This work also feels like the perfect example because it is in the shape of an oval, unlike the average canvas painting. The best example is Picasso's Still Life with Chair Caning, 1912 which incorporated the seat of a chair into the canvas that Picasso used.
In 1912, Picasso and Braque started to incorporate tactile items into their work. This movement within Cubism takes the already established techniques and puts a spin on them. The second distinct part of Cubism, from 1912 to 1914, is called Synthetic Cubism. This is how Analytical Cubism is intended to work, dissecting a simple subject to gain a better understanding of the subject. In Daniel Henry-Kahnweiler and Violin and Palette look for how the squares, or cubes, of color build up the larger image, but if you pick one specific square, you will not get any sense of the larger picture. This effect is meant to allow for the viewer to adjust how they see and understand the subject. Depending on whether you are discussing Picasso or Braque these fragmented pieces of the larger whole either seem to be pulling the subject towards the center of the piece, or exploding outward towards the edge of the canvas, respectively.
As previously mentioned Cubism, especially Analytical Cubism uses simple subjects so that the fragmented planes of color that represent these subjects are easily identifiable. Analytical Cubist works focus on the deconstruction of the ideas of perspectives, planes, and dimensions of previous movements. One way to think about this part of the movement is as the perfection of the basic technique of the period. From 1910 to 1912, the works of art created are considered Analytical Cubism. When looking back at Cubism as a movement, it is divided into two different parts. This work captures the characteristic traits of Cubism a simplified color palette, fragmented planes that capture the larger picture abstractly, presents the reality of the subject as it could be seen instead of how the artist sees it. One of Picasso's first truly Cubist works is Daniel Henry-Kahnweiler painted in 1910. Alternately, this work does begin the Cubist movement because the purpose of this work was not to explore the dissection of color and shapes but rather for Picasso to explore his influences and combine them into one work. This work is the arguable beginning of Cubism because it begins the breakdown of figures into fragments and planes, and has a limited color palette.
If you are one of the art historians who believe that Cubism began in 1907, then the movement begun with Pablo Picasso's Les Demoiselles d'Avignon. To simplify, Cézanne tried to be the forward-thinking artist of the Impressionist movement and succeeded by inspiring Picasso and Braque to create a new movement entirely. However, Cézanne falls at the end of the Impressionism movement and therefore pays more attention to the evolution of his art away from the central ideas of the movement, like abstraction in favor of emotion, and instead focuses on dissecting how he and others see the world. Cézanne is firmly a contributor to the Impressionism movement and focused on capturing the impression of the landscape depicted. Cubism grew out of Paul Cézanne's late work like Mont Sainte-Victoire which attempts to simplify the landscape by breaking it down to its colors and shapes.
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