Picasso and Braque’s favourite motifs during the period of Cubism were still lifes with musical instruments, bottles, pitchers, glasses, newspapers, playing cards, the human face and the human figure. Look at this painting by Georges Braque of a glass on a table. This suited the cubists’ belief that a painting should not pretend to be like a window onto a realistic scene but as a flat surface it should behave like one. This inclusion of real objects in art was the beginning of one of the important ideas in modern art, to work with already existing (readymade) objects. This breaking down of the real world into flat geometric shapes also emphasized the two-dimensional flatness of the canvas. Synthetic cubism began when cubist artists started using textures and patterns in their paintings and experimenting with the collage form. Synthetic cubism art is the later phase of cubism, dating from around 1912 to 1914, and characterised by simpler shapes and brighter colours. This simplified palette was chosen so as not to distract the viewer from the structure of the form and the density of the image at the centre of the canvas. The artworks look severe, and are made up of an interweaving of planes and lines in muted tones of blacks, greys and ochres. Artists began to recognize the advantages of glass, which allowed for shape and modeling. This century also saw the emergence of three-dimensional glass art. Analytical cubism art is considered to run from 1908-1912. Three-dimensional artists were greatly influenced by African sculptures and Aztec masks. Cubism developed in two distinct phases: analytical cubism and (later) synthetic cubism.
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