The term 'Cubism', first pronounced in 1911 with reference to artists exhibiting at the Salon des Indépendants, quickly gained wide use but Picasso and Braque did not adopt it initially. Vauxcelles, on 25 March 1909, used the terms "bizarreries cubiques" (cubic oddities) after seeing a painting by Braque at the Salon des Indépendants. On 14 November 1908, the French art critic Louis Vauxcelles, in his review of Georges Braque's exhibition at Kahnweiler's gallery called Braque a daring man who despises form, "reducing everything, places and a figures and houses, to geometric schemas, to cubes". In 1912, they began to experiment with collage and Braque invented the papier collé technique.
Both artists produced paintings of monochromatic color and complex patterns of faceted form, now termed Analytic Cubism.Ī decisive time of its development occurred during the summer of 1911, when Georges Braque and Pablo Picasso painted side by side in Céret in the French Pyrenees, each artist producing paintings that are difficult-sometimes virtually impossible-to distinguish from those of the other. After meeting in October or November 1907, Braque and Picasso, in particular, began working on the development of Cubism in 1908. These artists were the style's main innovators. Thus, the invention of Cubism was a joint effort between Picasso and Braque, then residents of Montmartre, Paris. Picasso celebrates animation, while Braque celebrates contemplation. “A comparison of the works of Picasso and Braque during 1908 reveals that the effect of his encounter with Picasso was more to accelerate and intensify Braque’s exploration of Cézanne’s ideas, rather than to divert his thinking in any essential way.” Braque's essential subject is the ordinary objects he has known practically forever. At the time, Pablo Picasso was influenced by Gauguin, Cézanne, African masks and Iberian sculpture while Braque was interested mainly in developing Cézanne's ideas of multiple perspectives. He showed this in the painting Houses at l'Estaque.īeginning in 1909, Braque began to work closely with Pablo Picasso who had been developing a similar proto-Cubist style of painting. In his village scenes, for example, Braque frequently reduced an architectural structure to a geometric form approximating a cube, yet rendered its shading so that it looked both flat and three-dimensional by fragmenting the image. He conducted an intense study of the effects of light and perspective and the technical means that painters use to represent these effects, seeming to question the most standard of artistic conventions. Georges Braque, 1910, Violin and Candlestick, San Francisco Museum of Modern Artīraque's paintings of 1908–1912 reflected his new interest in geometry and simultaneous perspective.
The 1907 Cézanne retrospective at the Salon d'Automne greatly affected the avant-garde artists of Paris, resulting in the advent of Cubism. The same year, Braque's style began a slow evolution as he became influenced by Paul Cézanne who had died in 1906 and whose works were exhibited in Paris for the first time in a large-scale, museum-like retrospective in September 1907. In May 1907, he successfully exhibited works of the Fauve style in the Salon des Indépendants. In 1906, Braque traveled with Friesz to L'Estaque, to Antwerp, and home to Le Havre to paint.
Braque worked most closely with the artists Raoul Dufy and Othon Friesz, who shared Braque's hometown of Le Havre, to develop a somewhat more subdued Fauvist style. The Fauves, a group that included Henri Matisse and André Derain among others, used brilliant colors to represent emotional response. Georges Braque, 1908, Baigneuse ( Le Grand Nu, Large Nude), oil on canvas, 140 × 100 cm, Musée National d'Art Moderne, Centre Pompidou, Parisīraque's earliest works were impressionistic, but after seeing the work exhibited by the artistic group known as the " Fauves" (Beasts) in 1905, he adopted a Fauvist style.
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