Cubism
The first movement of abstract art of the 20th century. The term due to the critic Louis Vauxcelles, but has its roots in Matisse, who spoke about "little cubes" of Braque. The time of its great boom is undoubtedly the period 1907-14, period during which the two major protagonists Picasso and Braque were collaborated closely. Usually is assumed the movement’s division into sub-periods and are being used the terms "analytic", "hermetic" and "synthetic" cubism. As the term "analytical cubism" is undoubtedly inadequate to describe the effected cubist works by the Iberian and African art, some critics call this phase "pre-cubism" or "first-cubism". Since the works of this first phase are treated as a kind of preludes to Cubism, the first purely Cubist works are those in which objects, landscapes and people are depicted as multifaceted geometric solids. The mature work of Cézanne, who became widely known after his death, played a catalytic role in the appearance of cubist painting. His exhortation to Emile Bernard to "ascribe the nature with the cylinder, the sphere and the cone" was considered by the cubist experiments that justifies them (Table Picasso's Woman with guitar exemplifies this phase of Cubism). Subsequently, Braque and Picasso turned to a flatter type of abstraction, whereby the general provision is gaining importance and the portrayed objects are largely or entirely sometimes, not decryption ("hermetic Cubism"). In this period, the color is completely absent from their works, which are basically monochromatic (gray, blue or brown and white). Only in the last phase of Cubism, the so-called synthetic because the removal is combined with real objects will return the color. Apart from its two protagonists, and a series of other artists soon began to use the cubist idiom, so, around 1909, Cubism to replace Fauvism in the primacy of the Parisian artistic movement. The most remarkable of these were undoubtedly Gris and Léger, and should even be mentioned the names of painters such as Gleizes and Metzinger (who wrote a book about Cubism) Derain, Friez, De la Frêne, Marcoussis, M. A., etc., and sculptors like Archipenko and Laurent. The activities of Cubists in Paris had significant and lasting impact on European art: led to the emergence of Vortisim in Britain, influenced with no doubt the expressionistic art in Germany and became a benchmark and previous movements with abstract approaches to Russia (Constructivism, Suprematism) and the Netherlands. In Paris, Cubism developed in two main directions: a) a decorative style in which geometric objects rendered but remain clearly identifiable and b) an even bigger degree of abstraction, which is predominantly expressed in the tables of Delaunay, and dominated by the rhythmic repetition of cycles and strip in various colors (Orphism). Cubism continued for several years to influence decisively the art of the 20th century. In 1918, Le Corbusier and Ozafran tried to promote a return to a simpler Cubism (Purism). Already, however, since 1920, the cubist principles were developed into an integral part of the overall artistic vocabulary and no one could impose such limited objectives. The cubist ideas and techniques, and in particular collage that was invented during the synthetic period of the movement, still used widely even today.