At the other end of the spectrum, John Stezaker’s eerie, spliced photographs transform found photographs into haunting art objects through the simple art of cut and paste first pioneered by the Synthetic Cubists. Examples include Phyllida Barlow’s monumental constructions made from household junk. Even today the influence of Synthetic Cubism can still be seen in contemporary works of art that explore elements of collage, construction and the incorporation of everyday items into art. These include Futurism, Constructivism, Rayonism, Dadaism, Surrealism and much, much more. Synthetic Cubism broke new ground with its adventurous, subversive approach to image making, paving the way for numerous art movements to follow all across the world. Synthetic Cubism Was a Gateway into Lots of Other Art Movements Phyllida Barlow, Set, 2015, image courtesy of Art Fund UK Therefore, Pablo Picasso and Georges Braque. The movement started with Georges Braque and Pablo Picasso in the early twentieth century. They made use of painting that has overlap especially for the object that is been described by the panting. French sculptor Raymond Duchamp-Villon made sturdier sculptures in cast bronze, but they have the same pieced together, layered quality typical of Synthetic Cubism, combining animal and machine parts into one. What is analytic cubism Analytic Cubism is a type of art movement that was developed in 1909. In Picasso’s art we see how he made flat collages featuring newspaper cut-outs, paper doilies and other textured surfaces, before moving into cardboard constructions made with the same broad, flat planes of texture. These included collage, low relief construction and sculpture. While Analytical Cubism was generally a painting movement, Synthetic Cubism incorporated many new approaches to making art. Synthetic Cubists Made Sculptures Raymond Duchamp-Villon, Horse, 1914, image courtesy of the Art Institute of Chicago They began taking earlier Cubist ideas and expanding them in new directions, experimenting with different materials, surfaces, colors and patterns. Along with Picasso and Braque these include Juan Gris, Albert Gleizes, Jean Metzinger, Fernand Leger, Robert and Sonia Delaunay, Marcel Duchamp, Alexander Archipenko, Raymond Duchamp-Villon, Jacques Lipchitz, Natalia Goncharova, Mikhail Larionov and even Diego Rivera. While the first phase of Analytical Cubism was essentially founded by Pablo Picasso and Georges Braque, by 1912 their radical ideas had attracted a wider pool of artists from throughout Europe and beyond. More Artists Were Involved in Synthetic Cubism Juan Gris, Bottle of Rum and Newspaper, 1913-14, image courtesy of Tate Gallery, London This idea that items from the real world could be cut up and stuck into artworks rather than depicted with a brush was entirely new, and it opened up exciting new pathways into making art. The result of pasting real world textures and elements into art was a further flattening of the picture plane, removing the illusion of depth that we see in earlier Cubist art. In fact, Pablo Picasso and Georges Braque – the two leading Cubist pioneers – are often credited with inventing the art of collage (or papier colle) during this phase in their career. The word ‘synthetic’ was a reference to the incorporation of man-made materials such as newspaper, patterned paper and other textured surfaces.
In contrast, by 1912 Cubist artists began incorporating elements of found materials and collage. The first phase of Cubism was generally defined by complex designs, multiple perspective, and muted color schemes.
Synthetic Cubism is a term commonly used by art historians to describe the second phase of the Cubist movement, emerging during and after Analytical Cubism.
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