Analytic Cubism, a pivotal phase in modern art co-developed by Pablo Picasso and Georges Braque between 1909 and 1912, marked a significant departure from traditional painting techniques and perspectives. Unlike its later counterpart, Synthetic Cubism, Analytic Cubism sought to deconstruct the natural world into basic geometric shapes such as cylinders, spheres, and cones, emphasizing form over color. This period favored a limited palette, often resorting to monochromatic shades of grey, blue, and ochre, focusing instead on the complex interplay of shapes and forms on a two-dimensional plane (Pablo Picasso).
The essence of Analytic Cubism lies in its attempt to offer a more comprehensive view of reality, transcending the limitations of Renaissance perspective by presenting multiple viewpoints of an object simultaneously. This approach broke with the illusionistic tradition of Western art, aiming to represent objects as perceived by the mind rather than seen by the eye. Picasso and Braque's collaboration during this period was intensely synergistic, producing works that shared stylistic similarities and exploring new dimensions of visual language within the canvas (Encyclopedia Britannica).
Incorporating elements from the real world as well as from various artistic movements, Analytic Cubism was heavily influenced by Paul Cézanne’s post-impressionist works, African art, and the artists' mutual desire to move beyond the naturalism that had dominated Western art. This radical shift was exemplified in paintings like "Ma Jolie" by Picasso and "The Portuguese" by Braque, where traditional forms were fragmented and reassembled in abstract compositions (Pablo Picasso) (Khan Academy).
While Analytic Cubism pushed the boundaries of art towards abstraction, Picasso and Braque remained grounded in the physical world, incorporating both abstract and representational elements. This blending of forms led to the innovative use of collage techniques and further experimentation with the picture plane, ultimately paving the way for the subsequent development of Synthetic Cubism (Encyclopedia Britannica).