268: 2196:

and projected them onto the two-dimensional surface. Picasso's sketchbooks for

2166:. Princet brought to the attention of Picasso, Metzinger and others, a book by 2136: 2124: 1957: 1873: 1747: 1699: 1690:

within which he systematically explores the decorative (ornamental) aspects of

1492: 1481: 1336: 1169: 1150:

Baigneuses, Deux nus dans un jardin exotique (Two Nudes in an Exotic Landscape)

1108: 983: 958: 872: 741: 722: 701: 596: 546: 458: 362: 334: 330: 255: 254:, oil on canvas, 102 cm × 81 cm (40 in × 32 in), 204: 170: 154: 101: 97: 85: 61: 11765: 11662: 10984: 8853: 4476:

State of the Modern Art World, The Essence of Cubism and its Evolution in Time

4195:

Gleizes and Metzinger render homage to Cézanne in their 1912 Cubist manifesto

4109: 3950: 3423:

Following the rejection of Braque's paintings, Kahnweiler offers the artist a

3229: 3039: 1531:, oil on canvas, 66 cm × 87 cm (26 in × 34 in), 1421: 1413:; in relation to, for example, the treatment of time as the fourth dimension. 643: 509:

acknowledged his indebtedness to it, as a source of modern artistic liberty. "

354: 12422: 12178: 12151: 11805: 11750: 11702: 11647: 11494: 11304: 11272: 11133: 11128: 11111: 10939: 10934: 10919: 10894: 10884: 10835: 10495: 10473: 10404: 10270: 10099: 10002: 9978: 9961: 9929: 9914: 9695: 9685: 9680: 9584: 9333: 9294: 9233: 9059: 9016: 8785: 8714: 8646: 8488: 8382: 8291: 8247: 8227: 8104: 8054: 8042: 7988: 7888: 7863: 7770: 7735: 7708: 7698: 7658: 7519: 7503: 7401: 7391: 7351: 7310: 7247: 7187: 5441: 5397: 4727: 4356: 4326: 4316: 3859: 3822: 3709: 3494: 3371: 3332: 3257: 3043: 3028: 2650: 2606: 2523: 2519: 2385: 2353: 2345: 2329: 2321: 2301: 2271:

a student of William James. Stein had recently purchased, following the 1905

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expression favored by these artists presented a challenge in contrast to the

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Cubism and its Enemies, Modern Movements and Reaction in French Art, 1916-28

4804: 4508:

Cubism and its Enemies, Modern Movements and Reaction in French Art, 1916-28

3962: 2907:

On 25 March 1909, Vauxcelles qualifies the works of Braque exhibited at the

1385:). Soon, the Cubists were to do so in both the domain of form and dynamics ( 445: 283:

acknowledged the importance of Cézanne to the Cubists in his article titled

73:

that would become altogether more extreme, known from the spring of 1911 as

12362: 12356: 12243: 12183: 12161: 12070: 12047: 11892: 11810: 11790: 11780: 11755: 11697: 11622: 11567: 11383: 11336: 11292: 11282: 11245: 11215: 11178: 11153: 11143: 11106: 10949: 10732: 10600: 10324: 10253: 10050: 9724: 9675: 9579: 9560: 9528: 9425: 9365: 9360: 9105: 8925: 8763: 8621: 8604: 8564: 8559: 8513: 8451: 8156: 7933: 7828: 7818: 7421: 7212: 7197: 7162: 5796: 5606:

Kolmogorov, AP Yushkevich, Mathematics of the 19th century. pages = 162–174

4497:, Foreword by Richard Shiff, University of California Press, April 30, 2006 4473: 4331: 4276: 4271: 4231: 4129: 4034: 3925: 3826: 3624: 3506: 3328: 3175: 2937: 2883: 2801: 2783: 1580: 1566: 1524: 1469: 1445: 979: 915: 502: 378: 358: 192:

In anticipation of Proto-Cubism the idea of form inherent in art since the

158: 70: 11900: 11378: 9239: 6036:. Robert De Loaiza, trans. Chicago: University of Chicago Press. pp. 5149:, N. Broude and M. Garrard (Eds.). New York: Harper Collins, 1986, p. 314. 3568:

The geometrical fallacies of Messrs. Metzinger, Le Fauconnier, and Gleizes

1135:. Gleizes and Metzinger become seriously interested in each other's work. 12402: 12213: 12188: 12166: 12110: 12105: 12085: 11299: 11262: 11203: 11079: 11074: 11069: 11017: 11012: 10954: 10857: 10794: 10747: 10687: 10657: 10579: 10421: 10259: 10248: 10221: 10191: 10055: 10029: 9946: 9867: 9855: 9810: 9800: 9795: 9773: 9734: 9570: 9545: 9430: 9392: 9299: 9267: 9219: 8947: 8875: 8668: 8609: 8523: 8461: 8421: 8308: 8074: 8047: 7878: 7765: 7750: 7678: 7673: 7648: 7596: 7576: 7237: 7207: 7131: 7109: 7104: 7099: 5846: 3814: 3687: 3502: 3237: 2829: 2800:. Robert Delaunay and Sonia Terk met through the German collector/dealer 2584: 1964: 1913: 1909: 1833: 1695: 1651: 1642: 1597: 1593: 1543: 1449: 1441: 1426: 1354: 1246: 1193: 1177: 1060: 840: 689: 631:) has been suggested to be the prime source of inspiration for Picasso's 538: 395: 197: 193: 7643: 7545: 659:) appears to have certain morphological and stylistic similarities with 69:). It is essentially the first experimental and exploratory phase of an 11800: 11346: 11158: 11118: 11064: 11032: 10924: 10762: 10717: 10610: 10416: 10226: 10094: 9815: 9617: 9409: 9250: 9038: 8804: 8709: 8673: 8663: 8641: 8456: 8446: 8434: 8386: 8328: 8266: 8109: 7955: 7950: 7918: 7529: 7381: 7346: 7147: 7121: 5880:

The First Moderns: Profiles in the Origins of Twentieth-Century Thought

5315: 4256: 3829:

gallery. By 1910, the robust form of early analytic Cubism of Picasso (

3320: 3249: 2983:

Although Cézanne was "the point of departure for these mad explorers,"

2751: 2738: 2640: 2189: 2083:

conventions in favour of a Nietzschean expression of individual will".

1941: 1905: 1556: 1496: 1398: 672: 466: 366: 215: 174: 117: 4394:

A Sum of Destructions: Picasso's Cultures & the Creation of Cubism

4169:

threat to an order that everyone thought had been established forever.

1429:

mask similar in style to those Picasso saw in Paris prior to painting

1416: 1314:

later (1911–1916) would incorporate the style, under the influence of

826: 12316: 12248: 11770: 11519: 11408: 11398: 11361: 11193: 11183: 11163: 10989: 10959: 10692: 10615: 10034: 9820: 9657: 9414: 9115: 9064: 8962: 8773: 8579: 8550: 8261: 8094: 8079: 8020: 7993: 7940: 7928: 7838: 7813: 7775: 7524: 7115: 7045: 6971:, Pan, Paris, October–November 1910, 649–51, reprinted in Edward Fry 6868: 6837: 6224:

Gelett Burgess, Wild Men of Paris, The Architectural Record, May 1910

6027: 5562:

Richard Gregory, "Perception" in Gregory, Zangwill (1987) pp. 598–601

5143:

Going Native: Paul Gauguin and the Invention of Primitivist Modernism

5026:

Jean Metzinger in Retrospect, Jean Metzinger: At the Center of Cubism

3933: 3066:

has often been considered a proto-Cubist work. Georges Braque's 1908

2475: 2451: 2447: 2426:

recalled the setting of the illustrious banquet; Picasso's studio at

2369: 2193: 2185: 2132: 2120: 1341: 1311: 1045: 754: 685: 558: 526: 510: 142: 93: 8381: 3995:). In 1934 he donated the painting to the Gemeentemuseum, Den Haag. 2075:

had been founded, was but one geometric configuration among others.

1084:. Le Fauconnier's portraits and his landscapes painted in Brittany ( 12233: 12228: 12198: 11388: 11309: 11257: 11188: 11101: 11022: 10974: 10840: 10825: 10682: 10620: 10552: 10446: 10431: 10105: 10019: 10009: 9997: 9741: 9204: 8901: 8841: 8281: 8256: 8237: 8151: 8146: 8114: 7983: 7858: 7760: 7713: 7688: 5954:(December 29, 1918). "Le Carnet des ateliers: La Père du cubisme". 4637: 4145: 3929: 3748: 3225: 1899: 1691: 1575:, partially glazed stoneware, 75 x 19 x 27 cm, Musée d'Orsay, Paris 1520: 1495:, at a time when both artists had recently acquired an interest in 1033: 736: 705: 618: 494: 441: 6924:, Yale University Press, New Have and London, 1987 p. 314, note 51 6778:

Daniel Henry Kahnweiler, The rise of cubism (Der Weg zum Kubismus)

2719:. Dimensions and location unknown. Illustrated in Gelett Burgess, 2150:. The book, which influenced Picasso, was given to him by Princet. 1274:, oil on canvas, 55 x 46 cm, Musée national d'art moderne (MNAM), 1200:, but beyond too the preoccupations of his avant-garde entourage. 12120: 10727: 10530: 10468: 10285: 10184: 9924: 9651: 9484: 9090: 8690: 8574: 8069: 7843: 7745: 7653: 7631: 7295: 3562:

I have in front of me a small cutting from an evening newspaper,

3091:

According to the personal predilections of Kahnweiler, Picasso's

2442:

of 1908, in addition to Picasso and the guest of honor, included

2214: 2104: 1646: 1542:

after a visit to the ethnographic museum at Palais du Trocadero.

1350: 1318:'s Parisian works, into their 'dynamic' paintings and sculpture. 1173: 1028:

During the Summer of 1908 Gleizes and Mercereau organise a great

749:, New York. This work has a striking resemblance to 20th-century 554: 399: 66: 9646: 6513:

Louis Vauxcelles, Exposition Braques, Gil Blas, 14 November 1908

5620:

Einstein, Picasso: Space, Time, and the Beauty That Causes Havoc

5065:

Einstein - Picasso: Space, Time and the beauty that causes havoc

3980:. Apollinaire wrote a long review in the 20 April 1911 issue of 3427:

at his claustrophobic gallery on a small street situated behind

3303:

An exhibition at Galerie Notre-Dame-des-Champs (Paris) includes

2804:, with whom Sonia had been married as she said for "convenience" 2297: 1999:, and the methods used were the basis of its topological works. 12208: 12193: 11712: 11480: 11351: 11210: 10702: 10632: 10201: 10113: 9968: 9199: 8286: 8232: 7873: 7868: 7755: 7621: 7442: 7315: 6591:

A travers les salons: promenades aux « Indépendants »

5469:

Eadweard Muybridge, the human and animal locomotion photographs

4978:

L'Exposition de la 'Section d'Or' (The Section d'Or Exhibition)

3799: 3652: 3462: 2636: 2602: 2108: 1976: 1615:

Both David Sweetman and John Richardson point to the Gauguin's

766: 490: 437: 403: 295:

that Cézanne's optics were "not in the eye, but in his brain".

74: 6033:

Homo Aestheticus: The Invention of Taste in the Democratic Age

5704:

La Vie quotidienne à Montmartre au temps de Picasso, 1900-1910

2511:

yellows, violent purples, sickening reds and shuddering blues.

1986:

Between 1881 and 1882 Poincaré wrote a series of works titled

1217:

La danseuse obsedante (The Haunting Dancer, Ruhelose Tanzerin)

9435: 5967:

The Fourth Dimension and Non-Euclidean Geometry in Modern Art

5579:

The Fourth Dimension and Non-Euclidean geometry in Modern Art

1953: 1889: 166: 6695:

Theories of Modern Art: A Source Book by Artists and Critics

6669:

La Jeune Peinture française, Histoire anecdotique du cubisme

6501:

Salon des Indépendants, Le Matin, Numéro 8788, 20 March 1908

6478:(front page article), Gil Blas, No. 9295, A27, 23 March 1905 5385:

The Culture of Time and Space, 1880-1918: With a New Preface

5209:, 1905, Librarie Centrale des Beaux-Arts, Paris (in French)" 2959:

In another review of the 1910 Salon d'Automne, published in

930:

section which organises street theatre and poetry readings.

12218: 11287: 10089: 8222: 7893: 6156:

Monet to Moore: The Millennium Gift of Sara Lee Corporation

5926:". In William Rubin; Hélène Seckel; Judith Cousins (eds.). 4510:, Yale University Press, New Haven and London, 1987, p. 192 2142: 1849: 489:

roots of modern art, exploring the literary source of both

6094:, 3rd ed. New York: Appleton-Century-Crofts, 1972, 359–69. 4996:

Jean Metzinger, ca. 1907, quoted in Georges Desvallières,

3405:, oil on canvas, 73 × 59.4 cm (28 3/4 × 23 3/8 in), MNAM, 2904:

simplification of form and deconstruction of perspective.

2723:, The Architectural Record, Document 3, May 1910, New York 1932:. New philosophical and scientific ideas emerged based on 267:

and exemplified in a widely discussed letter addressed to

31:(Briqueterie à Tortosa, L'Usine, Factory at Horta de Ebro) 11449: 11278:

Art in the Protestant Reformation and Counter-Reformation

6622:

Le Salon d'Automne, La Bretagne et les Peinture Bretonnes

6233: 6231: 5922:

Seckel, Hélène (1994). "Anthology of Early Commentary on

2320:

By early 1906, Leo and Gertrude Stein owned paintings by

1852:

to a paying public, making the Hall the first commercial

5207:

Méthode de composition ornementale, Éléments rectilignes

4665:, Art Journal, Vol. 41, No. 4, (Winter 1981): pp. 324-27 4182:

Reviewing the Salon d'Automne of 1911, Huntly Carter in

3735:, 92 x 73 cm, Bayerische Staatsgemäldesammlungen, Munich 1688:

Méthode de Composition Ornementale, Éléments Rectilignes

1345:, oil on canvas, 171.5 x 140.5 cm (66 7/8 x 54 3/4 in), 6656:, Le Petit Parisien, 2 October 1910, Numéro 12391, p. 5 3499:

Figure dans un Fauteuil (Seated Nude, Femme nue assise)

655:(1907, oil on canvas, 243.9 × 233.7 cm, 587:, a proto-Cubist work and later a cubist work entitled 6461:

Albert Gleizes 1881 – 1953, A Retrospective Exhibition

6228: 6139:. New York, Washington: Praeger Publishers, pp. 94–95. 5911:(June 6, 1942). "Opinions libres... sur la peinture". 4934:

Carmen Thyssen-Bornemisza collection, Jean Metzinger,

4608:

The Abuse of Beauty: Aesthetics and the Concept of Art

3899:(at the request of Apollinaire) are shown in Room 41. 3677:, exhibited at the 1910 Salon d'Automne. Published in 2755:

illusionistic trickery that belonged to another age."

2220:

Princet's influence on the Cubists was attested to by

2202:

illustrate Jouffret's influence on the artist's work.

2176:

Elementary Treatise on the Geometry of Four Dimensions

1603:

Concerning Gauguin's impact on Picasso, art historian

599:, whose poems concerned the life of his sister Marie. 6675:), Paris, Albert Messein, 1912, Collection des Trente 6640:, La Presse, 30 September 1910, Numéro 6675, pp. 1, 2 6260: 6258: 6256: 6254: 6252: 6250: 5969:. Princeton: Princeton University Press. p. 72. 5338:, San Francisco Museum of Modern Art, Tate Pub., 2010 5038:

Rijksmuseum Kröller-Müller, Otterlo, Jean Metzinger,

4677:

Goya and Modernism, Bienal Internacional de São Paulo

4078:: published 15 October 1911, for the occasion of the 3034: 2733:

which they would never even have thought of entering.

2687:

Burgess, turning his attention to Metzinger, writes:

2408:

was an eye-opening event in the proto-Cubist period.

2400:. According to the American poet and literary critic 1722:, animated from Animal locomotion, Vol. IV, Plate 444 1677: 1055:, rue du Delta, with his friend the painter and poet 914:. Gleizes is instrumental in forming the Association 5543: 5541: 5539: 5444:

Helios : Eadweard Muybridge in a time of change

5400:

Helios : Eadweard Muybridge in a time of change

3574:

was not at that time current. (Albert Gleizes, 1925)

3509:

was confiscated by the French state and sold at the

1440:, along with art produced by a variety of cultures: 806:(owned by Zuloaga since 1897). The relation between 6963: 6961: 6959: 6957: 6864: 6862: 6170:

A Cubism Reader: Documents and Criticism, 1906-1914

4982:

A Cubism Reader, Documents and Criticism, 1906-1914

4877: 4875: 4873: 4871: 4869: 4867: 4865: 4863: 4861: 4445: 4443: 4441: 3443:

Little Harbor in Normandy (Petit port en Normandie)

2923:

L'homme à la tulipe (Portrait de M. Jean Metzinger)

2515:

defied anatomy, physiology, almost geometry itself!

2172:

Traité élémentaire de géométrie à quatre dimensions

2148:

Traité élémentaire de géométrie à quatre dimensions

1417:

African, Egyptian, Greek, Iberian & Oceanic art

1192:perspective, beyond not just the preoccupations of 541:poets when they permitted a stop for the ear, with 321:, a system left over from the Renaissance, and the 6247: 5617: 5282:, (The Science of mouvement and the image of time) 4859: 4857: 4855: 4853: 4851: 4849: 4847: 4845: 4843: 4841: 4758: 3843:, 1910) had become practically indistinguishable. 3683:by Guillaume Apollinaire in 1913, location unknown 3647:Following this salon Metzinger writes the article 461:, derived from real object sources (and therefore 413:View of the Salon d'Automne, 1904, Salle Cézanne ( 6454: 6452: 6450: 6448: 6446: 6444: 6442: 6440: 6438: 6436: 6383:Le Cubisme était Né: Souvenirs par Jean Metzinger 6219: 6217: 6215: 6213: 6149: 6147: 6145: 5993:(October–November 1910). "Note sur la peinture". 5883:. Chicago: University of Chicago Press. pp. 5536: 4992: 4990: 4909:, Gallica, Bibliothèque nationale de France (BnF) 4884:Albert Gleizes, Chronology of his life, 1881-1953 4593:Joann Moser, 1985, Jean Metzinger in Retrospect, 4569: 4567: 4385:Metzinger, Pre-cubist and Cubist Works, 1900-1930 3465:portrait of the French writer, novelist and poet 2879:gives his paintings the appearance of a mosaic". 2154:Princet is credited with introducing the work of 1219:, oil on canvas, 73.5 x 54 cm, private collection 307:Mont Sainte-Victoire seen from the Bibémus Quarry 12420: 6954: 6859: 6609:, Le Petit Parisien, Numéro 12194, 19 March 1910 6064:is now at the San Francisco Museum of Modern Art 5853:. New Haven: Yale University Press. p. 34. 5471:(1. Aufl. ed.). Köln: Taschen. p. 14. 5147:The Expanded Discourse: Feminism and Art History 5020: 5018: 5016: 5014: 5012: 5010: 5008: 5006: 4656: 4654: 4652: 4650: 4648: 4577:, The Solomon R. Guggenheim Foundation, New York 4565: 4563: 4561: 4559: 4557: 4555: 4553: 4551: 4549: 4547: 4438: 3095:was the beginning of Cubism, and yet he writes: 1900:Philosophical, scientific and social motivations 986:and, especially, the French epic Symbolist poet 688:, they assimilated trends such as symbolism and 6897: 6895: 6893: 6891: 6889: 6887: 6885: 5930:. New York: Museum of Modern Art. p. 264. 4984:, The University of Chicago Press, 2008, p. 333 4980:, 1912, in Mark Antliff and Patricia Leighten, 4894: 4892: 4838: 4711: 4709: 4707: 4705: 3974:Gil Blas, Comoedia, Excelsior, Action, L'Oeuvre 3505:, London. This painting from the collection of 3184:National Museum of Art, Architecture and Design 2782:, oil on canvas, 73 x 54 cm. Former collection 800:in his Parisian atelier and studied El Greco's 6997:, Cahiers Albert Gleizes 1 (Lyon, 1957), p. 14 6908:Les Peintres cubistes, Méditations Esthétiques 6873: 6772: 6770: 6768: 6766: 6735: 6733: 6731: 6433: 6210: 6142: 5692:Souvenir sans fin, Deuxième époque (1908–1920) 5680:Souvenir sans fin, Première époque (1903–1908) 5294:Helios: Eadweard Muybridge in a Time of Change 4987: 4401:1989 : Distributed by H.N. Abrams, c1992. 4057:dubbed this painting "The Mona Lisa of Cubism" 3902: 3825:at this time and exhibited with Braque at the 3557:represented a radical departure further still. 2314:If I Told Him: A Completed Portrait of Picasso 2087:knowable reality", Poincaré wrote in his 1902 1529:Mahana no Atua (Day of the Gods, Jour de Dieu) 1069:Les Bords de la Marne (The Banks of the Marne) 964:Les Bords de la Marne (The Banks of the Marne) 11465: 8367: 7561: 7061: 6549:Futurism in Paris - The Avant-garde Explosion 6172:, University of Chicago Press, August 1, 2008 5387:, Harvard University Press, November 30, 2003 5358:, Harper & Row, New York 1962, pp. 81–93" 5184:A Life Of Picasso, The Cubist Rebel 1907–1916 5003: 4689: 4645: 4544: 3968:In room 42 was a retrospective exhibition of 3287:, Museum Kranenburgh, Bergen, the Netherlands 2861:Le Viaduc de L'Estaque (Viaduct at L'Estaque) 1630:This interest would culminate in the seminal 753:. Historically, however, it is an example of 60:) is an intermediary transition phase in the 7024:Letters from Abroad, The Post-Expressionists 6882: 6377: 6375: 6373: 6371: 6369: 6367: 6189:The Third Rose, Gertrude Stein and Her World 6137:Charmed Circle: Gertrude Stein & Company 5731:Maurice Princet, Le Mathématicien du Cubisme 5570: 5568: 5416: 4959:), 1905-06, by Jean Metzinger, exhibited in 4950:Bañistas: dos desnudos en un paisaje exótico 4889: 4702: 4487: 4485: 4469: 4467: 4465: 4463: 4461: 4459: 4457: 2911:as "bizarreries cubiques" (cubic oddities). 2892:In 1908, Vauxcelles again, in his review of 2593:Vaucelles described this group of 'Fauves': 2545:appeared at the 1907 Indépendants, entitled 807: 789: 632: 6941:The Epic, From immobile form to mobile form 6934: 6932: 6930: 6833: 6831: 6829: 6827: 6825: 6823: 6821: 6819: 6811:Salon d'automne; Société du Salon d'automne 6804: 6763: 6728: 6577:Salon d'automne; Société du Salon d'automne 6023:. Paris: Éditions Présence. pp. 43–44. 5466: 5272:La Science du mouvement et l'image du temps 5157: 5155: 4936:Bañistas (Two Nudes in an Exotic Landscape) 3743:After the 1910 Salon d'Automne, the writer 3158:Landscape in Provence (Paysage de Provence) 1988:On curves defined by differential equations 1115:(1909) exhibited at the same Salon. In his 12274:The Cubist Painters, Aesthetic Meditations 11472: 11458: 8374: 8360: 7568: 7554: 7068: 7054: 6529: 6527: 6525: 6523: 6521: 6395:The Metropolitan Museum of Art Libraries, 6182: 6180: 6178: 5950: 5435: 4967:, Madrid, 9 October 2012 - 13 January 2013 4812: 4784: 4417:The Cubist Painters, Aesthetic Meditations 3680:The Cubist Painters, Aesthetic Meditations 3544:According to Robert Delaunay himself, the 3263:Metzinger and Delaunay are singled out by 2003:The singular points of the integral curves 942:, later to become known as founder of the 7575: 6624:, L'Ouest-Éclair (Rennes), 5 October 1910 6364: 6206:, The Museum of Modern Art, July 31, 2012 6154:Richard Robson Brettell, Natalie H. Lee, 6015: 5989: 5961: 5698: 5682:. Paris: Éditions Gallimard. p. 187. 5565: 5356:The Artist's Voice. Talks with Seventeen 5321:Muybridge: The Man Who Made Pictures Move 5076: 5074: 4482: 4454: 4159:It was from that moment on that the word 3196: 2657:, oil on canvas, 185 x 108 cm, The State 1832:While Marey's scientific achievements in 1491:Around 1906, Picasso met Matisse through 1012:, and the well-known collection of poems 879:. In Amiens (1904) he meets the painters 127: 6927: 6816: 5907: 5873: 5784: 5733:(in French). Paris: Éditions L'Echoppe. 5694:. Paris: Éditions Gallimard. p. 24. 5391: 5165:, New York: Simon & Schuster, 1995. 5152: 4060: 4039: 3723: 3704: 3686: 3663: 3577: 3489: 3393: 3275: 3170: 3148: 3072:(and related works) prompted the critic 3038: 2913: 2851: 2788: 2768: 2708: 2645: 2601: 2561: 2518: 2493: 2296: 2248: 2178:, 1903), a popularization of Poincaré's 2141: 1813: 1775: 1710: 1656: 1561: 1519: 1420: 1331: 1262: 1226: 1207: 1142: 1093:Gleizes exhibits his proto-Cubist works 1008:, the Polish anarchist and art theorist 953: 859: 731: 627:(c.1609–14, oil, 224.8 × 199.4 cm, 408: 329:Avant-garde artists in Paris (including 297: 242: 18: 6969:Note sur la peinture (Note on painting) 6518: 6310: 6175: 4825: 4771: 4745: 4589: 4587: 4585: 4583: 4377:Cézannisme and the beginnings of cubism 3998: 3100:thus never constitutes a unified whole. 2844:to baptize Cubism. Chassevent writes: 1864:. He published several books including 1370:, "almost belong to Synthetic Cubism". 214:had abandoned a significant portion of 12421: 11055:Contemporary Indigenous Australian art 7075: 6697:, University of California Press, 1968 5921: 5845: 5791:(in French). Paris: Gauthier-Villars. 5753: 5728: 5686: 5674: 5648: 5615: 5460: 5071: 4667:, Published by College Art Association 3160:, oil on canvas, 32.2 x 40.6 cm, 2583:would later create a sensation at the 1080:, especially his portrait of the poet 11453: 9075:Art of the late 16th century in Milan 8355: 7549: 7049: 6638:On Inaugure demain le Salon d'Automne 6538:, Arcade Publishing, 15 November 2005 6399:: Collection Uhde. Paris, 30 May 1921 6168:Mark Antliff, Patricia Dee Leighten, 6026: 5548:Mark Antliff, Patricia Dee Leighten, 5511: 4082:where it was exhibited the same year. 2205:In 1907, Princet's wife left him for 1672: 1366:, Musée d'Orsay, Paris, according to 1224:size and placement." (Herbert, 1968) 1153:, oil on canvas, 116 x 88.8 cm, 6838:Kubisme.info, Salon des Indépendants 6689:, quoted in Herschel Browning Chipp 6345:, Hermitage Museum, Saint Petersburg 5467:Adam, (ed.), Hans Christian (2010). 5118:Anatoli Podoksik, Victoria Charles, 4580: 3714:Girl with a Mandolin (Fanny Tellier) 3358:This exhibition was reviewed in the 3228:). Robert Delaunay showed one work, 2549:. Vauxcelles writes on the topic of 1740:Société Normande de Peinture Moderne 1706: 1258: 1076:Gleizes is impressed by the work of 11869:Portrait of Daniel-Henry Kahnweiler 6744:, Manchester University Press, 2004 6291:The Response to Matisse's Blue Nude 5186:, New York: Alfred A. Knopf, 1991. 4719:Picasso: The Early Years, 1892-1906 3831:Girl with a Mandolin, Fanny Tellier 3611:Metzinger, Henri Le Fauconnier and 3596:In a review of the Salon, the poet 3518:At the 1910 Salon des Indépendants 1625:Sweetman writes, "Gauguin's statue 1155:Colección Carmen Thyssen-Bornemisza 978:, with epic subjects influenced by 745:, oil on canvas, 47.75 x 42.75 cm, 517:", writes Robbins, "as well as the 13: 12005:Still Life with Checked Tablecloth 11973:Nude Descending a Staircase, No. 2 10410:Vienna School of Fantastic Realism 9261:Neoclassical architecture in Milan 6000: 5830: 5624:. New York: Basic Books. pp. 5581:, Princeton University Press, 1983 5505: 5232:Méthode de composition ornementale 5063:, A commentary on Arthur Miller's 4368: 4209: 4033:, the Czech painter interested in 3808:in 1909 (executed two years after 3716:, oil on canvas, 100.3 x 73.6 cm, 3700:San Francisco Museum of Modern Art 3035:Three dimensions on a flat surface 2107:who played a role in the birth of 1678:Grasset's cubes, cones and spheres 998:, model for the Duc de Charlus in 14: 12470: 10484:American Figurative Expressionism 8820:International Gothic art in Italy 6075:Young Girl with Basket of Flowers 4921:Portrait of Guillaume Apollinaire 3698:, oil on canvas, 60.9 x 50.1 cm, 3591:Kunstsammlung Nordrhein-Westfalen 3366:20 March 1908; by C. Le Senne in 3182:, oil on canvas, 200.5 x 250 cm, 3088:, as the first Cubist paintings. 2284:Young Girl with Basket of Flowers 1238:, oil on canvas, 64.8 x 48.3 cm, 1138: 855: 545:stop in meaning. This is akin to 252:Mardi gras (Pierot and Harlequin) 11434: 11433: 9993:Neue Künstlervereinigung München 7036:Albert Gleizes, Jean Metzinger, 7030: 7015: 7000: 6987: 6978: 6914: 6842: 6784: 6748: 6710: 6678: 6661: 6654:Grand Palais, Le Salon d'Automne 6645: 6629: 6614: 6605:Jean Claude, La Vie Artistique, 6598: 6582: 6289:"Tyler Green, Modern Art Notes, 5706:. Paris: Hachette. p. 120. 4956:Two Nudes in an Exotic Landscape 4820:Picasso's Apocalyptic Whorehouse 4640:and the Philosophy of Expression 4025:(soon to exhibit under the name 3362:20 March 1908; by Vauxcelles in 3298:La Revue des lettres et des arts 2819:Two Nudes in an Exotic Landscape 2764: 2146:An illustration from Jouffret's 2043: 2031: 2019: 2007: 1252:Two Nudes in an Exotic Landscape 642: 611: 602: 10915:Tunisian collaborative painting 10388:International Typographic Style 6570: 6554: 6542: 6506: 6494: 6483: 6467: 6416: 6403: 6388: 6349: 6334: 6281: 6272: 6195: 6162: 6129: 6120: 6097: 6090:"Has Gertrude Stein a Secret?" 6084: 6067: 6054: 6009: 5983: 5944: 5901: 5867: 5839: 5824: 5821:, 1903, (in French) archive.org 5809: 5778: 5747: 5722: 5642: 5609: 5600: 5584: 5556: 5376: 5342: 5327: 5309: 5285: 5263: 5247: 5222: 5197: 5176: 5135: 5122:, Parkstone International, 2011 5111: 5107:, Parkstone International, 2011 5096: 5052: 5031: 4970: 4961:Gauguin y el viaje a lo exótico 4941: 4927: 4912: 4833:Picasso's Demoiselles d'Avignon 4797: 4670: 4610:, Open Court Publishing, 2003, 3501:, oil on canvas, 92.1 x 73 cm, 3126:this direction". In July 1916, 2695:According to Metzinger, in his 2615:, oil on canvas, 260 x 391 cm, 12380:Douglas Cooper (art historian) 12346:Daniel Robbins (art historian) 10668:The Caribbean Artists Movement 5234:, 1905, Full Text (in French)" 4663:Sources of Cubism and Futurism 4628: 4600: 4513: 4500: 3639:, and another artist known as 3627:. The three Duchamp brothers, 3589:, oil on canvas, 116 × 97 cm, 3256:exhibited three paintings and 3060:Pablo Picasso's 1907 painting 2573:, limestone, 95 x 33 x 17 cm, 2542:Blue Nude (Souvenir de Biskra) 2532:, oil on canvas. 92 x 140 cm, 2529:Blue Nude (Souvenir de Biskra) 2316:" in response to the painting. 1823:Homme qui marche (Man Walking) 1753:Nu descendant un escalier n° 2 1389:) would do so with color too. 918:, launched in December at the 583:, as well as two paintings by 561:-like symmetry and introduced 479:Sources of Cubism and Futurism 1: 9024:Dutch and Flemish Renaissance 6995:Souvenirs, le cubisme 1908-14 6869:Salon d'Automne, Kubisme.info 6551:, Pompidou Center, Paris 2008 6158:, Yale University Press, 1999 5067:, Basic Books, New York, 2001 4432: 4396:, Yale University Press, 2001 3643:took part in the exhibition. 3296:. In his review published in 3134:, an exhibition organized by 2863:, oil on canvas, 73 x 60 cm, 1894:Exposition Universelle (1900) 1637:Many artists associated with 1005:À la recherche du temps perdu 967:, oil on canvas, 54 x 65 cm, 661:The Opening of the Fifth Seal 624:The Opening of the Fifth Seal 309:, oil on canvas, 65 x 81 cm, 11861:Portrait of Ambroise Vollard 11139:Modern European ink painting 10511:Bay Area Figurative Movement 6856:, Paris-Musées, 1987, P. 188 6240:Les Salon des "Indépendants" 4380:, Museum of Modern Art, 1977 3970:Henri (Le Douanier) Rousseau 3403:Autoportrait (Self portrait) 2575:Musée National d'Art Moderne 2184:in which Jouffret described 1846:World's Columbian Exposition 1040:, and the Romanian sculptor 848:written in the same period. 765:, one of the forerunners of 497:in Italy. The revolution of 472: 7: 12341:Paul Rosenberg (art dealer) 11997:Still Life with Candlestick 11688:Georges Ribemont-Dessaignes 10800:Artificial intelligence art 6687:Anecdotal History of Cubism 6673:Anecdotal History of Cubism 5552:, Thames & Hudson, 2001 5211:(in French). Gallica.bnf.fr 4595:Pre-Cubist Works, 1904-1909 4405: 3903:1911 Salon des Indépendants 3469:, drawing the attention of 2993:Anecdotal History of Cubism 1944:, contradicting notions of 1053:9th arrondissement of Paris 969:Museum of Fine Arts of Lyon 419:Mme Cézanne au chapeau vert 10: 12475: 11941:Portrait of Jacques Nayral 11479: 10713:Post-painterly abstraction 10536:Situationist International 9910:Pennsylvania Impressionism 8314:Situationist International 6424:22e Salon des Indépendants 6411:Les Artistes indépendantes 6265:Russell T. Clement, 1994, 6106:Portrait of Gertrude Stein 5963:Henderson, Linda Dalrymple 5616:Miller, Arthur I. (2001). 4071:Portrait de Jacques Nayral 4002: 3906: 3797: 3733:Femme tenant une Mandoline 3587:View over the Eiffel Tower 3082:Reservoir at Horta de Ebro 2612:The Dance (second version) 2380:(Apollinaire's mistress), 2310:Metropolitan Museum of Art 2306:Portrait of Gertrude Stein 1884:under the auspices of the 1240:Philadelphia Museum of Art 747:Metropolitan Museum of Art 629:Metropolitan Museum of Art 238: 210:, and practically all the 12291: 12257: 12139: 12058: 12023: 11981:The Cathedral (Katedrála) 11885:Le pigeon aux petits pois 11853:Les Demoiselles d'Avignon 11844: 11743: 11543: 11487: 11429: 11233: 10998: 10808: 10588: 10380: 10364: 10296:California Scene Painting 10175:California Scene Painting 10131:Figurative Constructivism 10043: 9848: 9627: 9616: 9446: 9383: 9276: 9192: 9182:Poussinists and Rubenists 9083: 8887: 8620: 8420: 8411: 8398: 8210: 8132: 7971: 7911: 7902: 7784: 7584: 7512: 7491: 7430: 7324: 7286: 7243:Henri de Toulouse-Lautrec 7140: 7085: 6757:Les Demoiselles d'Avignon 6607:Au Salon des Indépendants 6593:, Gil Blas, 18 March 1910 6565:, Gil Blas, 25 March 1909 6563:Le Salon des Indépendants 6476:Le Salon des Indépendants 6242:, Gil Blas, 20 March 1907 5928:Les Demoiselles d'Avignon 5924:Les Demoiselles d'Avignon 5785:Jouffret, Esprit (1903). 5575:Linda Dalrymple Henderson 5296:, Corcoran Gallery of Art 5141:Solomon-Godeau, Abigail, 4965:Thyssen-Bornemisza Museum 4948:Baronesa Carmen Thyssen, 4907:, 16 October, 1911, p. 44 4573:Robert L. Herbert, 1968, 4342:André Dunoyer de Segonzac 4163:began to be widely used. 3959:André Dunoyer de Segonzac 3793: 3776:Village dans les Montagne 3655:: notably the notions of 3212:Les Demoiselles d'Avignon 3093:Les Demoiselles d'Avignon 3063:Les Demoiselles d'Avignon 3049:Les Demoiselles d'Avignon 2713:Jean Metzinger, c. 1908, 2665:Gelett Burgess writes in 2350:Henri de Toulouse-Lautrec 2199:Les Demoiselles d'Avignon 2071:, upon which traditional 1961:electromagnetic radiation 1860:Marey also studied human 1632:Les Demoiselles d'Avignon 1540:Les Demoiselles d'Avignon 1510:Les Demoiselles d'Avignon 1431:Les Demoiselles d'Avignon 1236:La Modiste (The Milliner) 1038:Filippo Tommaso Marinetti 823:Les Demoiselles d'Avignon 814:Opening of the Fifth Seal 809:Les Demoiselles d'Avignon 803:Opening of the Fifth Seal 792:Les Demoiselles d'Avignon 698:Henri de Toulouse-Lautrec 652:Les Demoiselles d'Avignon 634:Les Demoiselles d'Avignon 507:Filippo Tommaso Marinetti 196:had been questioned. The 11786:Stanton Macdonald-Wright 11394:Prehistoric European art 11043:Contemporary African art 10526:Gendai Bijutsu Kondankai 10454:Generación de la Ruptura 10081:Universal Constructivism 9873:California Impressionism 9828:American Barbizon school 6742:Cubism and its Histories 6341:Henri Matisse, 1909-10, 6319:Les Fauves: A sourcebook 6267:Les Fauves: A sourcebook 6135:Mellow, James R., 1974, 5760:. Basic Books. pp. 5655:. Basic Books. pp. 5515:The Man Who Stopped Time 5446:. : Steidl. p. 91. 5402:. : Steidl. p. 93. 5298:in Washington, DC, 2010 4923:, Christie's Paris, 2007 4792:From El Greco to Cézanne 4766:From El Greco to Cézanne 3961:, Luc-Albert Moreau and 3846:In his article entitled 3481:absent from the salons). 3451:Art Institute of Chicago 3370:, 22 March 1908; and by 3338:1908 continues with the 3086:Brick factory at Tortosa 2798:Portrait of Wilhelm Uhde 2158:and the concept of the " 1533:Art Institute of Chicago 1165:. (Maurice Raynal, 1912) 1147:Jean Metzinger, c.1905, 895:, in collaboration with 796:, he visited his friend 29:Brick Factory at Tortosa 12459:Art movements in Europe 12408:Fourth dimension in art 12329:Daniel-Henry Kahnweiler 11965:Les Joueurs de football 11221:Walking Artists Network 10558:Letterist International 10398:Washington Color School 9312:Arts in the Philippines 7824:Experimental literature 6902:Guillaume Apollinaire, 6794:, The MIT Press, 1999. 6536:Georges Braques: A Life 6490:Art of the 20th Century 5956:Le Carnet de la Semaine 5061:Letter to Arthur Miller 5040:Coucher de soleil No. 1 4905:Portrait of Apollinaire 4899:Guillaume Apollinaire, 4427:Fourth dimension in art 4392:Natasha Elena Staller, 4375:William Stanley Rubin, 3840:Nu à la cheminée (Nude) 3837:, 1910) and Metzinger ( 3674:Nu à la cheminée (Nude) 3534:Portrait of Apollinaire 3485: 3435: 3407:Centre Georges Pompidou 3340:Salon de la Toison d'Or 3271: 3217: 2534:Baltimore Museum of Art 2472:Daniel-Henri Kahnweiler 2292:stream of consciousness 2288:normal motor automatism 1942:relativity of knowledge 1888:, after the two met in 1886:Smithsonian Institution 1882:Samuel Pierpont Langley 1288:Coucher de soleil no. 1 1276:Centre Georges Pompidou 1113:Portrait of Apollinaire 1030:Journée portes ouvertes 493:painting in France and 311:Baltimore Museum of Art 12369:John Quinn (collector) 11593:Raymond Duchamp-Villon 11332:Illuminated manuscript 10980:The Designers Republic 10930:Neue Slowenische Kunst 10853:Pattern and Decoration 10753:Institutional critique 10393:Abstract expressionism 9373:Latin American Baroque 9329:Colonial Asian Baroque 8090:Second Viennese School 7721:Neue Slowenische Kunst 7592:Abstract expressionism 7473:Salon des Indépendants 7453:Le Barc de Boutteville 7407:Robert Antoine Pinchon 6459:Daniel Robbins, 1964, 6428:Quelques petits salons 6187:John Malcolm Brinnin, 6079:Jeune fille aux fleurs 5024:Daniel Robbins, 1985, 4919:Jean Metzinger, 1910, 4686:Retrieved 27 July 2007 4606:Arthur Coleman Danto, 4193: 4180: 4142:Salon des Indépendants 4083: 4058: 4015:Raymond Duchamp-Villon 3987:Henri Le Fauconnier's 3909:Salon des Indépendants 3893:Salon des Indépendants 3835:Violin and Candlestick 3817:style in favor of the 3736: 3721: 3702: 3696:Violin and Candlestick 3684: 3637:Raymond Duchamp-Villon 3593: 3576: 3524:Portrait de René Arcos 3514: 3410: 3288: 3246:Raymond Duchamp-Villon 3203:Salon des Indépendants 3197:The sequence of events 3187: 3180:Le Travail à l'Automne 3165: 3123: 3113: 3057: 3015: 2965:architectes fallacieux 2957: 2926: 2909:Salon des Indépendants 2867: 2865:Tel Aviv Museum of Art 2805: 2786: 2762: 2748: 2735: 2724: 2693: 2685: 2662: 2624: 2600: 2577: 2560: 2536: 2517: 2504:Salon des Indépendants 2360:(Picasso's mistress), 2317: 2263:His third major work, 2246: 2181:Science and Hypothesis 2151: 2090:Science and Hypothesis 2077:Non-Euclidean geometry 1934:non-Euclidean geometry 1928:and the mathematician 1829: 1788: 1774: 1723: 1669: 1576: 1535: 1433: 1357: 1279: 1242: 1220: 1206: 1167: 1157: 1105:Salon des Indépendants 1095:Portrait de René Arcos 971: 868: 808: 790: 758: 633: 433: 429:, etc.) photograph by 314: 285:From Cézanne to Cubism 259: 128:History and influences 38: 12305:Guillaume Apollinaire 10970:Artist-run initiative 10945:Young British Artists 10910:New European Painting 10846:Moscow Conceptualists 10768:Feminist art movement 10546:Ukrainian underground 10521:Gutai Art Association 9920:Ten American Painters 9424:Western influence in 8401:List of art movements 8197:Theatre of the Absurd 8120:Twelve-tone technique 7999:Electroacoustic music 7438:Artistes Indépendants 7367:Karl Schmidt-Rottluff 7362:Ernst Ludwig Kirchner 7268:Théo van Rysselberghe 6947:, in a series called 6358:The Wild Men of Paris 6109:, Metropolitan Museum 5729:Décimo, Marc (2007). 5512:Clegg, Brian (2007). 5270:Étienne-Jules Marey, 4188: 4157: 4064: 4043: 3918:Guillaume Apollinaire 3881:La Closerie des Lilas 3784:Portrait of Maroussia 3727: 3708: 3690: 3667: 3581: 3560: 3493: 3457:At the 1909 Automne, 3449:, by Georges Braque ( 3397: 3279: 3174: 3152: 3118: 3097: 3042: 3000: 2945: 2917: 2855: 2792: 2772: 2757: 2743: 2726: 2721:The Wild Men of Paris 2712: 2689: 2671: 2667:The Wild Men of Paris 2649: 2643:of the 20th century. 2605: 2595: 2565: 2555: 2522: 2508: 2494:The Wild Men of Paris 2460:Guillaume Apollinaire 2398:Épater la bourgeoisie 2374:Guillaume Apollinaire 2338:Pierre-Auguste Renoir 2300: 2280:(La femme au chapeau) 2249:Bergson, James, Stein 2237: 2145: 2117:Guillaume Apollinaire 1817: 1779: 1766: 1714: 1660: 1565: 1523: 1466:Iberian schematic art 1424: 1368:Guillaume Apollinaire 1347:Kröller-Müller Museum 1335: 1266: 1230: 1211: 1202: 1159: 1146: 957: 863: 846:Guillaume Apollinaire 833:Picasso's Rose Period 735: 727:Picasso's Blue Period 412: 301: 246: 187:Iberian schematic art 44:(also referred to as 22: 11608:Roger de La Fresnaye 11553:Alexander Archipenko 10780:Saqqakhaneh movement 10673:Chicano art movement 10541:Soviet Nonconformist 10347:Boston Expressionism 10330:Abstraction-Création 10148:Arbeitsrat für Kunst 10141:Cologne Progressives 9861:Art Nouveau in Milan 9664:Anglo-Japanese style 9640:National romanticism 9070:Fontainebleau School 8980:Northern Renaissance 8815:International Gothic 8182:Postdramatic theatre 8167:Experimental theatre 7704:Multidimensional art 6430:, Paris, 1908, p. 32 6317:Russell T. Clement, 5875:Everdell, William R. 5700:Crespelle, Jean-Paul 5182:John A. Richardson, 5163:Paul Gauguin, A life 4806:The Shock of the Old 4803:Carter .B. Horsley, 4267:Roger de La Fresnaye 4126:Alexander Archipenko 4106:Roger de La Fresnaye 4089:Le goûter (Tea Time) 4050:Le goûter (Tea Time) 4035:non-representational 3999:1911 Salon d'Automne 3955:Roger de La Fresnaye 3928:); the result of an 3848:Note sur la peinture 3753:Architectural Record 3718:Museum of Modern Art 3649:Note sur la peinture 3621:Alexander Archipenko 3617:Roger de La Fresnaye 3445:, no. 215, entitled 3078:bizarreries cubiques 3054:Museum of Modern Art 2779:La danse (Bacchante) 2716:Baigneuses (Bathers) 2420:Les Soirées de Paris 2406:Le Douanier Rousseau 2402:John Malcolm Brinnin 2162:" to artists at the 2055:Poincaré, following 1993:mathematical physics 1686:wrote and published 1505:African tribal masks 1458:Art of ancient Egypt 996:Robert de Montesqiou 871:The proto-Cubism of 657:Museum of Modern Art 585:Roger de La Fresnaye 375:Alexander Archipenko 16:Phase in art history 11821:Alexander Rodchenko 11761:Patrick Henry Bruce 11693:Jeanne Rij-Rousseau 11603:Henri Le Fauconnier 11563:Constantin Brâncuși 11535:Henri Le Fauconnier 11315:Hierarchy of genres 10880:Saint Soleil School 10816:Post-conceptual art 10785:The Stars Art Group 10663:Black Arts Movement 10626:Neo-Dada Organizers 10427:Lyrical abstraction 10160:Australian tonalism 9833:California Tonalism 9505:Hudson River School 9308:Colonial Asian art 9048:English Renaissance 8997:Ghent–Bruges school 8985:Early Netherlandish 8897:Italian Renaissance 8810:Gothic art in Milan 7684:Lyrical Abstraction 7483:Salon des Tuileries 7458:La Libre Esthétique 7223:René Schützenberger 7203:Hippolyte Petitjean 6920:Christopher Green, 6904:The Cubist Painters 6204:Rousseau: The Dream 6021:Le cubisme était né 5835:. pp. 106–117. 5364:on 25 February 2019 4790:M. Lambraki-Plaka, 4751:M. Lambraki-Plaka, 4695:M. Lambraki-Plaka, 4642:, CRCL, 24:3, 1997. 4506:Christopher Green, 4362:Maurice de Vlaminck 4262:Henri Le Fauconnier 4217:Constantin Brâncuși 4094:Henri Le Fauconnier 3858:, on the one hand, 3856:Henri Le Fauconnier 3660:the course of time. 3538:The Cubist Painters 3459:Henri Le Fauconnier 3429:La Madeleine, Paris 3416:Houses at l'Estaque 3368:Le Courrier du Soir 3354:and Jean Metzinger. 3348:Henri Le Fauconnier 3344:Constantin Brâncuși 3281:Henri Le Fauconnier 3234:Patrick Henry Bruce 3069:Houses at L’Estaque 2825:La danse, Bacchante 2410:Le Banquet Rousseau 2222:Maurice de Vlaminck 1997:celestial mechanics 1938:Riemannian geometry 1922:Friedrich Nietzsche 1819:Étienne-Jules Marey 1809:Étienne-Jules Marey 1736:Étienne-Jules Marey 1548:Claude Lévi-Strauss 1454:Art of the Americas 1245:During Metzinger's 1078:Henri Le Fauconnier 1042:Constantin Brâncuși 948:Alexandre Mercereau 912:Henri-Martin Barzun 897:Alexandre Mercereau 531:Henri-Martin Barzun 513:'s Parisian review 371:Maurice de Vlaminck 339:Henri Le Fauconnier 220:immediate sensation 106:Henri Le Fauconnier 12385:Arthur Jerome Eddy 11933:La Femme aux Phlox 11909:La Femme au Cheval 11826:Nadezhda Udaltsova 11638:Jean Lambert-Rucki 11618:Natalia Goncharova 11357:Landscape painting 10965:New Leipzig School 10905:Neo-conceptual art 10653:Art & Language 10648:Capitalist realism 10570:Florida Highwaymen 10506:Hard-edge painting 10320:Streamline Moderne 10281:Harlem Renaissance 10124:Novecento Italiano 9952:Deutscher Werkbund 9779:Post-Impressionism 9341:Latin American art 9145:Guild of Romanists 9007:German Renaissance 9002:Northern Mannerism 8297:Postmodernist film 8202:Theatre of Cruelty 8085:Rock in Opposition 8026:Free improvisation 7669:Post-Impressionism 7602:Art & Language 7448:Volpini Exhibition 7183:Henri-Edmond Cross 7078:Post-Impressionism 6792:A Day with Picasso 6740:David Cottington, 6589:Louis Vauxcelles, 6561:Louis Vauxcelles, 6474:Louis Vauxcelles, 6422:Louis Chassevent, 6409:Louis Chassevent: 6238:Loius Vauxcelles, 5816:Jouffret, Esprit, 5550:Cubism and Culture 5520:Joseph Henry Press 5497:has generic name ( 5428:2008-12-16 at the 5336:Eadweard Muybridge 5278:2016-03-04 at the 5103:Victoria Charles, 5046:2013-05-24 at the 4903:, Jean Metzinger, 4779:El Greco of Toledo 4753:El Greco—The Greek 4682:2008-01-17 at the 4084: 4059: 3993:Moderne Kunstkring 3888:Café de la Rotonde 3780:Femme à l'éventail 3737: 3722: 3703: 3685: 3594: 3515: 3461:exhibited a proto- 3411: 3289: 3188: 3166: 3058: 2927: 2872:Art et Littérature 2868: 2834:Henri-Edmond Cross 2806: 2787: 2725: 2663: 2625: 2578: 2569:, 1907 (Automne), 2537: 2318: 2265:Creative Evolution 2188:and other complex 2152: 2111:. An associate of 2069:Euclidean geometry 1969:sensory perception 1830: 1797:multiple exposures 1789: 1732:Eadweard Muybridge 1724: 1716:Eadweard Muybridge 1673:Further influences 1670: 1639:Post-Impressionism 1577: 1536: 1468:. Artists such as 1434: 1358: 1280: 1243: 1221: 1198:Henri-Edmond Cross 1158: 972: 869: 837:Post-Impressionist 759: 694:Théophile Steinlen 434: 427:le vase de tulipes 388:Post-Impressionism 315: 260: 135:Post-Impressionism 39: 37:, Saint Petersburg 12416: 12415: 12282:La Maison Cubiste 12131:Chronophotography 12101:Neo-impressionism 11447: 11446: 11229: 11228: 11085:Corporate Memphis 11038:Classical Realism 11008:Amazonian pop art 10900:Appropriation art 10868:Neo-expressionism 10738:Environmental art 10643:Nouvelle tendance 10360: 10359: 10308:Socialist realism 10165:Dresden Secession 9784:Neo-Impressionism 9747:Decadent movement 9718:Heidelberg School 9612: 9611: 9510:American luminism 9495:Düsseldorf School 9490:Shoreham Ancients 9480:Nazarene movement 9470:Danish Golden Age 9351:Indochristian art 9029:Antwerp Mannerism 8918:Pittura infamante 8912:Florentine School 8907:Proto-Renaissance 8349: 8348: 8339:Russian symbolism 8324:Socialist realism 8162:Experimental film 8128: 8127: 7834:Hungry generation 7809:Conceptual poetry 7664:Neo-Impressionism 7543: 7542: 7372:Wassily Kandinsky 7095:Neo-Impressionism 6636:Edmond Epardaud, 6321:, Greenwood Press 6092:Cumulative Record 6003:Einstein, Picasso 5952:Vauxcelles, Louis 5909:Vlaminck, Maurice 5833:Einstein, Picasso 5757:Einstein, Picasso 5740:978-2-84068-191-5 5652:Einstein, Picasso 5529:978-0-309-10112-7 5304:978-3-86521-926-8 5292:Philip Brookman, 5230:"Eugène Grasset, 5205:"Eugène Grasset, 5192:978-0-307-26665-1 5130:978-1-78042-285-5 4624:978-0-8126-9540-3 4575:Neo-Impressionism 4474:Alex Mittelmann, 4312:Amedeo Modigliani 4023:Groupe de Puteaux 3833:, 1910), Braque ( 3467:Pierre Jean Jouve 3378:, 10 April 1908. 2978:Le Petit Parisien 2896:'s exhibition at 1838:chronophotography 1827:Chronophotography 1785:Man Pole-vaulting 1728:Chronophotography 1707:Chronophotography 1501:Iberian sculpture 1462:Iberian sculpture 1407:Hermann Minkowski 1296:Paysage au disque 1272:Paysage au disque 1259:Neo-Impressionism 1186:Neo-Impressionism 1125:Amedeo Modigliani 1082:Pierre Jean Jouve 992:Stéphane Mallarmé 936:Abbaye de Créteil 889:Comédie-Française 885:Abbaye de Créteil 865:Abbaye de Créteil 521:, cradle of both 519:Abbaye de Créteil 423:le plat de pommes 415:Pommes et gâteaux 392:Neo-Impressionism 183:Iberian sculpture 147:Neo-Impressionism 12466: 12335:Léonce Rosenberg 12299:Louis Vauxcelles 12239:Russian Futurism 12157:Cubist sculpture 12116:Symbolism (arts) 12032:Groupe de femmes 11949:Man on a Balcony 11917:Dancer in a café 11877:The Accordionist 11831:Marie Vassilieff 11796:Kazimir Malevich 11776:Lyonel Feininger 11726: 11673:Louis Marcoussis 11658:Jacques Lipchitz 11474: 11467: 11460: 11451: 11450: 11437: 11436: 11421:Western painting 11367:Modern sculpture 11325:History painting 11028:Art intervention 10821:Installation art 10638:Nouveau réalisme 10378: 10377: 10352:Leningrad School 10244:Mexican muralism 10217:Grosvenor School 9957:American Realism 9940:Der Blaue Reiter 9898:Berlin Secession 9893:Vienna Secession 9888:Munich Secession 9806:Pont-Aven School 9625: 9624: 9475:Troubadour style 9453:(c. 1770 – 1862) 9420:Qing handicrafts 9386:Western elements 9317:Letras y figuras 9290:African-American 9285:African diaspora 9256:Directoire style 9167:Heptanese school 9150:Dutch Golden Age 9135:Stroganov School 9128:Lutheran Baroque 9123:Louis XIII style 9096:Baroque in Milan 8958:Bolognese School 8953:High Renaissance 8936:Forlivese School 8931:Ferrarese School 8654:Migration Period 8418: 8417: 8376: 8369: 8362: 8353: 8352: 8243:Russian Futurism 8187:Remodernist film 8105:Stochastic music 8060:Musique concrète 8038:Microtonal music 8016:Experimental pop 8009:Industrial music 8004:Electronic music 7909: 7908: 7731:Nouveau réalisme 7639:Grosvenor School 7570: 7563: 7556: 7547: 7546: 7463:Ambroise Vollard 7412:Henriette Tirman 7306:Der Blaue Reiter 7278:Édouard Vuillard 7263:Vincent van Gogh 7193:Georges Dufrénoy 7079: 7070: 7063: 7056: 7047: 7046: 7041: 7034: 7028: 7022:Huntley Carter, 7019: 7013: 7009:The Cubist Epoch 7007:Douglas Cooper, 7004: 6998: 6991: 6985: 6982: 6976: 6967:Jean Metzinger, 6965: 6952: 6939:Albert Gleizes, 6936: 6925: 6918: 6912: 6899: 6880: 6877: 6871: 6866: 6857: 6846: 6840: 6835: 6814: 6808: 6802: 6788: 6782: 6774: 6761: 6759:, MoMA, New York 6752: 6746: 6737: 6726: 6714: 6708: 6682: 6676: 6665: 6659: 6649: 6643: 6633: 6627: 6618: 6612: 6602: 6596: 6586: 6580: 6574: 6568: 6558: 6552: 6546: 6540: 6531: 6516: 6510: 6504: 6498: 6492: 6487: 6481: 6471: 6465: 6456: 6431: 6420: 6414: 6407: 6401: 6392: 6386: 6381:Jean Metzinger, 6379: 6362: 6356:Gelett Burgess, 6353: 6347: 6338: 6332: 6314: 6308: 6307: 6305: 6304: 6295:. Archived from 6285: 6279: 6276: 6270: 6262: 6245: 6235: 6226: 6221: 6208: 6199: 6193: 6184: 6173: 6166: 6160: 6151: 6140: 6133: 6127: 6124: 6118: 6117: 6116: 6114: 6101: 6095: 6088: 6082: 6073:Color plates of 6071: 6065: 6062:Woman with a Hat 6058: 6052: 6051: 6024: 6013: 6007: 6006: 5998: 5987: 5981: 5980: 5959: 5948: 5942: 5941: 5919: 5905: 5899: 5898: 5871: 5865: 5864: 5843: 5837: 5836: 5828: 5822: 5813: 5807: 5806: 5804: 5803: 5782: 5776: 5775: 5751: 5745: 5744: 5726: 5720: 5717: 5695: 5683: 5670: 5646: 5640: 5639: 5623: 5613: 5607: 5604: 5598: 5588: 5582: 5572: 5563: 5560: 5554: 5545: 5534: 5533: 5509: 5503: 5502: 5496: 5492: 5490: 5482: 5464: 5458: 5457: 5439: 5433: 5420: 5414: 5413: 5395: 5389: 5380: 5374: 5373: 5371: 5369: 5360:. Archived from 5350:"Katherine Kuh, 5346: 5340: 5331: 5325: 5313: 5307: 5289: 5283: 5267: 5261: 5251: 5245: 5244: 5242: 5241: 5226: 5220: 5219: 5217: 5216: 5201: 5195: 5180: 5174: 5161:David Sweetman, 5159: 5150: 5139: 5133: 5115: 5109: 5100: 5094: 5083:The Cubist Epoch 5080:Douglas Cooper, 5078: 5069: 5056: 5050: 5035: 5029: 5022: 5001: 4994: 4985: 4976:Maurice Raynal, 4974: 4968: 4945: 4939: 4931: 4925: 4916: 4910: 4896: 4887: 4879: 4836: 4829: 4823: 4816: 4810: 4801: 4795: 4788: 4782: 4775: 4769: 4764:E. Foundoulaki, 4762: 4756: 4749: 4743: 4742: 4740: 4738: 4733:on July 18, 2013 4732: 4726:. Archived from 4725: 4713: 4700: 4693: 4687: 4674: 4668: 4661:Daniel Robbins, 4658: 4643: 4632: 4626: 4604: 4598: 4591: 4578: 4571: 4542: 4541: 4539: 4538: 4532: 4526:. Archived from 4525: 4517: 4511: 4504: 4498: 4489: 4480: 4471: 4452: 4447: 4422:Cubist sculpture 3942:L'Esprit nouveau 3819:faceting of form 3388:Louis Vauxcelles 3265:Louis Vauxcelles 3074:Louis Vauxcelles 2973:Nu à la cheminée 2842:Louis Vauxcelles 2659:Hermitage Museum 2617:Hermitage Museum 2440:banquet Rousseau 2428:Le Bateau-Lavoir 2358:Fernande Olivier 2278:Woman with a Hat 2228:Louis Vauxcelles 2160:fourth dimension 2065:Bernhard Riemann 2047: 2035: 2023: 2011: 1623:Les Demoiselles. 1133:Mikhail Larionov 1121:Louis Marcoussis 1010:Mecislas Golberg 811: 795: 739:, c. 1595–1600, 719:Carlos Casagemas 646: 636: 615: 581:Umberto Boccioni 481:, art historian 463:representational 450:Der Blaue Reiter 431:Ambroise Vollard 281:Louis Vauxcelles 201:Eugène Delacroix 35:Hermitage Museum 12474: 12473: 12469: 12468: 12467: 12465: 12464: 12463: 12419: 12418: 12417: 12412: 12397:Blaise Cendrars 12387:(art collector) 12376:(art collector) 12365:(art collector) 12353:(art collector) 12287: 12253: 12135: 12096:Esprit Jouffret 12091:Maurice Princet 12076:Gustave Courbet 12054: 12019: 12013:Three Musicians 11840: 11836:Marie Vorobieff 11739: 11730:Georges Valmier 11720: 11708:Léopold Survage 11683:Francis Picabia 11643:Marie Laurencin 11633:František Kupka 11598:Alexandra Exter 11573:Robert Delaunay 11558:María Blanchard 11539: 11515:Robert Delaunay 11483: 11478: 11448: 11443: 11425: 11342:Interactive art 11225: 11199:SoFlo Superflat 11124:Kitsch movement 11048:Africanfuturism 11000: 10994: 10873:Transavantgarde 10804: 10758:Light and Space 10743:Performance art 10723:Psychedelic art 10606:Nueva Presencia 10596:Otra Figuración 10584: 10516:Les Plasticiens 10501:New York School 10479:Action painting 10464:Metcalf Chateau 10373: 10368: 10356: 10276:Cercle et Carré 10212:New Objectivity 10119:Return to order 10061:School of Paris 10039: 9883:School of Paris 9844: 9730:Arts and Crafts 9635:Neo-romanticism 9620: 9608: 9604:Etching revival 9556:Barbizon school 9500:Pre-Raphaelites 9452: 9449: 9442: 9385: 9379: 9272: 9246:Louis XVI style 9188: 9177:Louis XIV style 9140:Animal painting 9101:Flemish Baroque 9079: 8990:World landscape 8941:Venetian School 8883: 8870:Majorcan school 8837:Novgorod School 8827:Lucchese School 8799:Opus Anglicanum 8791:Norman-Sicilian 8735:Italo-Byzantine 8635:Early Christian 8616: 8600:Pompeian Styles 8413: 8407: 8394: 8380: 8350: 8345: 8206: 8192:Structural film 8134: 8124: 7979:Aleatoric music 7967: 7898: 7786: 7780: 7741:Performance art 7580: 7574: 7544: 7539: 7508: 7487: 7468:Salon d'Automne 7426: 7397:Francis Picabia 7320: 7288: 7282: 7273:Félix Vallotton 7258:Maximilien Luce 7173:Marius Borgeaud 7153:Charles Angrand 7136: 7087: 7081: 7077: 7074: 7044: 7035: 7031: 7020: 7016: 7005: 7001: 6993:Albert Gleizes 6992: 6988: 6983: 6979: 6966: 6955: 6937: 6928: 6919: 6915: 6900: 6883: 6878: 6874: 6867: 6860: 6847: 6843: 6836: 6817: 6809: 6805: 6789: 6785: 6775: 6764: 6755:Pablo Picasso, 6753: 6749: 6738: 6729: 6715: 6711: 6683: 6679: 6666: 6662: 6658:, Gallica (BnF) 6650: 6646: 6642:, Gallica (BnF) 6634: 6630: 6626:, Gallica (BnF) 6619: 6615: 6611:, Gallica (BnF) 6603: 6599: 6595:, Gallica (BnF) 6587: 6583: 6575: 6571: 6567:, Gallica (BnF) 6559: 6555: 6547: 6543: 6532: 6519: 6515:, Gallica (BnF) 6511: 6507: 6503:, Gallica (BnF) 6499: 6495: 6488: 6484: 6480:, Gallica (BnF) 6472: 6468: 6457: 6434: 6421: 6417: 6408: 6404: 6393: 6389: 6380: 6365: 6354: 6350: 6339: 6335: 6315: 6311: 6302: 6300: 6287: 6286: 6282: 6277: 6273: 6263: 6248: 6244:, Gallica (BnF) 6236: 6229: 6222: 6211: 6200: 6196: 6185: 6176: 6167: 6163: 6152: 6143: 6134: 6130: 6125: 6121: 6112: 6110: 6103: 6102: 6098: 6089: 6085: 6072: 6068: 6059: 6055: 6048: 6017:Metzinger, Jean 6014: 6010: 5991:Metzinger, Jean 5988: 5984: 5977: 5949: 5945: 5938: 5906: 5902: 5895: 5872: 5868: 5861: 5844: 5840: 5829: 5825: 5814: 5810: 5801: 5799: 5783: 5779: 5772: 5754:Miller (2001). 5752: 5748: 5741: 5727: 5723: 5714: 5667: 5649:Miller (2001). 5647: 5643: 5636: 5614: 5610: 5605: 5601: 5589: 5585: 5573: 5566: 5561: 5557: 5546: 5537: 5530: 5510: 5506: 5494: 5493: 5484: 5483: 5479: 5465: 5461: 5454: 5440: 5436: 5430:Wayback Machine 5421: 5417: 5410: 5396: 5392: 5381: 5377: 5367: 5365: 5348: 5347: 5343: 5332: 5328: 5314: 5310: 5290: 5286: 5280:Wayback Machine 5268: 5264: 5252: 5248: 5239: 5237: 5228: 5227: 5223: 5214: 5212: 5203: 5202: 5198: 5181: 5177: 5160: 5153: 5140: 5136: 5116: 5112: 5101: 5097: 5079: 5072: 5057: 5053: 5048:Wayback Machine 5036: 5032: 5023: 5004: 4998:La Grande Revue 4995: 4988: 4975: 4971: 4946: 4942: 4932: 4928: 4917: 4913: 4897: 4890: 4880: 4839: 4830: 4826: 4818:J. Richardson, 4817: 4813: 4802: 4798: 4789: 4785: 4776: 4772: 4763: 4759: 4750: 4746: 4736: 4734: 4730: 4723: 4715: 4714: 4703: 4694: 4690: 4684:Wayback Machine 4675: 4671: 4659: 4646: 4634:Brian Massumi, 4633: 4629: 4605: 4601: 4592: 4581: 4572: 4545: 4536: 4534: 4530: 4523: 4519: 4518: 4514: 4505: 4501: 4490: 4483: 4472: 4455: 4448: 4439: 4435: 4408: 4371: 4369:Further reading 4366: 4322:Francis Picabia 4297:Marie Laurencin 4292:František Kupka 4287:Bohumil Kubišta 4252:Kees van Dongen 4237:Robert Delaunay 4212: 4210:Notable artists 4171: 4170: 4165: 4164: 4134:Francis Picabia 4122:František Kupka 4080:Salon d'Automne 4031:František Kupka 4007: 4005:Salon d'Automne 4001: 3982:L'Intransigeant 3911: 3905: 3897:Marie Laurencin 3852:Robert Delaunay 3810:Les Demoiselles 3802: 3796: 3583:Robert Delaunay 3488: 3438: 3425:one-person show 3399:Robert Delaunay 3384:Salon d'Automne 3376:La Grande revue 3360:New York Herald 3294:L'Intransigeant 3274: 3220: 3207:Salon d'Automne 3199: 3162:Brooklyn Museum 3128:Les Demoiselles 3107: 3106: 3102: 3101: 3037: 3011: 3010: 3008: 3007: 3004:parallelepipeds 2976:, published in 2919:Robert Delaunay 2810:Robert Delaunay 2794:Robert Delaunay 2767: 2731: 2730: 2697:Cubism was Born 2680: 2679: 2675: 2674: 2661:, St Petersburg 2633:Salon d'Automne 2547:Tableau no. III 2513: 2512: 2496: 2456:Marie Laurencin 2378:Marie Laurencin 2273:Salon d'Automne 2251: 2168:Esprit Jouffret 2129:Robert Delaunay 2097:Maurice Princet 2051: 2048: 2039: 2036: 2027: 2024: 2015: 2012: 1902: 1850:moving pictures 1709: 1680: 1675: 1605:John Richardson 1590:Les Demoiselles 1585:Salon d'Automne 1572:Oviri (Sauvage) 1438:Prehistoric art 1419: 1411:Albert Einstein 1363:Cirque (Circus) 1268:Robert Delaunay 1261: 1141: 1074:Salon d'Automne 944:Fêtes du Peuple 920:Théâtre Pigalle 905:Georges Duhamel 901:Charles Vildrac 858: 819:John Richardson 798:Ignacio Zuloaga 682:Els Quatre Gats 668: 667: 666: 665: 664: 647: 639: 638: 616: 605: 475: 383:Salon d'Automne 343:Robert Delaunay 279:The art critic 241: 208:Gustave Courbet 179:Native American 149:, the works of 130: 110:Robert Delaunay 17: 12: 11: 5: 12472: 12462: 12461: 12456: 12451: 12446: 12441: 12436: 12431: 12414: 12413: 12411: 12410: 12405: 12400: 12394: 12391:Pierre Reverdy 12388: 12382: 12377: 12374:Leonard Lauder 12371: 12366: 12360: 12354: 12351:Gertrude Stein 12348: 12343: 12338: 12332: 12326: 12325:(poet, critic) 12323:Maurice Raynal 12320: 12314: 12308: 12307:(poet, critic) 12302: 12295: 12293: 12289: 12288: 12286: 12285: 12278: 12270: 12261: 12259: 12255: 12254: 12252: 12251: 12246: 12241: 12236: 12231: 12226: 12224:Constructivism 12221: 12216: 12211: 12206: 12204:Crystal Cubism 12201: 12196: 12191: 12186: 12181: 12176: 12171: 12170: 12169: 12159: 12154: 12149: 12143: 12141: 12137: 12136: 12134: 12133: 12128: 12123: 12118: 12113: 12108: 12103: 12098: 12093: 12088: 12083: 12081:Georges Seurat 12078: 12073: 12068: 12062: 12060: 12056: 12055: 12053: 12052: 12044: 12036: 12027: 12025: 12021: 12020: 12018: 12017: 12009: 12001: 11993: 11985: 11977: 11969: 11961: 11957:Les Baigneuses 11953: 11945: 11937: 11929: 11921: 11913: 11905: 11897: 11889: 11881: 11873: 11865: 11857: 11848: 11846: 11842: 11841: 11839: 11838: 11833: 11828: 11823: 11818: 11816:Morgan Russell 11813: 11808: 11803: 11798: 11793: 11788: 11783: 11778: 11773: 11768: 11763: 11758: 11753: 11747: 11745: 11741: 11740: 11738: 11737: 11735:Jacques Villon 11732: 11727: 11715: 11710: 11705: 11700: 11695: 11690: 11685: 11680: 11678:Jean Metzinger 11675: 11670: 11665: 11660: 11655: 11650: 11645: 11640: 11635: 11630: 11628:Auguste Herbin 11625: 11620: 11615: 11613:Albert Gleizes 11610: 11605: 11600: 11595: 11590: 11585: 11583:Marcel Duchamp 11580: 11578:Sonia Delaunay 11575: 11570: 11565: 11560: 11555: 11549: 11547: 11541: 11540: 11538: 11537: 11532: 11530:Marcel Duchamp 11527: 11522: 11517: 11512: 11510:Albert Gleizes 11507: 11505:Jean Metzinger 11502: 11500:Georges Braque 11497: 11491: 11489: 11485: 11484: 11477: 11476: 11469: 11462: 11454: 11445: 11444: 11442: 11441: 11430: 11427: 11426: 11424: 11423: 11418: 11411: 11406: 11401: 11396: 11391: 11386: 11381: 11376: 11375: 11374: 11372:Late modernism 11369: 11359: 11354: 11349: 11344: 11339: 11334: 11329: 11328: 11327: 11322: 11320:Genre painting 11312: 11307: 11302: 11297: 11296: 11295: 11290: 11285: 11280: 11270: 11268:Ballets Russes 11265: 11260: 11255: 11254: 11253: 11251:Asemic writing 11243: 11241:History of art 11237: 11235: 11234:Related topics 11231: 11230: 11227: 11226: 11224: 11223: 11218: 11213: 11208: 11207: 11206: 11201: 11191: 11186: 11181: 11176: 11171: 11169:Relational art 11166: 11161: 11156: 11151: 11146: 11141: 11136: 11131: 11126: 11121: 11116: 11115: 11114: 11104: 11099: 11094: 11092:Hypermodernism 11089: 11088: 11087: 11077: 11072: 11067: 11062: 11057: 11052: 11051: 11050: 11040: 11035: 11030: 11025: 11020: 11015: 11010: 11004: 11002: 10996: 10995: 10993: 10992: 10987: 10982: 10977: 10972: 10967: 10962: 10957: 10952: 10947: 10942: 10937: 10932: 10927: 10922: 10917: 10912: 10907: 10902: 10897: 10892: 10887: 10882: 10877: 10876: 10875: 10865: 10860: 10855: 10850: 10849: 10848: 10838: 10833: 10831:Postminimalism 10828: 10823: 10818: 10812: 10810: 10806: 10805: 10803: 10802: 10797: 10792: 10787: 10782: 10777: 10776: 10775: 10765: 10760: 10755: 10750: 10745: 10740: 10735: 10730: 10725: 10720: 10715: 10710: 10708:Generative art 10705: 10700: 10695: 10690: 10685: 10680: 10678:Conceptual art 10675: 10670: 10665: 10660: 10655: 10650: 10645: 10640: 10635: 10630: 10629: 10628: 10618: 10613: 10608: 10603: 10598: 10592: 10590: 10586: 10585: 10583: 10582: 10577: 10575:Cybernetic art 10572: 10567: 10566: 10565: 10563:Ultra-Lettrist 10560: 10550: 10549: 10548: 10538: 10533: 10528: 10523: 10518: 10513: 10508: 10503: 10498: 10493: 10492: 10491: 10481: 10476: 10471: 10466: 10461: 10456: 10451: 10450: 10449: 10444: 10439: 10437:Arte Informale 10434: 10424: 10419: 10414: 10413: 10412: 10402: 10401: 10400: 10390: 10384: 10382: 10375: 10374:(1945–present) 10362: 10361: 10358: 10357: 10355: 10354: 10349: 10344: 10339: 10334: 10333: 10332: 10322: 10317: 10316: 10315: 10310: 10303:Heroic realism 10300: 10299: 10298: 10288: 10283: 10278: 10273: 10268: 10263: 10256: 10251: 10246: 10241: 10240: 10239: 10237:Latin American 10234: 10224: 10219: 10214: 10209: 10207:Group of Seven 10204: 10199: 10194: 10189: 10188: 10187: 10177: 10172: 10170:Social realism 10167: 10162: 10157: 10156: 10155: 10153:November Group 10145: 10144: 10143: 10138: 10128: 10127: 10126: 10116: 10111: 10110: 10109: 10097: 10092: 10087: 10086: 10085: 10084: 10083: 10076:Latin American 10071:Constructivism 10068: 10066:Crystal Cubism 10063: 10058: 10053: 10047: 10045: 10041: 10040: 10038: 10037: 10032: 10027: 10022: 10017: 10012: 10007: 10006: 10005: 9995: 9990: 9983: 9982: 9981: 9976: 9966: 9965: 9964: 9954: 9949: 9944: 9943: 9942: 9937: 9927: 9922: 9917: 9912: 9907: 9906: 9905: 9900: 9895: 9890: 9880: 9875: 9870: 9865: 9864: 9863: 9852: 9850: 9846: 9845: 9843: 9842: 9837: 9836: 9835: 9825: 9824: 9823: 9818: 9813: 9808: 9803: 9798: 9793: 9792: 9791: 9776: 9771: 9769:Volcano School 9766: 9765: 9764: 9759: 9749: 9744: 9739: 9738: 9737: 9727: 9722: 9721: 9720: 9715: 9710: 9705: 9704: 9703: 9698: 9683: 9678: 9673: 9668: 9667: 9666: 9654: 9649: 9644: 9643: 9642: 9631: 9629: 9622: 9614: 9613: 9610: 9609: 9607: 9606: 9601: 9600: 9599: 9594: 9593: 9592: 9577: 9576: 9575: 9574: 9573: 9563: 9558: 9548: 9543: 9542: 9541: 9531: 9526: 9524:Norwich School 9521: 9516: 9515: 9514: 9513: 9512: 9502: 9497: 9492: 9487: 9482: 9477: 9472: 9467: 9465:Fairy painting 9456: 9454: 9444: 9443: 9441: 9440: 9439: 9438: 9433: 9422: 9417: 9412: 9407: 9402: 9401: 9400: 9389: 9387: 9381: 9380: 9378: 9377: 9376: 9375: 9370: 9369: 9368: 9363: 9358: 9356:Chilote School 9348: 9346:Casta painting 9338: 9337: 9336: 9331: 9326: 9325: 9324: 9322:Tipos del País 9319: 9306: 9305: 9304: 9303: 9302: 9292: 9280: 9278: 9274: 9273: 9271: 9270: 9265: 9264: 9263: 9258: 9253: 9248: 9243: 9231: 9230: 9229: 9222: 9217: 9212: 9210:Louis XV style 9207: 9196: 9194: 9190: 9189: 9187: 9186: 9185: 9184: 9179: 9169: 9164: 9159: 9158: 9157: 9147: 9142: 9137: 9132: 9131: 9130: 9125: 9120: 9119: 9118: 9113: 9103: 9098: 9087: 9085: 9081: 9080: 9078: 9077: 9072: 9067: 9062: 9057: 9056: 9055: 9045: 9044: 9043: 9042: 9041: 9036: 9031: 9021: 9020: 9019: 9014: 9012:Cologne School 9004: 8999: 8994: 8993: 8992: 8977: 8976: 8975: 8974: 8973: 8965: 8960: 8955: 8945: 8944: 8943: 8938: 8933: 8923: 8922: 8921: 8914: 8909: 8893: 8891: 8885: 8884: 8882: 8881: 8880: 8879: 8872: 8867: 8865:Italian school 8856: 8851: 8850: 8849: 8847:Sienese School 8839: 8834: 8829: 8824: 8823: 8822: 8817: 8812: 8802: 8795: 8794: 8793: 8783: 8782: 8781: 8776: 8766: 8761: 8760: 8759: 8757:Pre-Romanesque 8754: 8749: 8739: 8738: 8737: 8732: 8727: 8722: 8712: 8707: 8706: 8705: 8693: 8688: 8686:Donor portrait 8683: 8682: 8681: 8676: 8671: 8666: 8661: 8651: 8650: 8649: 8639: 8638: 8637: 8626: 8624: 8618: 8617: 8615: 8614: 8613: 8612: 8607: 8602: 8597: 8595:Julio-Claudian 8592: 8587: 8577: 8572: 8567: 8562: 8557: 8556: 8555: 8554: 8553: 8548: 8547: 8546: 8544:Greco-Buddhist 8536: 8526: 8521: 8516: 8511: 8506: 8501: 8496: 8491: 8486: 8484:Protogeometric 8481: 8471: 8470: 8469: 8464: 8459: 8454: 8444: 8439: 8438: 8437: 8426: 8424: 8415: 8409: 8408: 8399: 8396: 8395: 8379: 8378: 8371: 8364: 8356: 8347: 8346: 8344: 8343: 8342: 8341: 8331: 8326: 8321: 8319:Social realism 8316: 8311: 8306: 8304:Late modernism 8301: 8300: 8299: 8289: 8284: 8279: 8277:Neo-minimalism 8274: 8272:Postminimalism 8269: 8264: 8259: 8254: 8253: 8252: 8251: 8250: 8235: 8230: 8225: 8220: 8218:Constructivism 8214: 8212: 8208: 8207: 8205: 8204: 8199: 8194: 8189: 8184: 8179: 8177:Poetic realism 8174: 8172:Modernist film 8169: 8164: 8159: 8154: 8149: 8144: 8138: 8136: 8130: 8129: 8126: 8125: 8123: 8122: 8117: 8112: 8110:Textural music 8107: 8102: 8100:Spectral music 8097: 8092: 8087: 8082: 8077: 8072: 8067: 8065:New Complexity 8062: 8057: 8052: 8051: 8050: 8040: 8035: 8030: 8029: 8028: 8018: 8013: 8012: 8011: 8001: 7996: 7991: 7986: 7981: 7975: 7973: 7969: 7968: 7966: 7965: 7964: 7963: 7958: 7953: 7943: 7938: 7937: 7936: 7931: 7921: 7915: 7913: 7906: 7900: 7899: 7897: 7896: 7891: 7886: 7881: 7876: 7871: 7866: 7861: 7856: 7854:Neoavanguardia 7851: 7849:Language poets 7846: 7841: 7836: 7831: 7826: 7821: 7816: 7811: 7806: 7804:Asemic writing 7801: 7799:Angry Penguins 7796: 7790: 7788: 7782: 7781: 7779: 7778: 7773: 7768: 7763: 7758: 7753: 7748: 7743: 7738: 7733: 7728: 7723: 7718: 7717: 7716: 7706: 7701: 7696: 7691: 7686: 7681: 7676: 7671: 7666: 7661: 7656: 7651: 7646: 7641: 7636: 7635: 7634: 7624: 7619: 7614: 7612:Constructivism 7609: 7607:Conceptual art 7604: 7599: 7594: 7588: 7586: 7582: 7581: 7573: 7572: 7565: 7558: 7550: 7541: 7540: 7538: 7537: 7532: 7527: 7522: 7516: 7514: 7510: 7509: 7507: 7506: 7501: 7495: 7493: 7489: 7488: 7486: 7485: 7480: 7478:Salon des Cent 7475: 7470: 7465: 7460: 7455: 7450: 7445: 7440: 7434: 7432: 7428: 7427: 7425: 7424: 7419: 7414: 7409: 7404: 7399: 7394: 7389: 7387:Jean Metzinger 7384: 7379: 7377:Sonia Lewitska 7374: 7369: 7364: 7359: 7357:Albert Gleizes 7354: 7349: 7344: 7339: 7337:Charles Camoin 7334: 7332:Georges Braque 7328: 7326: 7322: 7321: 7319: 7318: 7313: 7308: 7303: 7298: 7292: 7290: 7284: 7283: 7281: 7280: 7275: 7270: 7265: 7260: 7255: 7253:Georges Lemmen 7250: 7245: 7240: 7235: 7233:Georges Seurat 7230: 7225: 7220: 7218:Henri Rousseau 7215: 7210: 7205: 7200: 7195: 7190: 7185: 7180: 7175: 7170: 7168:Pierre Bonnard 7165: 7160: 7155: 7150: 7144: 7142: 7138: 7137: 7135: 7134: 7129: 7124: 7119: 7112: 7107: 7102: 7097: 7091: 7089: 7083: 7082: 7073: 7072: 7065: 7058: 7050: 7043: 7042: 7029: 7014: 6999: 6986: 6977: 6953: 6926: 6913: 6881: 6872: 6858: 6841: 6815: 6803: 6790:Billy Klüver, 6783: 6762: 6747: 6727: 6709: 6685:André Salmon, 6677: 6667:André Salmon, 6660: 6644: 6628: 6613: 6597: 6581: 6569: 6553: 6541: 6534:Alex Danchev, 6517: 6505: 6493: 6482: 6466: 6432: 6415: 6402: 6387: 6363: 6348: 6333: 6309: 6280: 6271: 6246: 6227: 6209: 6194: 6174: 6161: 6141: 6128: 6119: 6096: 6083: 6066: 6053: 6046: 6008: 6005:. p. 167. 5982: 5975: 5943: 5936: 5900: 5893: 5866: 5859: 5838: 5823: 5808: 5777: 5770: 5746: 5739: 5721: 5719: 5718: 5712: 5696: 5684: 5671:Miller cites: 5665: 5641: 5634: 5608: 5599: 5596:978-3764358457 5583: 5564: 5555: 5535: 5528: 5504: 5477: 5459: 5452: 5434: 5415: 5408: 5390: 5383:Stephen Kern, 5375: 5352:Marcel Duchamp 5341: 5326: 5308: 5284: 5262: 5246: 5221: 5196: 5175: 5151: 5134: 5110: 5095: 5070: 5059:Peter Brooke, 5051: 5030: 5002: 4986: 4969: 4940: 4926: 4911: 4888: 4882:Peter Brooke, 4837: 4824: 4811: 4796: 4783: 4770: 4757: 4744: 4701: 4688: 4669: 4644: 4627: 4599: 4579: 4543: 4512: 4499: 4481: 4453: 4436: 4434: 4431: 4430: 4429: 4424: 4419: 4414: 4412:Crystal Cubism 4407: 4404: 4403: 4402: 4398: 4389: 4381: 4370: 4367: 4365: 4364: 4359: 4354: 4352:Georges Seurat 4349: 4344: 4339: 4337:Henri Rousseau 4334: 4329: 4324: 4319: 4314: 4309: 4307:Jean Metzinger 4304: 4299: 4294: 4289: 4284: 4282:Albert Gleizes 4279: 4274: 4269: 4264: 4259: 4254: 4249: 4244: 4242:Sonia Delaunay 4239: 4234: 4229: 4224: 4222:Georges Braque 4219: 4213: 4211: 4208: 4207: 4206: 4118:Marcel Duchamp 4114:Jacques Villon 4102:Albert Gleizes 4066:Albert Gleizes 4045:Jean Metzinger 4019:Marcel Duchamp 4011:Jacques Villon 4003:Main article: 4000: 3997: 3907:Main article: 3904: 3901: 3864:Georges Braque 3806:Horta de Hebro 3798:Main article: 3795: 3792: 3788:Henri Rousseau 3764: 3763: 3759: 3756: 3745:Gelett Burgess 3729:Georges Braque 3692:Georges Braque 3669:Jean Metzinger 3662: 3661: 3633:Jacques Villon 3629:Marcel Duchamp 3559: 3558: 3542: 3541: 3520:Albert Gleizes 3487: 3484: 3483: 3482: 3478: 3471:Albert Gleizes 3437: 3434: 3433: 3432: 3392: 3391: 3356: 3355: 3346:exhibits with 3336: 3325:Auguste Herbin 3313:Sonia Delaunay 3309:Georges Braque 3305:Jean Metzinger 3301: 3273: 3270: 3269: 3268: 3261: 3232:showed three, 3219: 3216: 3198: 3195: 3147: 3146: 3036: 3033: 3024: 3023: 2985:Gelett Burgess 2894:Georges Braque 2857:Georges Braque 2850: 2849: 2838:Daniel Robbins 2814:Jean Metzinger 2774:Jean Metzinger 2766: 2763: 2621:St. Petersburg 2500:Gelett Burgess 2495: 2492: 2480:Gertrude Stein 2468:Maurice Raynal 2444:Jean Metzinger 2438:Guests at the 2436: 2435: 2416:Maurice Raynal 2390:Jean Metzinger 2382:Henri Rousseau 2362:Georges Braque 2342:Honoré Daumier 2326:Pierre Bonnard 2282:and Picasso's 2269:Gertrude Stein 2250: 2247: 2156:Henri Poincaré 2137:Marcel Duchamp 2125:Jean Metzinger 2053: 2052: 2049: 2042: 2040: 2037: 2030: 2028: 2025: 2018: 2016: 2013: 2006: 2004: 1946:absolute truth 1930:Henri Poincaré 1901: 1898: 1874:cinematography 1748:Marcel Duchamp 1708: 1705: 1700:Hector Guimard 1684:Eugène Grasset 1679: 1676: 1674: 1671: 1662:Eugène Grasset 1613: 1612: 1493:Gertrude Stein 1482:Henri Rousseau 1418: 1415: 1409:and of course 1403:Henri Poincaré 1337:Georges Seurat 1260: 1257: 1170:Jean Metzinger 1140: 1139:Jean Metzinger 1137: 1109:Jean Metzinger 1022:La Vie Unanime 1014:La Vie Unanime 984:Emil Verhaeren 959:Albert Gleizes 873:Albert Gleizes 857: 856:Albert Gleizes 854: 742:View of Toledo 723:Jaime Sabartès 702:Francisco Goya 680:). Meeting at 648: 641: 640: 617: 610: 609: 608: 607: 606: 604: 601: 597:Jules Laforgue 547:Jacques Villon 483:Daniel Robbins 474: 471: 454:Expressionists 363:Georges Braque 335:Albert Gleizes 331:Jean Metzinger 287:(published in 256:Pushkin Museum 240: 237: 212:Impressionists 155:Georges Seurat 129: 126: 102:Albert Gleizes 98:Jean Metzinger 86:Georges Braque 62:history of art 15: 9: 6: 4: 3: 2: 12471: 12460: 12457: 12455: 12452: 12450: 12447: 12445: 12442: 12440: 12437: 12435: 12434:Art movements 12432: 12430: 12427: 12426: 12424: 12409: 12406: 12404: 12401: 12398: 12395: 12392: 12389: 12386: 12383: 12381: 12378: 12375: 12372: 12370: 12367: 12364: 12361: 12358: 12355: 12352: 12349: 12347: 12344: 12342: 12339: 12336: 12333: 12330: 12327: 12324: 12321: 12318: 12315: 12312: 12309: 12306: 12303: 12300: 12297: 12296: 12294: 12290: 12284: 12283: 12279: 12276: 12275: 12271: 12268: 12267: 12263: 12262: 12260: 12256: 12250: 12247: 12245: 12242: 12240: 12237: 12235: 12232: 12230: 12227: 12225: 12222: 12220: 12217: 12215: 12212: 12210: 12207: 12205: 12202: 12200: 12197: 12195: 12192: 12190: 12187: 12185: 12182: 12180: 12179:Orphism (art) 12177: 12175: 12172: 12168: 12165: 12164: 12163: 12160: 12158: 12155: 12153: 12152:Cubo-Futurism 12150: 12148: 12145: 12144: 12142: 12138: 12132: 12129: 12127: 12124: 12122: 12119: 12117: 12114: 12112: 12109: 12107: 12104: 12102: 12099: 12097: 12094: 12092: 12089: 12087: 12084: 12082: 12079: 12077: 12074: 12072: 12069: 12067: 12064: 12063: 12061: 12057: 12050: 12049: 12045: 12042: 12041: 12037: 12034: 12033: 12029: 12028: 12026: 12022: 12015: 12014: 12010: 12007: 12006: 12002: 11999: 11998: 11994: 11991: 11990: 11986: 11983: 11982: 11978: 11975: 11974: 11970: 11967: 11966: 11962: 11959: 11958: 11954: 11951: 11950: 11946: 11943: 11942: 11938: 11935: 11934: 11930: 11927: 11926: 11925:L'Oiseau bleu 11922: 11919: 11918: 11914: 11911: 11910: 11906: 11903: 11902: 11898: 11895: 11894: 11890: 11887: 11886: 11882: 11879: 11878: 11874: 11871: 11870: 11866: 11863: 11862: 11858: 11855: 11854: 11850: 11849: 11847: 11843: 11837: 11834: 11832: 11829: 11827: 11824: 11822: 11819: 11817: 11814: 11812: 11809: 11807: 11806:Lyubov Popova 11804: 11802: 11799: 11797: 11794: 11792: 11789: 11787: 11784: 11782: 11779: 11777: 11774: 11772: 11769: 11767: 11764: 11762: 11759: 11757: 11754: 11752: 11751:Giacomo Balla 11749: 11748: 11746: 11742: 11736: 11733: 11731: 11728: 11724: 11719: 11718:Henry Valensi 11716: 11714: 11711: 11709: 11706: 11704: 11703:Gino Severini 11701: 11699: 11696: 11694: 11691: 11689: 11686: 11684: 11681: 11679: 11676: 11674: 11671: 11669: 11668:Jean Marchand 11666: 11664: 11661: 11659: 11656: 11654: 11653:Fernand Léger 11651: 11649: 11648:Henri Laurens 11646: 11644: 11641: 11639: 11636: 11634: 11631: 11629: 11626: 11624: 11621: 11619: 11616: 11614: 11611: 11609: 11606: 11604: 11601: 11599: 11596: 11594: 11591: 11589: 11588:Pierre Dumont 11586: 11584: 11581: 11579: 11576: 11574: 11571: 11569: 11566: 11564: 11561: 11559: 11556: 11554: 11551: 11550: 11548: 11546: 11542: 11536: 11533: 11531: 11528: 11526: 11525:Fernand Léger 11523: 11521: 11518: 11516: 11513: 11511: 11508: 11506: 11503: 11501: 11498: 11496: 11495:Pablo Picasso 11493: 11492: 11490: 11486: 11482: 11475: 11470: 11468: 11463: 11461: 11456: 11455: 11452: 11440: 11432: 11431: 11428: 11422: 11419: 11417: 11416: 11412: 11410: 11407: 11405: 11402: 11400: 11397: 11395: 11392: 11390: 11387: 11385: 11382: 11380: 11377: 11373: 11370: 11368: 11365: 11364: 11363: 11360: 11358: 11355: 11353: 11350: 11348: 11345: 11343: 11340: 11338: 11335: 11333: 11330: 11326: 11323: 11321: 11318: 11317: 11316: 11313: 11311: 11308: 11306: 11305:Fantastic art 11303: 11301: 11298: 11294: 11291: 11289: 11286: 11284: 11281: 11279: 11276: 11275: 11274: 11273:Christian art 11271: 11269: 11266: 11264: 11261: 11259: 11256: 11252: 11249: 11248: 11247: 11244: 11242: 11239: 11238: 11236: 11232: 11222: 11219: 11217: 11214: 11212: 11209: 11205: 11202: 11200: 11197: 11196: 11195: 11192: 11190: 11187: 11185: 11182: 11180: 11177: 11175: 11174:Skeuomorphism 11172: 11170: 11167: 11165: 11162: 11160: 11157: 11155: 11152: 11150: 11147: 11145: 11142: 11140: 11137: 11135: 11134:Massurrealism 11132: 11130: 11129:Lightpainting 11127: 11125: 11122: 11120: 11117: 11113: 11112:Post-Internet 11110: 11109: 11108: 11105: 11103: 11100: 11098: 11095: 11093: 11090: 11086: 11083: 11082: 11081: 11078: 11076: 11073: 11071: 11068: 11066: 11063: 11061: 11058: 11056: 11053: 11049: 11046: 11045: 11044: 11041: 11039: 11036: 11034: 11031: 11029: 11026: 11024: 11021: 11019: 11016: 11014: 11011: 11009: 11006: 11005: 11003: 10997: 10991: 10988: 10986: 10985:Grunge design 10983: 10981: 10978: 10976: 10973: 10971: 10968: 10966: 10963: 10961: 10958: 10956: 10953: 10951: 10948: 10946: 10943: 10941: 10940:Retrofuturism 10938: 10936: 10935:Scratch video 10933: 10931: 10928: 10926: 10923: 10921: 10920:Memphis Group 10918: 10916: 10913: 10911: 10908: 10906: 10903: 10901: 10898: 10896: 10895:Telematic art 10893: 10891: 10888: 10886: 10885:Guerrilla art 10883: 10881: 10878: 10874: 10871: 10870: 10869: 10866: 10864: 10861: 10859: 10856: 10854: 10851: 10847: 10844: 10843: 10842: 10839: 10837: 10836:Endurance art 10834: 10832: 10829: 10827: 10824: 10822: 10819: 10817: 10814: 10813: 10811: 10807: 10801: 10798: 10796: 10793: 10791: 10788: 10786: 10783: 10781: 10778: 10774: 10771: 10770: 10769: 10766: 10764: 10761: 10759: 10756: 10754: 10751: 10749: 10746: 10744: 10741: 10739: 10736: 10734: 10731: 10729: 10726: 10724: 10721: 10719: 10716: 10714: 10711: 10709: 10706: 10704: 10701: 10699: 10696: 10694: 10691: 10689: 10686: 10684: 10681: 10679: 10676: 10674: 10671: 10669: 10666: 10664: 10661: 10659: 10656: 10654: 10651: 10649: 10646: 10644: 10641: 10639: 10636: 10634: 10631: 10627: 10624: 10623: 10622: 10619: 10617: 10614: 10612: 10609: 10607: 10604: 10602: 10599: 10597: 10594: 10593: 10591: 10587: 10581: 10578: 10576: 10573: 10571: 10568: 10564: 10561: 10559: 10556: 10555: 10554: 10551: 10547: 10544: 10543: 10542: 10539: 10537: 10534: 10532: 10529: 10527: 10524: 10522: 10519: 10517: 10514: 10512: 10509: 10507: 10504: 10502: 10499: 10497: 10496:New media art 10494: 10490: 10487: 10486: 10485: 10482: 10480: 10477: 10475: 10474:Nanyang Style 10472: 10470: 10467: 10465: 10462: 10460: 10457: 10455: 10452: 10448: 10445: 10443: 10440: 10438: 10435: 10433: 10430: 10429: 10428: 10425: 10423: 10420: 10418: 10415: 10411: 10408: 10407: 10406: 10405:Visionary art 10403: 10399: 10396: 10395: 10394: 10391: 10389: 10386: 10385: 10383: 10379: 10376: 10372: 10367: 10363: 10353: 10350: 10348: 10345: 10343: 10340: 10338: 10335: 10331: 10328: 10327: 10326: 10323: 10321: 10318: 10314: 10311: 10309: 10306: 10305: 10304: 10301: 10297: 10294: 10293: 10292: 10289: 10287: 10284: 10282: 10279: 10277: 10274: 10272: 10271:Scuola Romana 10269: 10267: 10264: 10262: 10261: 10257: 10255: 10252: 10250: 10247: 10245: 10242: 10238: 10235: 10233: 10230: 10229: 10228: 10225: 10223: 10220: 10218: 10215: 10213: 10210: 10208: 10205: 10203: 10200: 10198: 10197:Anthropophagy 10195: 10193: 10190: 10186: 10183: 10182: 10181: 10180:Functionalism 10178: 10176: 10173: 10171: 10168: 10166: 10163: 10161: 10158: 10154: 10151: 10150: 10149: 10146: 10142: 10139: 10137: 10134: 10133: 10132: 10129: 10125: 10122: 10121: 10120: 10117: 10115: 10112: 10108: 10107: 10103: 10102: 10101: 10100:Neoplasticism 10098: 10096: 10093: 10091: 10088: 10082: 10079: 10078: 10077: 10074: 10073: 10072: 10069: 10067: 10064: 10062: 10059: 10057: 10054: 10052: 10049: 10048: 10046: 10042: 10036: 10033: 10031: 10028: 10026: 10023: 10021: 10018: 10016: 10013: 10011: 10008: 10004: 10003:Cubo-Futurism 10001: 10000: 9999: 9996: 9994: 9991: 9989: 9988: 9984: 9980: 9977: 9975: 9972: 9971: 9970: 9967: 9963: 9962:Ashcan School 9960: 9959: 9958: 9955: 9953: 9950: 9948: 9945: 9941: 9938: 9936: 9933: 9932: 9931: 9930:Expressionism 9928: 9926: 9923: 9921: 9918: 9916: 9915:Mir iskusstva 9913: 9911: 9908: 9904: 9901: 9899: 9896: 9894: 9891: 9889: 9886: 9885: 9884: 9881: 9879: 9876: 9874: 9871: 9869: 9866: 9862: 9859: 9858: 9857: 9854: 9853: 9851: 9847: 9841: 9838: 9834: 9831: 9830: 9829: 9826: 9822: 9819: 9817: 9814: 9812: 9809: 9807: 9804: 9802: 9799: 9797: 9794: 9790: 9787: 9786: 9785: 9782: 9781: 9780: 9777: 9775: 9772: 9770: 9767: 9763: 9760: 9758: 9755: 9754: 9753: 9750: 9748: 9745: 9743: 9740: 9736: 9733: 9732: 9731: 9728: 9726: 9723: 9719: 9716: 9714: 9711: 9709: 9706: 9702: 9701:Boston School 9699: 9697: 9696:Hoosier Group 9694: 9693: 9692: 9689: 9688: 9687: 9686:Impressionism 9684: 9682: 9681:Peredvizhniki 9679: 9677: 9674: 9672: 9671:Beuron School 9669: 9665: 9662: 9661: 9660: 9659: 9655: 9653: 9650: 9648: 9645: 9641: 9638: 9637: 9636: 9633: 9632: 9630: 9626: 9623: 9619: 9615: 9605: 9602: 9598: 9595: 9591: 9588: 9587: 9586: 9585:Munich School 9583: 9582: 9581: 9578: 9572: 9569: 9568: 9567: 9564: 9562: 9559: 9557: 9554: 9553: 9552: 9549: 9547: 9544: 9540: 9537: 9536: 9535: 9532: 9530: 9527: 9525: 9522: 9520: 9517: 9511: 9508: 9507: 9506: 9503: 9501: 9498: 9496: 9493: 9491: 9488: 9486: 9483: 9481: 9478: 9476: 9473: 9471: 9468: 9466: 9463: 9462: 9461: 9458: 9457: 9455: 9451: 9445: 9437: 9434: 9432: 9429: 9428: 9427: 9423: 9421: 9418: 9416: 9413: 9411: 9408: 9406: 9403: 9399: 9396: 9395: 9394: 9391: 9390: 9388: 9384:Art borrowing 9382: 9374: 9371: 9367: 9364: 9362: 9359: 9357: 9354: 9353: 9352: 9349: 9347: 9344: 9343: 9342: 9339: 9335: 9334:Company style 9332: 9330: 9327: 9323: 9320: 9318: 9315: 9314: 9313: 9310: 9309: 9307: 9301: 9298: 9297: 9296: 9293: 9291: 9288: 9287: 9286: 9282: 9281: 9279: 9275: 9269: 9266: 9262: 9259: 9257: 9254: 9252: 9249: 9247: 9244: 9242: 9241: 9237: 9236: 9235: 9234:Neoclassicism 9232: 9228: 9227: 9223: 9221: 9218: 9216: 9213: 9211: 9208: 9206: 9203: 9202: 9201: 9198: 9197: 9195: 9191: 9183: 9180: 9178: 9175: 9174: 9173: 9170: 9168: 9165: 9163: 9160: 9156: 9153: 9152: 9151: 9148: 9146: 9143: 9141: 9138: 9136: 9133: 9129: 9126: 9124: 9121: 9117: 9114: 9112: 9109: 9108: 9107: 9104: 9102: 9099: 9097: 9094: 9093: 9092: 9089: 9088: 9086: 9082: 9076: 9073: 9071: 9068: 9066: 9063: 9061: 9060:Cretan School 9058: 9054: 9051: 9050: 9049: 9046: 9040: 9037: 9035: 9032: 9030: 9027: 9026: 9025: 9022: 9018: 9017:Danube school 9015: 9013: 9010: 9009: 9008: 9005: 9003: 9000: 8998: 8995: 8991: 8988: 8987: 8986: 8983: 8982: 8981: 8978: 8972: 8971: 8966: 8964: 8961: 8959: 8956: 8954: 8951: 8950: 8949: 8946: 8942: 8939: 8937: 8934: 8932: 8929: 8928: 8927: 8924: 8920: 8919: 8915: 8913: 8910: 8908: 8905: 8904: 8903: 8900: 8899: 8898: 8895: 8894: 8892: 8890: 8886: 8878: 8877: 8873: 8871: 8868: 8866: 8863: 8862: 8861: 8857: 8855: 8852: 8848: 8845: 8844: 8843: 8840: 8838: 8835: 8833: 8830: 8828: 8825: 8821: 8818: 8816: 8813: 8811: 8808: 8807: 8806: 8803: 8801: 8800: 8796: 8792: 8789: 8788: 8787: 8784: 8780: 8777: 8775: 8772: 8771: 8770: 8767: 8765: 8762: 8758: 8755: 8753: 8750: 8748: 8745: 8744: 8743: 8740: 8736: 8733: 8731: 8728: 8726: 8723: 8721: 8718: 8717: 8716: 8713: 8711: 8708: 8704: 8703: 8699: 8698: 8697: 8694: 8692: 8689: 8687: 8684: 8680: 8677: 8675: 8672: 8670: 8667: 8665: 8662: 8660: 8657: 8656: 8655: 8652: 8648: 8645: 8644: 8643: 8640: 8636: 8633: 8632: 8631: 8628: 8627: 8625: 8623: 8619: 8611: 8608: 8606: 8603: 8601: 8598: 8596: 8593: 8591: 8588: 8586: 8583: 8582: 8581: 8578: 8576: 8573: 8571: 8568: 8566: 8563: 8561: 8558: 8552: 8549: 8545: 8542: 8541: 8540: 8537: 8535: 8532: 8531: 8530: 8527: 8525: 8522: 8520: 8517: 8515: 8512: 8510: 8507: 8505: 8502: 8500: 8497: 8495: 8494:Orientalizing 8492: 8490: 8487: 8485: 8482: 8480: 8479:Sub-Mycenaean 8477: 8476: 8475: 8472: 8468: 8465: 8463: 8460: 8458: 8455: 8453: 8450: 8449: 8448: 8445: 8443: 8440: 8436: 8433: 8432: 8431: 8428: 8427: 8425: 8423: 8419: 8416: 8410: 8406: 8402: 8397: 8393:art movements 8392: 8388: 8384: 8377: 8372: 8370: 8365: 8363: 8358: 8357: 8354: 8340: 8337: 8336: 8335: 8332: 8330: 8327: 8325: 8322: 8320: 8317: 8315: 8312: 8310: 8307: 8305: 8302: 8298: 8295: 8294: 8293: 8292:Postmodernism 8290: 8288: 8285: 8283: 8280: 8278: 8275: 8273: 8270: 8268: 8265: 8263: 8260: 8258: 8255: 8249: 8248:Cubo-Futurism 8246: 8245: 8244: 8241: 8240: 8239: 8236: 8234: 8231: 8229: 8228:Expressionism 8226: 8224: 8221: 8219: 8216: 8215: 8213: 8209: 8203: 8200: 8198: 8195: 8193: 8190: 8188: 8185: 8183: 8180: 8178: 8175: 8173: 8170: 8168: 8165: 8163: 8160: 8158: 8155: 8153: 8150: 8148: 8145: 8143: 8140: 8139: 8137: 8131: 8121: 8118: 8116: 8113: 8111: 8108: 8106: 8103: 8101: 8098: 8096: 8093: 8091: 8088: 8086: 8083: 8081: 8078: 8076: 8073: 8071: 8068: 8066: 8063: 8061: 8058: 8056: 8055:Music theatre 8053: 8049: 8046: 8045: 8044: 8043:Minimal music 8041: 8039: 8036: 8034: 8031: 8027: 8024: 8023: 8022: 8019: 8017: 8014: 8010: 8007: 8006: 8005: 8002: 8000: 7997: 7995: 7992: 7990: 7989:Ars subtilior 7987: 7985: 7982: 7980: 7977: 7976: 7974: 7970: 7962: 7959: 7957: 7954: 7952: 7949: 7948: 7947: 7944: 7942: 7939: 7935: 7932: 7930: 7927: 7926: 7925: 7922: 7920: 7917: 7916: 7914: 7910: 7907: 7905: 7901: 7895: 7892: 7890: 7889:Visual poetry 7887: 7885: 7882: 7880: 7877: 7875: 7872: 7870: 7867: 7865: 7864:Nouveau roman 7862: 7860: 7857: 7855: 7852: 7850: 7847: 7845: 7842: 7840: 7837: 7835: 7832: 7830: 7827: 7825: 7822: 7820: 7817: 7815: 7812: 7810: 7807: 7805: 7802: 7800: 7797: 7795: 7792: 7791: 7789: 7783: 7777: 7774: 7772: 7771:Temporary art 7769: 7767: 7764: 7762: 7759: 7757: 7754: 7752: 7749: 7747: 7744: 7742: 7739: 7737: 7734: 7732: 7729: 7727: 7726:Nonconformism 7724: 7722: 7719: 7715: 7712: 7711: 7710: 7709:Neoplasticism 7707: 7705: 7702: 7700: 7699:Mir iskusstva 7697: 7695: 7692: 7690: 7687: 7685: 7682: 7680: 7677: 7675: 7672: 7670: 7667: 7665: 7662: 7660: 7659:Impressionism 7657: 7655: 7652: 7650: 7647: 7645: 7642: 7640: 7637: 7633: 7630: 7629: 7628: 7627:Functionalism 7625: 7623: 7620: 7618: 7615: 7613: 7610: 7608: 7605: 7603: 7600: 7598: 7595: 7593: 7590: 7589: 7587: 7583: 7578: 7571: 7566: 7564: 7559: 7557: 7552: 7551: 7548: 7536: 7533: 7531: 7528: 7526: 7523: 7521: 7520:Impressionism 7518: 7517: 7515: 7511: 7505: 7504:Albert Aurier 7502: 7500: 7497: 7496: 7494: 7490: 7484: 7481: 7479: 7476: 7474: 7471: 7469: 7466: 7464: 7461: 7459: 7456: 7454: 7451: 7449: 7446: 7444: 7441: 7439: 7436: 7435: 7433: 7429: 7423: 7420: 7418: 7417:Jean Marchand 7415: 7413: 7410: 7408: 7405: 7403: 7402:Pablo Picasso 7400: 7398: 7395: 7393: 7392:Henry Ottmann 7390: 7388: 7385: 7383: 7380: 7378: 7375: 7373: 7370: 7368: 7365: 7363: 7360: 7358: 7355: 7353: 7352:Henri Matisse 7350: 7348: 7345: 7343: 7340: 7338: 7335: 7333: 7330: 7329: 7327: 7323: 7317: 7314: 7312: 7311:Expressionism 7309: 7307: 7304: 7302: 7299: 7297: 7294: 7293: 7291: 7287:20th-century 7285: 7279: 7276: 7274: 7271: 7269: 7266: 7264: 7261: 7259: 7256: 7254: 7251: 7249: 7248:Charles Laval 7246: 7244: 7241: 7239: 7236: 7234: 7231: 7229: 7228:Paul Sérusier 7226: 7224: 7221: 7219: 7216: 7214: 7211: 7209: 7206: 7204: 7201: 7199: 7196: 7194: 7191: 7189: 7188:Maurice Denis 7186: 7184: 7181: 7179: 7176: 7174: 7171: 7169: 7166: 7164: 7161: 7159: 7158:Émile Bernard 7156: 7154: 7151: 7149: 7146: 7145: 7143: 7139: 7133: 7130: 7128: 7125: 7123: 7120: 7118: 7117: 7113: 7111: 7108: 7106: 7103: 7101: 7098: 7096: 7093: 7092: 7090: 7086:19th-century 7084: 7080: 7071: 7066: 7064: 7059: 7057: 7052: 7051: 7048: 7039: 7033: 7027: 7025: 7018: 7012: 7010: 7003: 6996: 6990: 6981: 6974: 6970: 6964: 6962: 6960: 6958: 6951: 6950: 6949:Bauhausbücher 6946: 6942: 6935: 6933: 6931: 6923: 6917: 6911: 6909: 6905: 6898: 6896: 6894: 6892: 6890: 6888: 6886: 6876: 6870: 6865: 6863: 6855: 6854:2-85346-044-4 6851: 6845: 6839: 6834: 6832: 6830: 6828: 6826: 6824: 6822: 6820: 6812: 6807: 6801: 6800:0-262-61147-3 6797: 6793: 6787: 6781: 6779: 6773: 6771: 6769: 6767: 6760: 6758: 6751: 6745: 6743: 6736: 6734: 6732: 6725: 6724:0-521-85658-2 6721: 6718: 6713: 6706: 6705:0-520-01450-2 6702: 6698: 6696: 6692: 6688: 6681: 6674: 6670: 6664: 6657: 6655: 6652:Jean Claude, 6648: 6641: 6639: 6632: 6625: 6623: 6617: 6610: 6608: 6601: 6594: 6592: 6585: 6578: 6573: 6566: 6564: 6557: 6550: 6545: 6539: 6537: 6530: 6528: 6526: 6524: 6522: 6514: 6509: 6502: 6497: 6491: 6486: 6479: 6477: 6470: 6464: 6462: 6455: 6453: 6451: 6449: 6447: 6445: 6443: 6441: 6439: 6437: 6429: 6425: 6419: 6412: 6406: 6400: 6398: 6391: 6384: 6378: 6376: 6374: 6372: 6370: 6368: 6361: 6359: 6352: 6346: 6344: 6337: 6330: 6329:0-313-28333-8 6326: 6322: 6320: 6313: 6299:on 2013-02-27 6298: 6294: 6292: 6284: 6275: 6269: 6268: 6261: 6259: 6257: 6255: 6253: 6251: 6243: 6241: 6234: 6232: 6225: 6220: 6218: 6216: 6214: 6207: 6205: 6198: 6192: 6190: 6183: 6181: 6179: 6171: 6165: 6159: 6157: 6150: 6148: 6146: 6138: 6132: 6123: 6108: 6107: 6100: 6093: 6087: 6080: 6076: 6070: 6063: 6057: 6049: 6047:0-226-24459-8 6043: 6039: 6035: 6034: 6029: 6022: 6018: 6012: 6004: 5996: 5992: 5986: 5978: 5976:0-691-10142-6 5972: 5968: 5964: 5957: 5953: 5947: 5939: 5937:0-87070-162-2 5933: 5929: 5925: 5918: 5914: 5910: 5904: 5896: 5894:0-226-22480-5 5890: 5886: 5882: 5881: 5876: 5870: 5862: 5860:0-300-11039-1 5856: 5852: 5848: 5842: 5834: 5827: 5820: 5819: 5812: 5798: 5794: 5790: 5789: 5781: 5773: 5771:0-465-01859-9 5767: 5763: 5759: 5758: 5750: 5742: 5736: 5732: 5725: 5715: 5713:2-01-005322-2 5709: 5705: 5701: 5697: 5693: 5689: 5688:Salmon, André 5685: 5681: 5677: 5676:Salmon, André 5673: 5672: 5668: 5666:0-465-01859-9 5662: 5658: 5654: 5653: 5645: 5637: 5635:0-465-01860-2 5631: 5627: 5622: 5621: 5612: 5603: 5597: 5593: 5587: 5580: 5576: 5571: 5569: 5559: 5553: 5551: 5544: 5542: 5540: 5531: 5525: 5521: 5517: 5516: 5508: 5500: 5488: 5480: 5478:9783836509411 5474: 5470: 5463: 5455: 5453:9783865219268 5449: 5445: 5438: 5431: 5427: 5424: 5419: 5411: 5409:9783865219268 5405: 5401: 5394: 5388: 5386: 5379: 5363: 5359: 5357: 5353: 5345: 5339: 5337: 5330: 5323: 5322: 5317: 5312: 5305: 5301: 5297: 5295: 5288: 5281: 5277: 5274: 5273: 5266: 5260: 5259:0-8050-5789-7 5256: 5250: 5235: 5233: 5225: 5210: 5208: 5200: 5193: 5189: 5185: 5179: 5172: 5171:0-684-80941-9 5168: 5164: 5158: 5156: 5148: 5144: 5138: 5131: 5127: 5123: 5121: 5120:Pablo Picasso 5114: 5108: 5106: 5105:Pablo Picasso 5099: 5093: 5092:0-87587-041-4 5089: 5085: 5084: 5077: 5075: 5068: 5066: 5062: 5055: 5049: 5045: 5042: 5041: 5034: 5027: 5021: 5019: 5017: 5015: 5013: 5011: 5009: 5007: 4999: 4993: 4991: 4983: 4979: 4973: 4966: 4962: 4958: 4957: 4952: 4951: 4944: 4938: 4937: 4930: 4924: 4922: 4915: 4908: 4906: 4902: 4895: 4893: 4886: 4885: 4878: 4876: 4874: 4872: 4870: 4868: 4866: 4864: 4862: 4860: 4858: 4856: 4854: 4852: 4850: 4848: 4846: 4844: 4842: 4834: 4828: 4821: 4815: 4808: 4807: 4800: 4793: 4787: 4780: 4774: 4767: 4761: 4754: 4748: 4729: 4722: 4720: 4712: 4710: 4708: 4706: 4698: 4692: 4685: 4681: 4678: 4673: 4666: 4664: 4657: 4655: 4653: 4651: 4649: 4641: 4639: 4631: 4625: 4621: 4617: 4616:0-8126-9540-2 4613: 4609: 4603: 4596: 4590: 4588: 4586: 4584: 4576: 4570: 4568: 4566: 4564: 4562: 4560: 4558: 4556: 4554: 4552: 4550: 4548: 4533:on 2010-12-12 4529: 4522: 4516: 4509: 4503: 4496: 4495: 4488: 4486: 4479: 4477: 4470: 4468: 4466: 4464: 4462: 4460: 4458: 4451: 4446: 4444: 4442: 4437: 4428: 4425: 4423: 4420: 4418: 4415: 4413: 4410: 4409: 4399: 4397: 4395: 4390: 4388: 4386: 4382: 4379: 4378: 4373: 4372: 4363: 4360: 4358: 4357:Gino Severini 4355: 4353: 4350: 4348: 4347:Paul Sérusier 4345: 4343: 4340: 4338: 4335: 4333: 4330: 4328: 4327:Pablo Picasso 4325: 4323: 4320: 4318: 4317:Piet Mondrian 4315: 4313: 4310: 4308: 4305: 4303: 4302:Fernand Léger 4300: 4298: 4295: 4293: 4290: 4288: 4285: 4283: 4280: 4278: 4275: 4273: 4270: 4268: 4265: 4263: 4260: 4258: 4255: 4253: 4250: 4248: 4245: 4243: 4240: 4238: 4235: 4233: 4230: 4228: 4225: 4223: 4220: 4218: 4215: 4214: 4204: 4203: 4202: 4200: 4199: 4192: 4187: 4185: 4179: 4177: 4172: 4166: 4162: 4156: 4152: 4149: 4147: 4143: 4139: 4135: 4131: 4127: 4123: 4119: 4115: 4111: 4107: 4103: 4099: 4098:Fernand Léger 4095: 4091: 4090: 4081: 4077: 4073: 4072: 4067: 4063: 4056: 4052: 4051: 4046: 4042: 4038: 4036: 4032: 4028: 4024: 4020: 4016: 4012: 4006: 3996: 3994: 3990: 3985: 3983: 3979: 3975: 3971: 3966: 3964: 3960: 3956: 3952: 3946: 3943: 3937: 3935: 3931: 3927: 3923: 3919: 3915: 3910: 3900: 3898: 3894: 3890: 3889: 3884: 3882: 3878: 3874: 3868: 3865: 3861: 3860:Pablo Picasso 3857: 3853: 3849: 3844: 3842: 3841: 3836: 3832: 3828: 3824: 3823:Bateau Lavoir 3820: 3816: 3811: 3807: 3801: 3791: 3789: 3785: 3781: 3778:, along with 3777: 3773: 3769: 3760: 3757: 3754: 3750: 3746: 3742: 3741: 3740: 3734: 3730: 3726: 3719: 3715: 3711: 3710:Pablo Picasso 3707: 3701: 3697: 3693: 3689: 3682: 3681: 3676: 3675: 3670: 3666: 3658: 3654: 3650: 3646: 3645: 3644: 3642: 3638: 3634: 3630: 3626: 3622: 3618: 3614: 3613:Fernand Léger 3609: 3605: 3603: 3599: 3592: 3588: 3584: 3580: 3575: 3573: 3569: 3565: 3556: 3551: 3550: 3549: 3547: 3539: 3535: 3531: 3530: 3525: 3521: 3517: 3516: 3512: 3508: 3504: 3500: 3496: 3495:Pablo Picasso 3492: 3479: 3476: 3475:Fernand Léger 3472: 3468: 3464: 3460: 3456: 3455: 3454: 3452: 3448: 3444: 3430: 3426: 3422: 3421: 3420: 3418: 3417: 3408: 3404: 3400: 3396: 3389: 3385: 3381: 3380: 3379: 3377: 3373: 3372:Maurice Denis 3369: 3365: 3361: 3353: 3352:Fernand Léger 3349: 3345: 3341: 3337: 3334: 3333:Pablo Picasso 3330: 3326: 3322: 3318: 3314: 3310: 3306: 3302: 3299: 3295: 3291: 3290: 3286: 3282: 3278: 3266: 3262: 3259: 3258:Henri Matisse 3255: 3251: 3247: 3243: 3242:Fernand Léger 3239: 3235: 3231: 3227: 3222: 3221: 3215: 3213: 3208: 3205:. And by the 3204: 3194: 3191: 3185: 3181: 3177: 3173: 3169: 3163: 3159: 3155: 3151: 3144: 3143: 3142: 3139: 3137: 3133: 3132:Salon d'Antin 3129: 3122: 3117: 3112: 3108: 3103: 3096: 3094: 3089: 3087: 3083: 3079: 3075: 3071: 3070: 3065: 3064: 3055: 3051: 3050: 3045: 3044:Pablo Picasso 3041: 3032: 3030: 3029:William Rubin 3021: 3020: 3019: 3014: 3005: 2999: 2997: 2994: 2989: 2986: 2981: 2979: 2975: 2974: 2968: 2966: 2962: 2956: 2954: 2950: 2944: 2941: 2939: 2934: 2931: 2924: 2920: 2916: 2912: 2910: 2905: 2901: 2899: 2895: 2890: 2887: 2885: 2880: 2876: 2873: 2866: 2862: 2858: 2854: 2847: 2846: 2845: 2843: 2839: 2835: 2831: 2827: 2826: 2821: 2820: 2815: 2811: 2803: 2799: 2795: 2791: 2785: 2781: 2780: 2775: 2771: 2765:The term Cube 2761: 2756: 2753: 2747: 2742: 2740: 2734: 2722: 2718: 2717: 2711: 2707: 2704: 2703: 2698: 2692: 2688: 2684: 2681: 2676: 2670: 2668: 2660: 2656: 2652: 2651:Pablo Picasso 2648: 2644: 2642: 2638: 2634: 2629: 2622: 2618: 2614: 2613: 2608: 2607:Henri Matisse 2604: 2599: 2594: 2591: 2588: 2586: 2582: 2576: 2572: 2568: 2564: 2559: 2554: 2552: 2548: 2544: 2543: 2535: 2531: 2530: 2525: 2524:Henri Matisse 2521: 2516: 2507: 2505: 2501: 2491: 2489: 2483: 2481: 2477: 2473: 2469: 2465: 2461: 2457: 2453: 2449: 2445: 2441: 2433: 2432: 2431: 2429: 2425: 2421: 2417: 2413: 2411: 2407: 2403: 2399: 2393: 2391: 2387: 2386:Joseph Stella 2383: 2379: 2375: 2371: 2367: 2363: 2359: 2355: 2354:Pablo Picasso 2351: 2347: 2346:Henri Matisse 2343: 2339: 2335: 2331: 2330:Pablo Picasso 2327: 2323: 2322:Henri Manguin 2315: 2311: 2307: 2303: 2302:Pablo Picasso 2299: 2295: 2293: 2289: 2285: 2281: 2279: 2274: 2270: 2266: 2261: 2260:William James 2256: 2255:Henri Bergson 2245: 2243: 2236: 2232: 2229: 2225: 2223: 2218: 2216: 2212: 2208: 2203: 2201: 2200: 2195: 2191: 2187: 2183: 2182: 2177: 2173: 2169: 2165: 2164:Bateau-Lavoir 2161: 2157: 2149: 2144: 2140: 2138: 2134: 2130: 2126: 2122: 2118: 2114: 2113:Pablo Picasso 2110: 2106: 2102: 2101:mathematician 2099:was a French 2098: 2094: 2092: 2091: 2084: 2080: 2078: 2074: 2070: 2066: 2062: 2058: 2046: 2041: 2034: 2029: 2022: 2017: 2010: 2005: 2002: 2001: 2000: 1998: 1994: 1989: 1984: 1982: 1978: 1974: 1970: 1966: 1962: 1959: 1955: 1951: 1947: 1943: 1939: 1935: 1931: 1927: 1926:William James 1923: 1919: 1918:Henri Bergson 1915: 1911: 1907: 1897: 1895: 1891: 1887: 1883: 1877: 1875: 1869: 1867: 1863: 1857: 1855: 1854:movie theater 1851: 1847: 1841: 1839: 1835: 1828: 1824: 1820: 1816: 1812: 1810: 1805: 1803: 1798: 1794: 1793:Thomas Eakins 1786: 1782: 1781:Thomas Eakins 1778: 1773: 1771: 1765: 1762: 1758: 1755: 1754: 1749: 1745: 1741: 1737: 1733: 1729: 1721: 1717: 1713: 1704: 1701: 1697: 1693: 1689: 1685: 1667: 1663: 1659: 1655: 1653: 1648: 1644: 1640: 1635: 1633: 1628: 1624: 1620: 1619: 1610: 1609: 1608: 1606: 1601: 1599: 1595: 1591: 1586: 1582: 1579:The works of 1574: 1573: 1568: 1564: 1560: 1558: 1552: 1549: 1545: 1541: 1534: 1530: 1526: 1522: 1518: 1516: 1512: 1511: 1506: 1502: 1498: 1494: 1489: 1487: 1486:Pablo Picasso 1483: 1479: 1475: 1474:Henri Matisse 1471: 1467: 1463: 1459: 1455: 1451: 1447: 1443: 1439: 1432: 1428: 1423: 1414: 1412: 1408: 1404: 1400: 1396: 1395:Immanuel Kant 1390: 1388: 1384: 1380: 1375: 1371: 1369: 1365: 1364: 1356: 1352: 1348: 1344: 1343: 1338: 1334: 1330: 1326: 1322: 1319: 1317: 1316:Gino Severini 1313: 1309: 1308:Piet Mondrian 1305: 1304:Gino Severini 1299: 1297: 1292: 1290: 1289: 1283: 1277: 1273: 1269: 1265: 1256: 1254: 1253: 1248: 1241: 1237: 1233: 1232:Gino Severini 1229: 1225: 1218: 1214: 1213:Gino Severini 1210: 1205: 1201: 1199: 1195: 1191: 1187: 1183: 1179: 1175: 1172:'s 1905-1906 1171: 1166: 1164: 1156: 1152: 1151: 1145: 1136: 1134: 1130: 1129:Pablo Picasso 1126: 1122: 1118: 1114: 1110: 1106: 1102: 1101: 1096: 1091: 1089: 1088: 1083: 1079: 1075: 1071: 1070: 1064: 1062: 1058: 1054: 1049: 1047: 1043: 1039: 1035: 1031: 1026: 1023: 1019: 1018:Jules Romains 1015: 1011: 1007: 1006: 1001: 1000:Marcel Proust 997: 993: 989: 985: 981: 977: 970: 966: 965: 960: 956: 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277: 273: 270: 269:Émile Bernard 266: 257: 253: 249: 245: 236: 234: 229: 225: 221: 217: 213: 209: 206: 202: 199: 195: 190: 188: 184: 180: 176: 172: 168: 164: 160: 156: 152: 148: 144: 140: 136: 125: 123: 119: 115: 114:Fernand Léger 111: 107: 103: 99: 95: 91: 90:Pablo Picasso 87: 83: 78: 76: 72: 68: 63: 59: 55: 51: 47: 43: 36: 32: 30: 25: 24:Pablo Picasso 21: 12363:Wilhelm Uhde 12359:(art dealer) 12357:Berthe Weill 12337:(art dealer) 12331:(art dealer) 12311:André Salmon 12280: 12272: 12266:Du "Cubisme" 12264: 12244:Ego-Futurism 12184:Abstract art 12162:Czech Cubism 12147:Section d'Or 12126:Proto-Cubism 12125: 12071:Paul Gauguin 12066:Paul Cézanne 12046: 12038: 12030: 12011: 12003: 11995: 11987: 11979: 11971: 11963: 11955: 11947: 11939: 11931: 11923: 11915: 11907: 11899: 11893:La Coiffeuse 11891: 11883: 11875: 11867: 11859: 11851: 11811:Diego Rivera 11791:August Macke 11781:El Lissitzky 11756:Alice Bailly 11698:Diego Rivera 11623:Henri Hayden 11568:Joseph Csaky 11545:Section d'Or 11415:Trompe-l'œil 11413: 11384:Outsider art 11337:Illustration 11293:Lutheran art 11283:Catholic art 11246:Abstract art 11216:Unilalianism 11179:Software art 11154:Neosymbolism 11144:Neo-futurism 11107:Internet art 11097:Hyperrealism 10950:Superfiction 10733:Photorealism 10601:Afrofuturism 10366:Contemporary 10342:Dimensionism 10325:Concrete art 10258: 10254:Precisionism 10104: 10051:Sosaku-hanga 10025:Productivism 10015:Metaphysical 9985: 9974:Proto-Cubism 9973: 9878:Secessionism 9840:Costumbrismo 9725:Aestheticism 9676:Hague School 9656: 9580:Academic art 9561:Costumbrismo 9529:Empire style 9366:Quito School 9361:Cusco School 9277:Colonial art 9238: 9226:Fête galante 9224: 9193:18th century 9155:Delft School 9106:Caravaggisti 9084:17th century 8969: 8926:Quattrocento 8916: 8874: 8797: 8700: 8630:Late antique 8514:Severe style 8504:Black-figure 8391:Contemporary 8157:Epic theatre 7994:Atonal music 7829:Flarf poetry 7819:Ego-Futurism 7617:Proto-Cubism 7616: 7535:Secessionism 7499:Félix Fénéon 7422:Othon Friesz 7342:André Derain 7213:Odilon Redon 7198:Paul Gauguin 7178:Paul Cézanne 7163:Edvard Munch 7114: 7038:Du "Cubisme" 7037: 7032: 7023: 7017: 7008: 7002: 6994: 6989: 6980: 6972: 6968: 6948: 6944: 6940: 6921: 6916: 6907: 6903: 6875: 6844: 6806: 6791: 6786: 6777: 6756: 6750: 6741: 6712: 6694: 6690: 6686: 6680: 6672: 6668: 6663: 6653: 6647: 6637: 6631: 6621: 6616: 6606: 6600: 6590: 6584: 6572: 6562: 6556: 6548: 6544: 6535: 6508: 6496: 6485: 6475: 6469: 6460: 6427: 6423: 6418: 6410: 6405: 6396: 6390: 6382: 6357: 6351: 6342: 6336: 6318: 6312: 6301:. Retrieved 6297:the original 6290: 6283: 6274: 6266: 6239: 6203: 6202:Ann Temkin, 6197: 6188: 6169: 6164: 6155: 6136: 6131: 6122: 6113:November 26, 6111:, retrieved 6105: 6099: 6091: 6086: 6078: 6074: 6069: 6061: 6056: 6032: 6020: 6011: 6002: 5994: 5985: 5966: 5955: 5946: 5927: 5923: 5916: 5912: 5903: 5879: 5869: 5850: 5847:Robbin, Tony 5841: 5832: 5826: 5817: 5811: 5800:. Retrieved 5787: 5780: 5756: 5749: 5730: 5724: 5703: 5691: 5679: 5651: 5644: 5619: 5611: 5602: 5586: 5578: 5558: 5549: 5514: 5507: 5468: 5462: 5443: 5437: 5418: 5399: 5393: 5384: 5378: 5366:. Retrieved 5362:the original 5355: 5351: 5344: 5335: 5329: 5320: 5311: 5293: 5287: 5271: 5265: 5249: 5238:. Retrieved 5236:. 2001-03-10 5231: 5224: 5213:. Retrieved 5206: 5199: 5183: 5178: 5162: 5146: 5142: 5137: 5119: 5113: 5104: 5098: 5082: 5064: 5060: 5054: 5039: 5033: 5025: 4997: 4981: 4977: 4972: 4960: 4954: 4949: 4943: 4935: 4929: 4920: 4914: 4904: 4901:Anecdotiques 4900: 4883: 4832: 4831:R. 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Retrieved 4528:the original 4515: 4507: 4502: 4493: 4492:Erle Loran, 4475: 4393: 4384: 4376: 4332:Odilon Redon 4277:Paul Gauguin 4272:Othon Friesz 4247:André Derain 4232:Joseph Csaky 4227:Paul Cézanne 4198:Du "Cubisme" 4196: 4194: 4189: 4183: 4181: 4175: 4173: 4167: 4160: 4158: 4153: 4150: 4140:of the 1911 4137: 4130:Joseph Csaky 4087: 4085: 4079: 4075: 4069: 4055:André Salmon 4048: 4027:Section d'Or 4022: 4008: 3988: 3986: 3981: 3978:Cri de Paris 3977: 3973: 3967: 3947: 3941: 3938: 3926:art movement 3921: 3916: 3912: 3886: 3871: 3869: 3847: 3845: 3838: 3834: 3830: 3827:Berthe Weill 3818: 3809: 3805: 3803: 3783: 3779: 3775: 3771: 3770:landscapes: 3767: 3765: 3752: 3738: 3732: 3713: 3695: 3678: 3672: 3657:simultaneity 3648: 3625:Joseph Csaky 3610: 3606: 3601: 3598:Roger Allard 3595: 3586: 3571: 3567: 3563: 3561: 3554: 3545: 3543: 3537: 3533: 3527: 3523: 3511:Hôtel Drouot 3507:Wilhelm Uhde 3498: 3446: 3442: 3439: 3414: 3412: 3402: 3375: 3367: 3363: 3359: 3357: 3339: 3329:Jules Pascin 3317:André Derain 3297: 3293: 3284: 3260:seven works. 3254:André Derain 3200: 3192: 3189: 3179: 3176:Othon Friesz 3167: 3157: 3154:André Derain 3140: 3136:André Salmon 3127: 3124: 3119: 3114: 3109: 3104: 3098: 3090: 3085: 3081: 3077: 3076:to refer to 3067: 3061: 3059: 3047: 3025: 3016: 3001: 2996:André Salmon 2992: 2991:In his 1912 2990: 2982: 2977: 2971: 2969: 2964: 2960: 2958: 2952: 2948: 2946: 2942: 2938:Wilhelm Uhde 2935: 2932: 2928: 2922: 2906: 2902: 2891: 2888: 2884:Berthe Weill 2881: 2877: 2871: 2869: 2860: 2823: 2817: 2807: 2802:Wilhelm Uhde 2797: 2784:Wilhelm Uhde 2777: 2758: 2749: 2744: 2736: 2727: 2720: 2714: 2702:trompe-l'œil 2700: 2696: 2694: 2690: 2686: 2682: 2677: 2672: 2666: 2664: 2654: 2630: 2626: 2610: 2596: 2592: 2589: 2580: 2579: 2570: 2567:André Derain 2556: 2550: 2546: 2540: 2538: 2527: 2509: 2497: 2487: 2484: 2464:André Salmon 2439: 2437: 2424:André Salmon 2419: 2414: 2409: 2394: 2366:André Derain 2334:Paul Cézanne 2319: 2305: 2287: 2283: 2276: 2275:, Matisse's 2264: 2252: 2241: 2238: 2233: 2226: 2219: 2211:Section d'Or 2207:André Derain 2204: 2197: 2179: 2175: 2171: 2153: 2147: 2095: 2088: 2085: 2081: 2054: 1987: 1985: 1903: 1878: 1870: 1866:Le Mouvement 1865: 1858: 1842: 1831: 1822: 1806: 1801: 1790: 1784: 1769: 1767: 1763: 1759: 1751: 1744:Section d'Or 1725: 1719: 1687: 1681: 1668:, pp. 86, 87 1665: 1636: 1631: 1626: 1622: 1616: 1614: 1602: 1589: 1581:Paul Gauguin 1578: 1570: 1567:Paul Gauguin 1553: 1537: 1528: 1525:Paul Gauguin 1508: 1490: 1478:André Derain 1470:Paul Gauguin 1446:Cycladic art 1435: 1430: 1391: 1382: 1378: 1376: 1372: 1361: 1359: 1340: 1327: 1323: 1320: 1302:works. Both 1300: 1295: 1293: 1286: 1284: 1281: 1271: 1250: 1249:period (see 1244: 1235: 1222: 1216: 1203: 1184:writers and 1168: 1162: 1160: 1148: 1117:Anecdotiques 1116: 1112: 1103:at the 1910 1098: 1094: 1092: 1085: 1067: 1065: 1057:Henri Doucet 1050: 1029: 1027: 1021: 1013: 1003: 980:Walt Whitman 975: 973: 962: 943: 940:Albert Doyen 932: 927: 923: 916:Ernest Renan 909: 892: 870: 850: 831: 822: 813: 801: 775: 771: 763:Paul Cézanne 760: 740: 677: 671: 669: 660: 650: 622: 592: 588: 576: 575: 570: 566: 562: 551: 542: 534: 514: 503:Gustave Kahn 498: 485:reviews the 478: 476: 435: 426: 422: 418: 414: 379:Joseph Csaky 359:Othon Friesz 328: 322: 318: 316: 306: 303:Paul Cézanne 288: 284: 278: 274: 265:Paul Cézanne 261: 251: 248:Paul Cézanne 233:cube by cube 232: 227: 223: 219: 218:in favor of 191: 159:Paul Gauguin 151:Paul Cézanne 131: 122:20th-century 79: 71:art movement 57: 53: 50:Early Cubism 49: 45: 42:Proto-Cubism 41: 40: 27: 12403:Armory Show 12277:(1913 book) 12269:(1912 book) 12214:Suprematism 12189:Synchromism 12167:Rondocubism 12111:Divisionism 12106:Pointillism 12086:Paul Signac 11928:(Metzinger) 11920:(Metzinger) 11912:(Metzinger) 11904:(Metzinger) 11766:Carlo Carrà 11721: [ 11663:André Lhote 11300:Digital art 11263:Avant-garde 11204:Superstroke 11080:Flat design 11075:Fictive art 11070:Excessivism 11018:Art for art 11013:Altermodern 10955:Taring Padi 10890:Lowbrow art 10858:Pliontanism 10795:Yoru no Kai 10748:Process art 10688:Systems art 10658:Arte Povera 10580:Antipodeans 10489:in New York 10459:Jikken Kōbō 10422:Color field 10291:Regionalism 10260:Aeropittura 10249:Neo-Fauvism 10222:Neues Sehen 10192:Kinetic art 10056:Suprematism 10030:Synchromism 9947:Noucentisme 9868:Primitivism 9856:Art Nouveau 9811:Cloisonnism 9801:Pointillism 9796:Divisionism 9774:Incoherents 9735:Art pottery 9621:(1863–1944) 9571:Macchiaioli 9546:Biedermeier 9534:Historicism 9519:Orientalism 9460:Romanticism 9431:Akita ranga 9283:Art of the 9268:Picturesque 9220:Chinoiserie 9215:Frederician 9053:Tudor court 8948:Cinquecento 8889:Renaissance 8876:Mappa mundi 8860:cartography 8752:Carolingian 8747:Merovingian 8730:Palaeologan 8702:Repoblación 8659:Anglo-Saxon 8590:Gallo-Roman 8529:Hellenistic 8524:Kerch style 8462:Minyan ware 8309:Primitivism 8135:and theatre 8075:Noise music 8048:Drone music 7879:Slam poetry 7766:Suprematism 7751:Process art 7679:Incoherents 7674:Color Field 7649:Divisionism 7597:Art Nouveau 7577:Avant-garde 7431:Exhibitions 7238:Paul Signac 7208:Paul Ranson 7132:Art Nouveau 7110:Cloisonnism 7105:Pointillism 7100:Divisionism 5495:|last= 5194:, 1991, 461 4184:The New Age 4110:André Lhote 3951:André Lhote 3883:, Le Select 3815:Divisionist 3768:Ploumanac'h 3755:, May 1910. 3602:L'Abondance 3503:Tate Modern 3497:, 1909–10, 3285:Ploumanac'h 3238:Jean Crotti 3230:André Lhote 3178:, 1907–08, 3156:, ca.1908, 2830:Paul Signac 2609:, 1909–10, 2585:Armory Show 2073:perspective 2061:Lobachevsky 1981:expectation 1965:radio waves 1914:determinism 1910:materialism 1834:photography 1821:, 1890–91, 1783:, ca.1885, 1696:Art Nouveau 1652:Primitivist 1643:Divisionism 1594:Paco Durrio 1544:Pierre Daix 1517:of Cubism. 1450:Oceanic art 1442:African art 1355:Netherlands 1339:, 1889–90, 1270:, 1906–07, 1247:Divisionist 1234:, 1910–11, 1194:Paul Signac 1178:divisionist 1087:Ploumanac'h 1061:Avant-garde 786:Blue Period 784:during his 690:Art Nouveau 673:Modernistes 567:flexibility 501:with which 440:in France, 396:Divisionism 355:André Lhote 305:, ca.1897, 198:romanticist 194:Renaissance 175:Micronesian 82:perspective 46:Protocubism 12439:Modern art 12429:French art 12423:Categories 12174:Die Brücke 12140:Influenced 12059:Influences 12024:Sculptures 11801:Franz Marc 11347:Jewish art 11159:Passionism 11119:iPhone art 11065:Cyborg art 11060:Crypto art 11033:Brandalism 10925:Cyberdelic 10790:Tropicália 10763:Street art 10718:Intermedia 10698:Minimalism 10417:Spatialism 10371:Postmodern 10227:Surrealism 10095:Shin-hanga 9935:Die Brücke 9903:Sonderbund 9816:Synthetism 9539:Revivalism 9448:Transition 9405:Manichaean 9251:Adam style 9172:Classicism 9111:in Utrecht 9039:Still life 8769:Romanesque 8725:Macedonian 8720:Iconoclast 8679:Visigothic 8585:Republican 8539:Indo-Greek 8509:Red-figure 8329:Surrealism 8267:Minimalism 8142:Cinéma pur 7787:and poetry 7785:Literature 7694:Minimalism 7585:Visual art 7530:Modern art 7382:Franz Marc 7347:Raoul Dufy 7301:Die Brücke 7148:Cuno Amiet 7122:Synthetism 6303:2013-03-11 6060:Matisse's 6028:Ferry, Luc 5802:2008-02-06 5316:Neda Ulaby 5240:2012-12-18 5215:2012-12-18 4777:J. Brown, 4537:2013-03-11 4433:References 4257:Raoul Dufy 3963:André Mare 3877:La Coupole 3720:, New York 3321:Raoul Dufy 3250:Raoul Dufy 3164:, New York 2898:Kahnweiler 2752:Montmartre 2739:Raoul Dufy 2641:modern art 2539:Matisse's 2194:dimensions 2186:hypercubes 2135:and later 1906:positivism 1862:locomotion 1600:in Paris. 1557:hieroglyph 1515:antecedent 1497:Tribal art 1399:Ernst Mach 976:free verse 877:René Arcos 778:Symbolists 700:, that of 678:decadentes 649:Picasso's 577:Elasticity 571:elasticity 535:Dramatisme 499:free verse 467:aesthetics 459:Figuratism 446:Die Brücke 367:Raoul Dufy 216:Classicism 118:modern art 58:Précubisme 54:Pre-Cubism 12454:Modernism 12317:Max Jacob 12249:Vorticism 12016:(Picasso) 11976:(Duchamp) 11968:(Gleizes) 11960:(Gleizes) 11952:(Gleizes) 11944:(Gleizes) 11936:(Gleizes) 11901:Le goûter 11896:(Picasso) 11888:(Picasso) 11880:(Picasso) 11872:(Picasso) 11864:(Picasso) 11856:(Picasso) 11845:Paintings 11771:Paul Klee 11520:Juan Gris 11409:Shock art 11399:Queer art 11379:Naïve art 11362:Modernism 11194:Superflat 11184:Sound art 11164:Post-YBAs 11149:Neomodern 10990:Verdadism 10960:Superflat 10809:1970–1999 10773:in the US 10693:Video art 10616:Happening 10589:1960–1969 10381:1945–1959 10044:1915–1944 10035:Vorticism 9987:A Nyolcak 9849:1900–1914 9821:Les Nabis 9752:Symbolism 9708:Amsterdam 9658:Japonisme 9628:1863–1899 9590:in Greece 9450:to modern 9295:Caribbean 9240:Goût grec 9162:Capriccio 9116:Tenebrism 9065:Turquerie 8963:Mannerism 8858:Medieval 8715:Byzantine 8696:Mozarabic 8647:Ethiopian 8551:Neo-Attic 8534:"Baroque" 8519:Classical 8489:Geometric 8467:Mycenaean 8414:(Western) 8412:Premodern 8383:Premodern 8334:Symbolism 8262:Modernism 8095:Serialism 8080:Post-rock 8021:Free jazz 7929:Free funk 7884:Ultraísmo 7839:Imaginism 7814:Cyberpunk 7776:Vorticism 7579:movements 7525:Modernism 7289:movements 7127:Symbolism 7116:Les Nabis 7088:movements 6343:The Dance 5487:cite book 5306:(Steidl). 5173:, 562–563 4835:, 102–113 4768:, 105–106 4737:March 11, 4636:Deleuze, 3989:Abundance 3934:principle 3749:banlieues 3564:The Press 3522:exhibits 2961:La Presse 2750:From his 2581:Blue Nude 2571:Nu debout 2476:Leo Stein 2452:Max Jacob 2448:Juan Gris 2370:Max Jacob 2190:polyhedra 2133:Juan Gris 2121:Max Jacob 1868:in 1894. 1698:style of 1692:geometric 1342:Le Chahut 1312:Futurists 1190:Cézannian 1182:Symbolist 1072:. At the 1046:Les Nabis 988:René Ghil 755:Mannerism 686:Barcelona 559:metronome 527:Unanimism 511:Paul Fort 487:Symbolist 473:Symbolism 442:Futurists 143:Les Nabis 139:Symbolism 94:Juan Gris 12313:(critic) 12301:(critic) 12234:Art Deco 12229:De Stijl 12199:Futurism 12040:Danseuse 11989:The City 11439:Category 11389:Portrait 11310:Folk art 11258:Anti-art 11189:Stuckism 11102:Idea art 11023:Art game 10975:Artivism 10863:Punk art 10841:Sots Art 10826:Artscene 10683:Land art 10621:Neo-Dada 10553:Lettrism 10447:Nuagisme 10432:Tachisme 10313:Nazi art 10106:De Stijl 10020:Rayonism 10010:Art Deco 9998:Futurism 9789:Luminism 9757:Romanian 9742:Tonalism 9713:Canadian 9691:American 9597:Neo-Grec 9205:Rocaille 9034:Romanism 8968:Counter- 8902:Trecento 8842:Duecento 8832:Crusades 8764:Ottonian 8742:Frankish 8622:Medieval 8605:Trajanic 8565:Scythian 8560:Etruscan 8452:Cycladic 8430:Thracian 8282:Neo-Dada 8257:Lettrism 8238:Futurism 8152:Drop Art 8147:Dogme 95 8115:Totalism 8033:Futurism 7984:Ars nova 7912:By style 7859:Neoteric 7761:Rayonism 7714:De Stijl 7689:Mail art 7644:Devětsil 6945:Kubismus 6707:. p. 205 6426:, 1906, 6030:(1993). 6019:(1972). 6001:Miller. 5965:(1983). 5915:: 1, 6. 5877:(1997). 5849:(2006). 5831:Miller. 5702:(1978). 5690:(1956). 5678:(1955). 5426:Archived 5368:11 March 5276:Archived 5132:(French) 5044:Archived 4697:El Greco 4680:Archived 4638:Guattari 4406:See also 4146:Gil Blas 4138:Salle 41 4076:Fantasio 4068:, 1911, 4047:, 1911, 3930:ideology 3922:"Cubism" 3772:Le Ravin 3731:, 1910, 3712:, 1910, 3694:, 1910, 3671:, 1910, 3585:, 1910, 3546:Salle II 3401:, 1909, 3364:Gil Blas 3283:, 1908, 3226:Jean Puy 3046:, 1907, 2998:writes: 2921:, 1906, 2859:, 1908, 2796:, 1907, 2776:, 1906, 2653:, 1908, 2526:, 1907, 2308:, 1906, 2192:in four 1973:learning 1958:Hertzian 1940:and the 1718:, 1887, 1682:In 1905 1664:, 1905, 1569:, 1894, 1527:, 1894, 1425:African 1215:, 1911, 1034:Futurism 961:, 1909, 928:Artistic 924:Literary 841:romantic 812:and the 737:El Greco 706:El Greco 619:El Greco 539:Romantic 495:Futurism 319:immobile 258:, Moscow 250:, 1888, 167:Egyptian 26:, 1909, 12292:Related 12258:Related 12121:Fauvism 12051:(Csaky) 12043:(Csaky) 12035:(Csaky) 12000:(Léger) 11992:(Léger) 11984:(Kupka) 11488:Leaders 11404:Realism 11001:present 10728:Nut Art 10531:Pop art 10469:Mono-ha 10337:The Ten 10286:Kapists 10232:Iranian 10185:Bauhaus 9979:Orphism 9925:Fauvism 9762:Russian 9652:Nihonga 9566:Verismo 9551:Realism 9485:Purismo 9398:Moorish 9393:Islamic 9300:Haitian 9091:Baroque 8970:Maniera 8854:Mudéjar 8779:Spanish 8691:Pictish 8674:Lombard 8669:Insular 8610:Severan 8575:Gaulish 8570:Iberian 8499:Archaic 8442:Nuragic 8422:Ancient 8405:periods 8211:General 8070:No wave 7844:Imagism 7794:Acmeism 7746:Pop art 7736:Orphism 7654:Fauvism 7632:Bauhaus 7513:Related 7492:Critics 7325:Artists 7296:Fauvism 7141:Artists 5913:Comédia 5797:1445172 4822:, 40-47 4699:, 57–59 3873:Le Dôme 3762:cubes." 3641:Picabia 3529:L'Arbre 3513:in 1921 3447:Paysage 3409:, Paris 3252:three, 3236:three, 2551:Nu bleu 2215:Puteaux 2105:actuary 1950:Röntgen 1892:at the 1800:titled 1654:phase. 1647:Fauvism 1607:wrote, 1397:, then 1387:Orphism 1383:Dancers 1351:Otterlo 1278:, Paris 1174:Fauvist 1100:L'Arbre 827:Cézanne 715:Picasso 711:Cézanne 593:ressort 563:liberty 555:strophe 477:In his 465:), and 438:Cubists 400:Fauvism 239:Cézanne 224:dynamic 205:realist 163:African 120:of the 67:Fauvism 12444:Cubism 12399:(poet) 12393:(poet) 12319:(poet) 12209:Purism 12194:Tubism 12008:(Gris) 11744:Others 11713:Tobeen 11481:Cubism 11352:Kitsch 11211:Toyism 10703:Fluxus 10633:Op art 10202:Mingei 10136:Stupid 10114:Purism 9969:Cubism 9618:Modern 9410:Mughal 9200:Rococo 8805:Gothic 8786:Norman 8710:Viking 8664:Hunnic 8642:Coptic 8457:Minoan 8447:Aegean 8435:Dacian 8387:Modern 8287:Neoism 8233:Fluxus 8133:Cinema 7972:Others 7874:Oulipo 7869:Oberiu 7756:Purism 7622:Cubism 7443:Les XX 7316:Cubism 6973:Cubism 6852: 6798: 6722: 6703: 6691:et al. 6413:, 1906 6331:, 1994 6327: 6044: 5973: 5934: 5891: 5857: 5795: 5768: 5737: 5710: 5663: 5632: 5594: 5526: 5475: 5450: 5406: 5324:, 2010 5302: 5257: 5190: 5169: 5128: 5090: 4622: 4614: 4478:, 2011 4161:Cubism 3976:, and 3885:, and 3800:Cubism 3794:Cubism 3653:Cubism 3572:Cubism 3463:Cubist 3244:five, 3186:, Oslo 2949:Cubism 2637:Cubism 2488:revolt 2109:Cubism 2038:Center 2014:Saddle 1977:memory 1954:X-rays 1627:Oviri, 1598:oeuvre 1513:, the 1464:, and 1456:, the 1379:Circus 1163:Cubism 893:La Vie 780:, and 767:Cubism 491:Cubist 404:Cubism 323:mobile 289:Eclair 228:static 222:. The 203:, the 185:, and 75:Cubism 52:, and 12449:Cubes 11725:] 10999:2000– 10442:COBRA 9436:Uki-e 9426:Japan 9415:Qajar 8774:Mosan 8580:Roman 8474:Greek 7961:Metal 7904:Music 6077:, or 5997:: 60. 5958:: 11. 5145:, in 4731:(PDF) 4724:(PDF) 4531:(PDF) 4524:(PDF) 3374:, in 3248:two, 3240:one, 3121:1920) 2808:Both 2655:Dryad 2558:1907) 2418:, in 2057:Gauss 2026:Focus 1890:Paris 1618:Oviri 1016:, by 171:Greek 137:, to 12219:Dada 12048:Head 11288:Icon 10611:ZERO 10369:and 10266:Asso 10090:Dada 9647:Yōga 8389:and 8223:Dada 7956:Punk 7951:Prog 7946:Rock 7934:Yass 7924:Jazz 7919:Funk 7894:Zaum 6850:ISBN 6796:ISBN 6720:ISBN 6701:ISBN 6325:ISBN 6115:2008 6042:ISBN 5971:ISBN 5932:ISBN 5889:ISBN 5855:ISBN 5793:OCLC 5766:ISBN 5735:ISBN 5708:ISBN 5661:ISBN 5630:ISBN 5592:ISBN 5524:ISBN 5499:help 5473:ISBN 5448:ISBN 5404:ISBN 5370:2013 5300:ISBN 5255:ISBN 5188:ISBN 5167:ISBN 5126:ISBN 5088:ISBN 4794:, 15 4781:, 28 4755:, 49 4739:2013 4620:ISBN 4612:ISBN 4132:and 4017:and 3862:and 3854:and 3782:and 3774:and 3635:and 3623:and 3555:Nude 3526:and 3486:1910 3436:1909 3331:and 3272:1908 3218:1907 2832:and 2822:and 2812:and 2478:and 2388:and 2348:and 2103:and 2050:Node 1995:and 1979:and 1963:and 1920:and 1912:and 1836:and 1770:Nude 1742:and 1734:and 1726:The 1720:Kiss 1645:and 1503:and 1484:and 1427:Fang 1381:and 1306:and 1196:and 1131:and 1097:and 926:and 903:and 776:The 721:and 713:and 704:and 696:and 676:(or 569:and 529:and 398:and 377:and 145:and 88:and 7941:Pop 6671:, ( 6038:215 6025:in 5999:in 5995:Pan 5960:in 5920:in 5885:312 5762:101 5657:100 5626:171 4092:), 4029:). 3936:). 3932:or 3084:or 2967:). 2294:". 2213:in 1952:'s 1750:'s 1730:of 1634:." 1111:'s 1002:'s 829:". 684:in 533:'s 525:'s 402:to 161:to 56:or 12425:: 11723:fr 8385:, 6956:^ 6929:^ 6884:^ 6861:^ 6818:^ 6765:^ 6730:^ 6699:, 6693:, 6520:^ 6435:^ 6366:^ 6323:, 6249:^ 6230:^ 6212:^ 6177:^ 6144:^ 6040:. 5887:. 5764:. 5659:. 5628:. 5577:, 5567:^ 5538:^ 5522:. 5518:. 5491:: 5489:}} 5485:{{ 5318:, 5154:^ 5124:, 5073:^ 5005:^ 4989:^ 4963:, 4891:^ 4840:^ 4704:^ 4647:^ 4618:, 4582:^ 4546:^ 4484:^ 4456:^ 4440:^ 4201:: 4128:, 4124:, 4120:, 4116:, 4112:, 4108:, 4104:, 4100:, 4096:, 4013:, 3984:. 3965:. 3957:, 3953:, 3879:, 3875:, 3790:. 3631:, 3619:, 3350:, 3327:, 3323:, 3319:, 3315:, 3311:, 3307:, 3214:. 3138:. 2953:Nu 2669:: 2619:, 2553:: 2482:. 2474:, 2470:, 2466:, 2462:, 2458:, 2454:, 2450:, 2446:, 2430:: 2392:. 2384:, 2376:, 2372:, 2368:, 2364:, 2356:, 2344:, 2340:, 2336:, 2332:, 2328:, 2324:, 2304:, 2170:, 2131:, 2127:, 2123:, 2119:, 2115:, 2093:. 2063:, 2059:, 1983:. 1975:, 1956:, 1936:, 1924:, 1908:, 1896:. 1876:. 1856:. 1825:, 1804:. 1641:, 1499:, 1480:, 1476:, 1472:, 1460:, 1452:, 1448:, 1444:, 1405:, 1401:, 1353:, 1349:, 1127:, 1123:, 1063:. 1048:. 1036:, 1020:. 982:, 946:. 907:. 899:, 839:, 821:, 621:, 565:, 543:no 452:, 448:, 425:, 421:, 417:, 406:. 394:, 390:, 373:, 369:, 365:, 361:, 357:, 353:, 349:, 345:, 341:, 337:, 333:, 235:. 189:. 181:, 177:, 173:, 169:, 165:, 157:, 153:, 141:, 124:. 112:, 108:, 104:, 100:, 96:, 77:. 48:, 11473:e 11466:t 11459:v 8403:/ 8375:e 8368:t 8361:v 7569:e 7562:t 7555:v 7069:e 7062:t 7055:v 6906:( 6306:. 6293:" 6050:. 5979:. 5940:. 5897:. 5863:. 5805:. 5774:. 5743:. 5716:. 5669:. 5638:. 5532:. 5501:) 5481:. 5456:. 5412:. 5372:. 5243:. 5218:. 4953:( 4741:. 4717:" 4540:. 3477:. 3335:. 2242:n 2174:( 1176:- 757:. 663:. 637:. 591:(

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