Cubism is an early-20th-century avant-garde art movement pioneered by Georges Braque and Pablo Picasso, and later joined by Juan Gris, Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, and Fernand Leger,[1] that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. Cubism has been considered the most influential art movement of the 20th century. The term is broadly used in association with a wide variety of art produced in Paris (Montmartre, Montparnasse) and Puteaux during the 1910s and extending through the 1920s. Variants such as Futurism and Constructivism developed in other countries. A primary influence that led to Cubism was the representation of three-dimensional form in the late works of Paul Cezanne, which were displayed in a retrospective at the 1907 Salon dAutomne.[2] In Cubist artwork, objects are analyzed, broken up and reassembled in an abstracted forminstead of depicting objects from one viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context. The beginnings of Cubism have been dated between 1907 and 1911. Pablo Picasso's 1907 painting Les Demoiselles d'Avignon has often been considered a proto-Cubist work. Georges Braque's 1908 Houses at LEstaque (and related works) prompted the critic Louis Vauxcelles to refer to bizarreries cubiques (cubic oddities). Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebroas, as the first Cubist paintings. The first organized group exhibition by Cubists took place at the Salon des Independants in Paris during the spring of 1911 in a room called Salle 41; it in

luded works by Jean Metzinger, Albert Gleizes, Fernand Leger, Robert Delaunay and Henri Le Fauconnier, yet no works by Picasso and Braque were exhibited.[2] Picasso became recognized by 1911 as the inventor of Cubism, while Braques importance and precedence was argued later, with respect to his treatment of space, volume and mass in the LEstaque landscapes. But "this view of Cubism is associated with a distinctly restrictive definition of which artists are properly to be called Cubists," wrote the art historian Christopher Green: "Marginalizing the contribution of the artists who exhibited at the Salon des Independants in 1911 [...]"[2] Historians have sought to analyze the history of cubism in terms of phases. In one scheme, a first branch of cubism, known as Analytic Cubism, was both radical and influential as a short but highly significant art movement between 1907 and 1911 in France. A second phase, Synthetic Cubism, remained vital until around 1919, when the Surrealist movement gained popularity. English art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch. According to Cooper there was "Early Cubism", (from 1906 to 1908) when the movement was initially developed in the studios of Picasso and Braque; the second phase being called "High Cubism", (from 1909 to 1914) during which time Juan Gris emerged as an important exponent; and finally Cooper referred to "Late Cubism" (from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement.[5] Douglas Cooper's restrictive use of these terms to distinguish the work of Braque, Picasso, Gris (from 1911) and Leger (to a lesser extent) implied an intentional value judgement.