David Cottington
One of a series introducing major movements in modern art to general readers, students and gallery visitors, this text looks at Cubism, perhaps the seminal movement for the arts of the 20th century, and certainly one of the most complex. Divided between the annual public exhibitions or the emerging network of private galleries, between French and immigrant artists, it was also the product of the decade before the outbreak of war in 1914.
Mark Antliff and Patricia Leighten
Often considered to be the seminal art movement of the twentieth century, Cubism initiated a pictorial revolution through its radical approach to image making, invention of the new media of collage and sculptural assemblage, and evolution toward pure abstraction. Scholarly yet accessible, Cubism and Culture reveals these profound formal innovations as integrally related to changes in French society.
Emily Braun and Rebecca Rabinow
This groundbreaking new history of Cubism, based on works from the most significant private collection in the world today, is written by many of the field’s premier art historians and scholars. The collection, recently donated to The Metropolitan Museum of Art, includes 80 works by Picasso, Braque, Gris, and Léger and is unsurpassed in the number of masterpieces and iconic pieces deemed critical to the development of Cubism.
John Golding
Cubism is one of the most significant turning points in the history of Western art, and John Russell judges John Golding’s Cubism “the best single study of the subject in any language.”
Susanne Gaensheimer and Susanne Meyer-Buser
This catalog of the accompanying exhibition focuses on Braque’s turbulent pre-WWI period to reveal the processes by which the artist developed or reinvented his style in rapid succession – from Fauvism, Proto-Cubism, Analytical Cubism, and ultimately to Cubism. The amazing speed and intensity of Braque’s evolution stands as a remarkable parallel to modern art’s shifting focus from representation to abstraction.
Emily Braun and Elizabeth Cowling
The age-old tradition of pictorial illusionism, known as trompe l’oeil (“deceive the eye”), employs visual tricks that confound the viewer’s perception of reality and fiction, truth and falsehood. This radically new take on Cubism shows how Pablo Picasso, Georges Braque, and Juan Gris both parodied and paid homage to classic trompe l’oeil themes and motifs with wit and invention.
Robert Rosenblum
Art historian Robert Rosenblum brilliantly clarifies the language of Cubism and offers a penetrating analysis of its role in the creation of the major pictorial and sculptural styles of our time. The colorplates include both well-known Cubist masterpieces and works marking the transition to other viewpoints in contemporary art.
Charles Palermo
Picasso and Braque offers an intimate look at one of the most pivotal exchanges in the history of Western art: the culminating two years (1910-12) of Analytic Cubism. While the Cubist experiment has long been a requisite chapter in the history of modernism, this is the first publication to delve deeply into these two intense years of productivity, revealing the intriguing pictorial game being played out between these two great masters.
Anne Ganteführer Trier
Deconstructing perspective with Picasso and peers Pioneered by Picasso and Braque, Cubism was the first avant-garde art movement of the 20th century. Heavily influenced by the stark power of African and Native American art and sculpture, it deconstructed conventions of viewpoint and perspective, revolutionizing painting and western art in general. With its flattened, geometric shapes, overlapping, simplified forms and fragmented spatial planes, Cubism became one of the most influential and far-reaching movements in modern art.
Neil Cox
Cubism remains perhaps the single most important development in the history of twentieth-century art. It was the creation of just two artists – Georges Braque, a Frenchman, and Pablo Picasso, a Spaniard – between the years 1907 and 1914. Working alongside each other in Paris, then the artistic capital of the world, they invented a way of making pictures and sculptures that broke with conventions established 500 years earlier in the Renaissance.