Picasso's Analytical Cubism: Identify the Subjects
![Image](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_n6QGNuVT6Cxq5W840CXGjXEAFJRyWvbaqk4VNMGZr0vzAodNe1egLucr_1rlPKt7SmnY08_TQKT277C8kc63yvdzt8n4aumElaBvKaR-kTb-JzWBi79Bw_mdWKjXF7SDpME-1y4BX5o/s1600/Clarinet+%2528Still+Life+with+a+Clarinet+on+a+Table%2529+-+1911.jpg)
In the second link below it is mentioned that neither Pablo Picasso nor Georges Braque , the inventors of Cubism, wrote a manifesto explaining and justifying what they had done (unlike other modernist artists and movements). However, others filled this void. A fairly standard classification of types of Cubism calls the period roughly 1910-1912 "Analytical Cubism," wherein the artists used multiple points of view to depict a subject more completely on a flat surface than could traditional single-viewpoint paintings. A fairly detailed explanation can be found here , and a sophistry-filled one is here . Not long ago I posted here about cubist portraits and how various artists followed Analytical Cubism to various degrees. The present post looks at that breed of Cubism from a slightly different angle. (Hmm -- I seem to be getting swept up into this multiple perspectives notion.) My contention is that hard-core Analytical Cubism paintings are constructed (presumably against t