Characteristics of Cubism – A break with reality

Key points at a glance

Cubism refers to an influential art movement of the early 20th century, in which subjects are broken down into geometric shapes, depicted from several perspectives simultaneously, and traditional rules of space and perspective are deliberately subverted. Typical characteristics of Cubism include fragmentation, multiple perspectives, reduced colour palettes and a highly abstracted representation of reality.
This article helps you to better understand the characteristics, origins and key works of Cubism, and explains why this movement had a lasting impact on painting.
The overview is particularly relevant for art enthusiasts and beginners who wish to gain a better understanding of artists such as Pablo Picasso, Georges Braque and Juan Gris, and their role in Cubism.
As a next step, you can look at the works mentioned and pay particular attention to how forms are fragmented, perspectives combined and objects reassembled – typical characteristics of analytical and synthetic Cubism.

Cubism is regarded as one of the most influential artistic movements of the 20th century. As the ‘birth of modern art’, it broke with classical traditions and presented forms and perspectives in an entirely new way. The term ‘Cubism’ is derived from the Latin word ‘cubus’, meaning ‘cube’. The movement involves an artistic reduction of the object to geometric figures, such as the cube, the pyramid or the sphere, thereby creating a fragmented, geometrised visual language of movement as typical features of Cubism. The central characteristics of Cubism consist of the dissolution of traditional perspectives and the decomposition of motifs into geometric forms. Cubism brought about a shift in the artistic aspirations of painting. The artistic aim was no longer to depict subjects as spatially and three-dimensionally as possible, or to represent the world faithfully. Instead, in a break with previous painting conventions, perspective was neglected and a painting was structurally organised, with the aim of harmonising the resulting distribution of values and forces. The depiction of multiple viewpoints within a single picture blurs the boundaries between foreground and background, creating the impression of viewing the subject from more than one perspective. This enables a multi-layered, almost analytical examination of the objects depicted. Cubism is also characterised by an often reduced colour palette. The emphasis on earthy and neutral tones directs attention to the geometric form of the picture. Geometric forms, fragmentation, flat spatiality, abstraction, multiple perspectives and interpretation are classic features of Cubism.

Founders of Cubism – Inspiration and exchange between Picasso and Braque

Among the best-known representatives of Cubism are Pablo Picasso and Georges Braque, who are regarded as the founders of the movement. In the early 20th century, Picasso was inspired by the forms of African sculptures and masks, which had been brought to Europe during the height of colonialism. His engagement with this distinct aesthetic led to Picasso’s ‘African period’, which became the origin of typical Cubist characteristics. It was during this phase that he produced, amongst other works, his famous painting *Les Demoiselles d’Avignon*. This work is regarded as the cornerstone of Cubism and heralded not only the Cubist art movement but also the beginning of Classical Modernism. Georges Braque and the dialogue between the two artists also made a decisive contribution to the emergence of Cubism. Braque visited Picasso for the first time in 1907 at his studio in Paris. Impressed by the works being created there at the time Les demoiselles d’Avignon and Three Women, he began working on figurative compositions in a similar style, the characteristics of which would come to be recognised as Cubism. In the years that followed, the two artists visited each other’s studios, which were only a few hundred metres apart. This led to a mutual exchange and discussion of their paintings in Picasso’s studio. Cubism was born. Their works, such as Picasso’s *Les Demoiselles d’Avignon* and Braque’s houses in L’Estaque, were to set new standards in art, become well-known examples of Cubist characteristics and inspire numerous artists of their time.

The

Cubist period – the dawn of Classical Modernism

The Cubist era began in 1906 and rapidly developed into a distinctive artistic movement with characteristic Cubist features. The Cubist period is divided into two phases: a distinction is made between Analytical Cubism and Synthetic Cubism. Cubism marked a revolutionary break with traditional conceptions of art by redefining perspective and the understanding of space. The active period of the Cubist era lasted until the outbreak of the First World War in 1914, following which artistic development was abruptly interrupted by the turmoil of the war. During the Cubist period, Europe underwent a phase of profound social, political and technological upheaval. Rapid industrialisation and urbanisation fundamentally transformed everyday life and turned cities such as Paris – a centre of art and culture – into the birthplace of avant-garde movements. These developments created a fertile ground for radical artistic innovations such as Cubism, which challenged traditional modes of representation.

Albert Einstein’s theory of relativity turned the previous understanding of space and time on its head and inspired artists to conceive of the world from new, multidimensional perspectives – a concept that is also reflected in the characteristics of Cubism. Politically, Europe was on a volatile course that would ultimately culminate in the First World War. Nationalist tensions and military rearmament characterised the political climate. In a sense, Cubism reflected this uncertainty and the desire for change by deconstructing and reassembling reality. However, the outbreak of war in 1914 marked an abrupt end to this creative phase and led to a turning point in artistic development – many artists were conscripted, and the political upheavals brought about lasting changes to the art world.

Cubist artists – Picasso, Braque, Cézanne and more

: The ‘fathers of Cubism’,

Pablo Picasso and Georges Braque, had a significant influence on Cubism. Alongside them, however, many other well-known artists also contributed to the development and spread of the artistic style. Paul Cézanne’s influence on Cubism played a pivotal role in the development of the characteristic Cubist painting style. In his works, he reduced natural forms to simple geometric shapes such as spheres, cones and cylinders. Although still classified as a Post-Impressionist, Cézanne was posthumously revered by Cubist artists as a spiritual forerunner, as his works anticipated the dissolution of traditional perspective and the interplay with geometric forms – elements that would later become classic features of Cubism. The younger Picasso, too, was strongly influenced by Cézanne’s artistic style during the formative phase of the Cubist movement. Cézanne’s influence laid the foundation for the Cubist approach to art, which involved breaking reality down into its basic elements and rearranging them. Other well-known Cubist artists include Juan Gris, Fernand Léger, Marcel Duchamp and Robert Delaunay.

Practitioner and theorist Juan Gris

Juan Gris, a Spaniard and close friend of Picasso’s, brought a certain order and structure to Cubist expression with his precise and clear style, and is regarded as a leading exponent of Synthetic Cubism. His studio was located right next to Pablo Picasso’s, so it did not take long for them to inspire one another. He made a name for himself with works such as *Maisons à Paris*. As a theorist, it was important to Gris to convey his artistic approach – and thus the characteristics of Cubism – in theoretical terms as well. Whilst neither Picasso nor Braque had set out to establish a school of this artistic movement, Gris embedded his art within a rational system.

Diversity among Cubist artists

The French artist Fernand Léger combined Cubist principles with his fascination for mechanisation and modern technology, lending his works a dynamic, almost futuristic effect. Marcel Duchamp, who later became known for his role in the Dada movement, also experimented with Cubist elements and incorporated the principle of multiple perspectives into his works, as in his famous painting *Nu descendant un escalier no. 2. Robert Delaunay, with his variation on ‘Orphic’ Cubism, created vibrant, colourful works that focused more strongly on light and colour. In this way, these artists created a diverse, dynamic style that extended far beyond the influence of Picasso and Braque and had a lasting impact on the art world and the development of Cubism.

Analytical Cubism – the early phase of Cubism

Analytical Cubism refers to the initial phase of the artistic movement, lasting from around 1902 to 1912, and was significantly influenced by Pablo Picasso and Georges Braque. During this phase, artists focused intensively on the decomposition of forms and the analysis of structures. Characteristics of Analytical Cubism include, amongst other things, the breaking down of objects into minute geometric facets with a flat, almost mosaic-like representation, or a restrained, muted colour palette of brown, grey and beige tones, in order to direct the focus onto structure and composition. Lighting played a secondary role, meaning that it was not specified from which direction the light in the painting came. Typical subjects often included still lifes, musical instruments and portraits, which were fragmented and dissolved into abstract forms through this new mode of representation. The idea behind this was to depict reality in a new way – not as a simple representation, but as a complex interplay of different viewpoints and perspectives. This method of deconstructing and rearranging forms brought about a lasting change in the perception of images and became a clear indication of the characteristics of Cubism.

Works such as Pablo Picasso’s *Les Demoiselles d’Avignon* or his painting *Reservoir at Horta de Ebro*, as well as Georges Braque’s *Violon et Palette*, are examples of Analytical Cubism, amongst others. In these works, the artists break down classical structures, thereby creating a new approach to reality. By breaking forms down into geometric elements and simultaneously depicting different perspectives, they enable the viewer to experience the subjects from various angles. This innovative approach revolutionised painting and led to a profound redefinition of artistic expression in the 20th century.

Synthetic Cubism – the step towards abstraction

Synthetic Cubism emerged from around 1912 as a further development of Analytical Cubism and introduced new materials and techniques into Cubist painting. Whilst Analytical Cubism broke forms down in detail, Synthetic Cubism sought to simplify and unify compositions. There are numerous examples of Synthetic Cubist works. Among the best known is Braque’s *Compotier, bouteille et verre*. The artists introduced collage techniques, using not only paint but also materials such as newspaper clippings, wallpaper, sand, sawdust, fabrics or sheet metal, which were glued directly onto the canvas. This gave the works a tangible, material character and created a new reality within the painting in an even more abstract style. The characteristics of Synthetic Cubism relate not only to materiality but also to colours and forms. The choice of colours became more vibrant, and the forms clearer and less fragmented, making it easier for viewers to engage with the subjects. Synthetic Cubism thus made a significant contribution to the further development of modern art and paved the way for new forms of expression such as Dada and Surrealism by further blurring the traditional boundary between painting and sculpture.

Another significant work of Synthetic Cubism is Picasso’s Still Life with Wicker Chair, which blurs the boundaries between art and everyday life through the combination of painted and real objects. This technique not only fostered creativity but also encouraged the artists’ spirit of experimentation, as they increasingly questioned and expanded the definition of art. By using everyday materials and incorporating textures into their paintings, they created an interactive experience for viewers, who were invited to view the works from new perspectives and experience art in a more personal way.

Cubist paintings – works that continue to fascinate to this

day

The Cubist art movement produced numerous works that are still regarded as masterpieces of art history and are exhibited in major museums around the world. Cubist paintings present an unconventional, almost revolutionary view of reality and invite the viewer to experience objects and people from entirely new perspectives. Distinctive Cubist characteristics are evident, amongst other things, in some of the works already mentioned, which are presented here in greater detail.

Picasso’s Cubism – a small selection

Picasso’s *Les Demoiselles d’Avignon* (1907) is regarded as one of the groundbreaking works of Cubism and marks the beginning of a new artistic era. The painting depicts five female nudes, shown from the front and rendered in partly angular, geometric forms. This representation radically transformed traditional nude painting: instead of harmonious perspective and soft contours, one sees fragmented faces and bodies reminiscent of African masks and Iberian sculptures. Les Demoiselles d’Avignon is thus one of the earliest and most significant Cubist works and symbolises Picasso’s journey into a completely new dimension of representation, featuring the characteristics that would later become classic Cubist features.

In *Three Women* (1908) and *Nude with a Garment* (1909), Picasso further developed his Cubist approach. The three female figures in *Three Women* appear in geometric, almost sculptural forms that further develop Analytical Cubism by breaking down and rearranging volume and perspective. In *Nude with a Garment*, Picasso experimented with the representation of the human body, which is broken down into flat, angular forms. Both works illustrate Picasso’s intensive exploration of Cubist principles of fragmentation and multiple perspectives, both of which are typical features of Cubism. Finally, *Still Life with Wicker Chair* (1912) illustrates Picasso’s transition to Synthetic Cubism, as he employs the collage technique here for the first time – clearly one of the hallmarks of Synthetic Cubism. In this work, Picasso combines a realistic depiction of a chair’s wickerwork with painting and a round frame that suggests a tabletop. In doing so, he not only introduced everyday materials into art, but also created a work that embodies the two-dimensional yet abstract character of Cubist painting and contributed to the further development of Cubism.

Braque’s musical abstraction

Georges Braque’s *Violon et Palette* (1910) is an iconic work of Analytical Cubism, demonstrating his mastery in the decomposition of forms and perspectives. The painting depicts a violin, a palette and other musical instruments, broken down into geometric fragments and depicted simultaneously from various angles – one of the most characteristic features of Cubism. This technique breaks with conventional perspective and allows the viewer to experience the subject as a kind of visual puzzle. The muted colour palette of browns, greys and beiges draws attention to the structure and composition of the painting and emphasises the abstract nature of Cubism. *Violon et Palette* demonstrates Braque’s ability to depict everyday objects in an innovative way and to convey the essence of Cubism to the worlds of music and art.

Cubist painting brought about a lasting transformation of the art world by redefining perspective and form and breaking down the boundaries of classical painting. From the early days of Analytical Cubism to the experimental works of Synthetic Cubism, this era has inspired numerous artists and paved the way for abstract art. Cubist works remind us that reality is complex and multi-layered – an insight that Cubism has visualised in a striking manner and which clearly reflects the classic characteristics of Cubism.