One of the regular motifs in Cubism was Harlequin, the comic character from the Italian Commedia dell'arte. Other cultural aspects of modern society also had a great influence on Cubism, including theater and opera. Furthermore, many Cubists were acquainted with writers and poets of their time. Since most notable authors of Cubist paintings were well educated, literature was an essential well of inspiration. Picasso had a specific interest in music as many of Picasso paintings combined instruments with the shapes of feminine forms.
The second of the two filled his entire Parisian studio with musical instruments which served as an endless source of inspiration. Music is a common motif, particularly in the works made by Picasso and Braque. Additionally, Cubist paintings featured some modern subjects and themes, some of which were quite repetitive. Artists would take such themes and put them through a process of characteristic abstraction, but most often maintained identifiable clues to a realistic figure, whether it be a woman, a violin or something else. Wishing to prove that their new approach was superior to any other earlier method, Cubists regularly painted traditional subjects like nude figures, landscapes and still lifes. Since Cubist paintings were intended to confront traditional norms of art, it comes as no surprise that their authors often tackled similar themes in their avant-garde work. As evidenced by some of our examples below, the second phase of Cubist paintings was a lot more aware of current events, particularly the horrors of World War I. The Synthetic style kept the various angles, open forms and flowing of space between and through subjects, but it also explored the use of non-art materials as abstract signs. Besides initiating the Synthetic Cubism stage, this piece was also the first collage artwork of the movement. The second main phase of Cubist paintings emerged in 1912 when Picasso glued a piece of oilcloth to a small canvas and named it Still-life with Chair-caning. At the heart of this early stage of the movement was reduction and fracturing of objects that was followed by a realignment of those newly formed elements within a shallow space. Initial works of Braque and Picasso comprise what art historians usually refer to as the first phase of Cubism known as Analytic Cubism. Insisting that a subject must be displayed from several angles at once by utilizing geometrical components was the biggest game-changer the art world had seen so far. The creative artist duo of Picasso and Braque established a visual language of geometric planes and compressed space that rejected the conventions of illusionism and representation. Through their vocabulary of cubes, cones, spheres and cylinders, Cubist paintings abandoned perspective which had been used to depict pictorial space since the Renaissance. Representatives of this movement, namely Picasso and Georges Braque, aimed to revitalize the tired standards of art which they believed had run their course. Cubist paintings introduced the most revolutionary chapter of art history, instigating a genuine cultural awakening. Heralded as the most innovative and instrumental avant-garde movement, Cubism aggressively confronted Western core conceptions of pictorial representation.
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