Cubism

In the case with Synthetic Cubism, which began in 1912 as the second primary phase to Cubism, these works are composed of distinct superimposed parts.  These parts, painted or pasted on the canvas, were characterized by brighter colors.  Unlike the points of Analytical Cubism, which fragmented objects into composing parts, Synthetic Cubism attempted to bring many different objects to create new forms.  This phase of Cubism also contributed to creating the collage and papier colle, Picasso used collage complete a piece of work, and later influenced Braque to first incorporate papier colle into his work.

Similar to collage in practice, but very much a different style, papier colle consists of pasting materials to a canvas with the pasted shapes representing objects themselves.  Braque had previously used lettering, but the works of the two artists began to take this idea to new extremes at this point.  Letters that had previously hinted at objects became objects as well, newspaper scraps began the exercise, but from wood prints to advertisements were all elements incorporated later as well.  Using mixed media and other combinations of techniques to create new works, and Picasso began utilizing pointillism and dot patterns to suggest planes and space.

By the end of the movement, with help from Picasso and Braque, Cubism had influenced more than just visual art.  The Russian composer Igor Stravinsky was inspired by Cubism in some examples of his music that reassembled pieces of rhythm from ragtime music with the melodies from his own country’s influence.  In literature, Cubism influenced poets and their poetry with elements parallel with Analytical and Synthetic Cubism, and this poetry frequently overlaps other movements such as Surrealism and Dadaism.

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