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AT

Robles Tardío, Rocío

Picasso and Braque cubists. Cuadernos Postal

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Historiography gathers together a wide range of paternities for the word Cubism, which is used to refer to the painting Picasso and Braque were doing in 1908: a painting of cubes with deep roots in Cézanne. The aim of its inventors was to go back to portraying constructive values by way of deconstruction and analytically exhausting the objects in the paintings. They were trying to move beyond the anecdotal aspect of themes and technique and the purely sensorial side of the blot or smudge painting that had dominated the French panorama in the wake of Impressionism. Cubism was an artistic manifestation with a considerable scientific charge and the Cubist painters, using painting and meta-pictorial ingredients, attempted to represent reality in all its physical, material and tactile reality. Besides the support of D. H. Kahnweiler, art merchant and hagiographer, Cubism was consolidated thanks to the contributions of critics, both those of a like mind and the more reticent, who were then making the first attempts to classify it in order to understand it as a historic trend. Of another nature-and this is not exempt of prejudice-is the question of the end of Cubism, which we would date to 1914. It was after this that a new Cubism emerged and this would become the real French school.


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