No matter how remote from appearances the works become, do they nevertheless depend quite clearly on an intense scrutiny of the external world?

Although aesthetically their works do not offer a realistic representation of the world, the intention and concepts inherent provide a closer attitude to reality than previously explored. These objectives stemmed a new radical approach as Picasso and Braque developed a unique conceptual way to evoke reality and vision. In doing so, the pair was still conveying an inquiry of the world as they question the very nature of reality. It was not simply about inspection and representation of space and form but furthermore an evolution of language, a pictorial language that was specified to art. Cubists “…sought a vocabulary which would instead evoke emotion, intuition and idea” as stated by Lipton. This was encapsulated in the period co-founded by Picasso and Braque, known as Analytical Cubism (1908-1912), which is exemplified in Picasso's Girl With A Mandolin and Portrait of Ambroise Vollard (1910) and Braque's Violin and Palette (1909).

Picasso and Braque rejected the idea o

There was never any intention to remove all connection with the physical and material reality but rather a shift away from any `literal description of reality'. Cubism had qualified as a unique vehicle of communication and language through its alternative method of representing the external world. It radically changed the perception of art and reality, as art no longer needed to be merely an imitation of the world around us. This reinforced a major principle of Cubism that representation was one of relativism and not absolutism, implying this was a movement away from and objective to a subjective representation.

f representing an object from a single fixed viewpoint, as they were aware that reality, movement and time could not be captured in a distinct, fixed nature. Cubists sought simultaneity by visually interpreting subjects from multiple viewpoints. This was achieved through the fragmentation and interlocking of form and space. Solid shapes and surrounding space was translated into overlapping geometric arrangements. Continuous outlines and neutral colours were also used to emphasise space and structure as objects were presented from a various angles. As Berger further comments, “Cubism is…the interaction between the unambiguous signs made on the surface of the picture and the changing reality which they stand in for.” Although primarily concerned with the art of form, Cubism was still secondarily an art of representation.

During this time, Picasso was producing the Portrait of Ambroise Vollard. The dark palette of colours can also be observed in this painting, as this was a common practice for both Picasso and Braque. The nocturnal mood seems intended as a challenge to seeing in conventional terms, as if in these dim and dark paintings Braque and Picasso invited viewers to strain their eyes in a difficult new way of looking. Yet as spectators intensively visually search the painting, they are given segments of recognizable parts in order for them to recreate and imagine the representation in its entirety. The face of Vollard is the prominent feature of this portrait as it is centred and draws upon the most light. Even with the overlapping and jigsaw effect, the expression of Vollard with the downward cast eyes, nose and tight-lipped app

Some topics in this essay:
Picasso Braque, Violin Palette, Braque Picasso, Mandolin Picasso, , Girl Mandolin, Hope Picasso, Ambroise Vollard, picasso braque, girl mandolin, Analytical Cubism, external world, violin palette, form light, ambroise vollard, Portrait Ambroise, portrait ambroise, portrait ambroise vollard,