Top 100 - Cubism
Cubism: 100 famous paintings that look from all sides
Juan Gris, Metzinger, Gleizes, Delaunay, Léger and their accomplices: a painting which dismantles perspective, then brings it up with very self-confident angles.
Cubism begins when painting stops pretending that an object has only one interesting profile. Here, a guitar can have multiple points of view, a bottle can become ambitious, and a table sometimes seems to understand geometry better than we do.
A revolution of the gaze
Reality, dismantled methodically
Cubism overturns an ancient habit: painting the world as if the eye remained fixed, polished, seated in the center of the room. Artists prefer to show several angles at once, cut out volumes, recompose plans and transform the subject into construction. The result may seem confusing at first glance, but it is often the beginning of the pleasure: the painting asks the visitor to participate, which is more stimulating than a wall that only nods.
Cubism does not break the world for pleasure: it turns it, observes it and moves it up until each side finally has its say.Switch to images
Classification in images
Works that establish the new perspective and place angles in the front row.
#1
Portrait of Pablo Picasso
In "Portrait of Pablo Picasso", Juan Gris gives the gaze a clear entry point; the framing tightens what really deserves attention. For "Portrait of Pablo Picasso" by Juan Gris, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Portrait of Pablo Picasso" by Juan Gris, the figure brings another type of presence: posture, costume, face or gesture give the painting a human tension that the landscape alone could not produce. In "Portrait of Pablo Picasso" by Juan Gris, the figure brings another type of presence: posture, costume, face or gesture give the painting a human tension that the landscape alone could not produce. The interest of "Portrait of Pablo Picasso" by Juan Gris, the figure brings another type of presence: posture, costume, face or gesture give the painting a human tension that the landscape alone could not produce. The interest of "Portrait of Pablo Picasso" by Juan Gris, the figure brings another type of presence: posture, costume, face or gesture give the painting a human tension that the landscape alone could not produce. The interest of "Portrait of Pablo Picasso" by Juan Gris, the figure brings another type of presence: posture, costume, face or gesture give the painting a human tension that the landscape alone could not produce. The interest of "Portrait of Pablo Picasso"
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#2
The Man in the Hammock
In "The Man in the Hammock", Albert Gleizes constructs a scene with an immediately sensitive character; the details delay reading just enough to make it interesting. We can love "The Man in the Hammock" for its calm or its brilliance, but its outfit comes mainly from the way in which Albert Gleizes organizes the look.
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#3
Naked in the forest
In "Nudes dans la forêt", Fernand Léger retains a moment whose painting extends its duration; the diagonals give the subject an energy that does not hold in place. For "Nus dans la forêt" by Fernand Léger, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Nus dans la forêt" by Fernand Léger, this plant subject avoids the vague landscape: enough structure to guide the eye, enough breathing to let the scene live. In "Nus dans la forêt" by Fernand Léger, this plant subject avoids the vague landscape: the trees and rocks give a framework to the painting, with enough character to hold without much speech. In "Nus dans la forêt" by Fernand Léger, this plant subject avoids the vague landscape: the trees and rocks give a framework to the painting, with enough character to hold without much speech. "Nus dans la forêt" by Fernand Léger, this plant subject avoids the vague landscape: the trees and rocks give a framework to the painting, with enough character to hold without much speech. "Nus dans la forêt" by Fernand Léger, this plant subject avoids the vague landscape: the trees and rocks give a framework to the painting, with enough character to hold without much speech. "Nus dans la forêt" by Fernand Léger, this plant subject avoids
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#4
The Eiffel Tower
In "The Eiffel Tower", Robert Delaunay gives everyday life a density that he had not asked for; the details delay reading just enough to make it interesting. In "The Eiffel Tower" by Robert Delaunay, this constructed subject allows us to measure Robert Delaunay's hand: we must hold the lines, the light and the atmosphere together without transforming the place into a simple document. We can love "The Eiffel Tower" for its calm or its brilliance, but its hold comes mainly from the way in which Robert Delaunay organizes the look.
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#5
The Conquest of the Air
In "The Conquest of the Air", Roger de La Fresnaye chooses a precise situation and pushes it beyond the anecdote; the tone ratios establish a depth without noise. For "The Conquest of the Air" by Roger de La Fresnaye, the eye finds a precise reason to slow down: a line, an edge, a profile or a contrast which gives the painting its little authority. In "The Conquest of the Air" by Roger de La Fresnaye, the eye finds a simple but useful reference point: a line, a bank, a profile or a contrast which gives the painting its little authority. In "The Conquest of the Air" by Roger de La Fresnaye, this painting provides a simple but useful reference point: a line, a bank, a profile or a contrast which gives the painting its little authority. In "The Conquest of the Air" by Roger de La Fresnaye, this painting provides a simple but useful reference point: a line, a bank, a profile or a contrast which gives the painting its little authority. In "The Conquest of the Air" by Roger de La Fresnaye, this painting provides a simple but useful reference point: a line, a bank, a profile or a contrast which gives the painting its little authority. In "The Conquest of the Air" by Roger de La Fresnaye, this painting provides a simple but useful reference point: a line, a bank, a profile
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#6
Still life with checkered tablecloth
In "Still Life with a Checked Tablecloth", Juan Gris transforms pose or gesture into real architecture; the details delay reading just enough to make it interesting. The interest of "Still Life with a Checked Tablecloth" by Juan Gris is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#7
The Bathers
In "Les Baigneuses", Albert Gleizes leads the eye through a series of perfectly visible decisions; the tonal relationships establish a depth without noise. For "Les Baigneuses" by Albert Gleizes, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Les Baigneuses" by Albert Gleizes, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of leading the eye without making large reels. In "Les Baigneuses" by Albert Gleizes, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of leading the eye without making large reels. "Les Baigneuses" by Albert Gleizes, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of leading the eye without making large reels. "Les Baigneuses" by Albert Gleizes, this painting brings a simple but useful reference point: a clear pattern, a clean atmosphere and a way of leading the eye without making large reels. "Les Baigneuses" by Albert Gleizes, this painting brings a simple but useful reference point: a clear pattern, a clean atmosphere and a way of leading the eye without making large reels. "Les Baigneuses" by Albert Gle
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#8
Contrasts of forms
In "Contrasts of Forms", Fernand Léger transforms pose or gesture into true architecture; the gaze circulates between structure, material and small expressive gaps. The interest of "Contrasts of Forms" in Fernand Léger lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#9
Simultaneous windows n°2
In "Simultaneous Windows n°2", Robert Delaunay avoids the interchangeable image and asserts his own tone; the contrast organizes the scene even before we read the details. For "Simultaneous Windows n°2" by Robert Delaunay, the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Simultaneous Windows n°2" by Robert Delaunay, this painting provides a simple but useful reference: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Simultaneous Windows n°2" by Robert Delaunay, this painting provides a simple but useful reference: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Simultaneous Windows n°2" by Robert Delaunay, this painting provides a simple but useful reference point: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Simultaneous Windows n°2" by Robert Delaunay, this painting provides a simple but useful reference point: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Simultaneous Windows n°2" by Robert Delaun
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#10
Artillery
In "Artillerie", Roger de La Fresnaye transforms pose or gesture into real architecture; secondary gestures tell almost as much as the main subject. For "Artillerie" by Roger de La Fresnaye, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too much looking. In "Artillerie" by Roger de La Fresnaye, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Artillerie" by Roger de La Fresnaye, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Artillerie" by Roger de La Fresnaye, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Artillerie" by Roger de La Fresnaye, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. The interest of "Artillerie" by Roger de La Fresnaye, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. The interest of "Artillerie" by Roger de La Fresn
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#11
Violin
In "Violin", Juan Gris seeks a presence that resists the simple title; the secondary gestures tell almost as much as the main subject. For "Violin" by Juan Gris, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Violin" by Juan Gris, the painting avoids anonymity because it carries a recognizable subject; the light, framing and material then give it its own personality. We can love "Violin" for its calm or brilliance, but its hold then gives it its own personality. We can love "Violin" for its calm or brilliance, but its hold then gives it its own personality. We can love "Violin" for its calm or brilliance, but its hold then gives it its own personality.
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#12
Football Players
In "The Football Players", Albert Gleizes constructs a scene with an immediately sensitive character; the pictorial material gives weight to the quietest areas. For Albert Gleizes' "The Football Players", the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In Albert Gleizes' "The Football Players", the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In Albert Gleizes' "The Football Players", the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. We can like "The Football Players" for its calm or its brilliance, but its outfit comes mainly from the way in which Albert Gleizes organizes the look.
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#13
The Woman in Blue
In "The Woman in Blue", Fernand Léger gives everyday life a density that he had not asked for; the color then adjusts the temperature of the whole. For "The Woman in Blue" by Fernand Léger, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "The Woman in Blue" by Fernand Léger, the human subject allows Fernand Léger to be followed as close as possible to a presence that looks, reads, waits or stays at a distance. In "The Woman in Blue" by Fernand Léger, the human subject allows us to follow Fernand Léger as close as possible to a presence that looks, reads, waits or stays at a distance. In "The Woman in Blue" by Fernand Léger, the human subject allows us to follow Fernand Léger as close as possible to a presence that looks, reads, waits or stays at a distance. We can like "The Woman in Blue" for its calm or its brilliance, but its outfit comes above all from the way in which Fernand Léger organizes the look.
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#14
The City of Paris
In "The City of Paris", Robert Delaunay organizes the motif without reducing it to a pretext; the light distributes the roles with quiet authority. For "The City of Paris" by Robert Delaunay, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. "The City of Paris" by Robert Delaunay, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. "The City of Paris" by Robert Delaunay, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. "The City of Paris" by Robert Delaunay, the eye finds its own mood on the journey; the canvas breathes, but it did not come just to open the window.
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#15
Married life
In "Married Life", Roger de La Fresnaye puts the subject to the test of a very personal framing; the contrast organizes the scene even before we read the details. In "Married Life" by Roger de La Fresnaye, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. The interest of "Married Life" by Roger de La Fresnaye lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#16
Dancer at the cafe
In "Danseuse au café", Jean Metzinger puts the subject to the test of a very personal framing; the tonal relationships establish a depth without noise. For "Danseuse au café" by Jean Metzinger, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. The interest of "Danseuse au café" by Jean Metzinger is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#17
Portrait of Jacques Nayral
In "Portrait of Jacques Nayral", Albert Gleizes establishes a discreet tension from the first glance; the color then adjusts the temperature of the whole. For "Portrait of Jacques Nayral" by Albert Gleizes, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Portrait of Jacques Nayral" by Albert Gleizes, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too eager glances. In "Portrait of Jacques Nayral" by Albert Gleizes, the human subject allows Albert Gleizes to be followed as close as possible to a presence that looks, reads, waits or stays at a distance. In "Portrait of Jacques Nayral" by Albert Gleizes, the human subject allows us to follow Albert Gleizes as close as possible to a presence that looks, reads, waits or stays at a distance. In "Portrait of Jacques Nayral" by Albert Gleizes, the human subject allows us to follow Albert Gleizes as close as possible to a presence that looks, reads, waits or stays at a distance. In "Portrait of Jacques Nayral" by Albert Gleizes, the human subject allows us to follow Albert Gleizes as close as possible to a presence
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#18
Windows open simultaneously I part 3rd pattern
In "Windows open simultaneously Part 3 motif", Robert Delaunay retains a moment whose painting extends its duration; the secondary gestures tell almost as much as the main subject. For "Windows open simultaneously Part 3 motif" by Robert Delaunay, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Windows open simultaneously Part 3 motif" by Robert Delaunay, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Windows open simultaneously Part 3 motif" by Robert Delaunay, the painting comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Windows open simultaneously Part 3 motif" by Robert Delaunay, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. "Windows open simultaneously. The first part 3rd motif" by Robert Delaunay thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
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#19
Man sitting
In "Sitting Man", Roger de La Fresnaye establishes a discreet tension at first glance; the framing tightens what really deserves attention. For "Sitting Man" by Roger de La Fresnaye, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "Sitting Man" by Roger de La Fresnaye, the painting avoids anonymity because it bears a recognizable subject; the light, framing and material then give it its own personality. We can like "Sitting Man" for its calm or brilliance, but its outfit comes mainly from the way in which Roger de La Fresnaye organizes the look.
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#20
Still life
In "Still Life", Juan Gris seeks a presence that resists the simple title; the pictorial material gives weight to the quietest areas. For "Still Life" by Juan Gris, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "Still Life" by Juan Gris, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. In "Still Life" by Juan Gris, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. We can like "Still Life" for its calm or its brilliance, but its hold comes mainly from the way in which Juan Gris organizes the look.
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#21
The Woman with Phloxes
In "The Woman with Phloxes", Albert Gleizes chooses a specific situation and pushes it beyond the anecdote; the point of view transforms a familiar observation into a lasting surprise. For "The Woman with Phloxes" by Albert Gleizes, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "The Woman with Phloxes" by Albert Gleizes, the figure brings another type of presence: a line, a bank, a profile or a contrast which gives the painting its little authority. In "The Woman with Phloxes" by Albert Gleizes, the figure brings another type of presence: a line, a bank, a profile or a contrast which gives the painting its little authority. In "The Woman with Phloxes" by Albert Gleizes, the figure brings another type of presence: a line, a bank, a profile or a contrast which gives the painting its little authority. In "The Woman with Phloxes" by Albert Gleizes, the figure brings another type of presence: a line, a bank, a profile or a contrast which gives the painting its little authority. In "The Woman with Phloxes" by Albert Gleizes, the figure brings another type of presence: posture, costume, face or gesture give the painting a human tension that the landscape alone could not produce. "The Woman
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#22
Smokers
In "Les Fumeurs", Fernand Léger gives everyday life a density that he had not asked for; the contours alternate precision and freedom with a beautiful confidence. For "Les Fumeurs" by Fernand Léger, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too eager glances. We can love "Les Fumeurs" for its calm or its brilliance, but its hold comes above all from the way in which Fernand Léger organizes the look.
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#23
Tribute to Blériot
In "Homage to Blériot", Robert Delaunay starts from a clearly identified subject; the tonal relationships establish a depth without noise. For "Homage to Blériot" by Robert Delaunay, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "Homage to Blériot" by Robert Delaunay, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "Homage to Blériot" by Robert Delaunay, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "Homage to Blériot" by Robert Delaunay, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "Homage to Blériot" by Robert Delaunay, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "Homage to Blériot" by Robert Delaunay brings its own mood to the journey; the canvas breathes, but it did not come just
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#24
July 14
In "July 14", Roger de La Fresnaye organizes the motif without reducing it to a pretext; the details delay reading just enough to make it interesting. For "July 14" by Roger de La Fresnaye, strength comes less from a stroke of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "July 14" by Roger de La Fresnaye, the painting brings to the ranking a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "July 14" by Roger de La Fresnaye, the painting brings to the ranking a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "July 14" by Roger de La Fresnaye, the painting brings to the ranking a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. "July 14" by Roger de La Fresnaye, the painting brings to the ranking a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. "July 14" by Roger de La Fresnaye, the painting brings to the ranking a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. "July 14" by Roger de La Fresnaye, the painting brings a distinct
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#25
Breakfast
In "The Breakfast", Juan Gris transforms a recognizable motif into a gaze experience; the details delay reading just enough to make it interesting. For "Le Petit Déjeuner" by Juan Gris, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. "Le Petit Déjeuner" by Juan Gris, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. "Le Petit Déjeuner" by Juan Gris thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
Discover →Portraits, towns and still lifes learn to live with several points of view.
#26
Udnie
In "Udnie", Francis Picabia gives the gaze a clear entry point; the tone ratios establish a depth without noise. In "Udnie" by Francis Picabia, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. The interest of "Udnie" in Francis Picabia lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#27
Harvest Unpicking
In "The Unpicking of the Harvests", Albert Gleizes moves a concrete subject towards a more ambiguous image; the masses give the composition its internal rhythm. For "Le Dépiquage des Moissons" by Albert Gleizes, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Le Dépiquage des Moissons" by Albert Gleizes, here, reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. The interest of "Le Dépiquage des Moissons" by Albert Gleizes, here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. The interest of "Le Dépiquage des Moissons" by Albert Gleizes, here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. The interest of "Le Dépiquage des Moissons" by Albert Gleizes is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#28
The Cardiff Team
In "The Cardiff Team", Robert Delaunay leads the eye through a series of perfectly visible decisions; the gaze circulates between structure, material and small expressive gaps. For Robert Delaunay's "The Cardiff Team", the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In Robert Delaunay's "The Cardiff Team", the painting brings a distinct subject to the ranking, with enough presence and light to avoid the impression of a simple decorative variant. In Robert Delaunay's "The Cardiff Team", the painting brings a distinct subject to the ranking, with enough presence and light to avoid the impression of a simple decorative variant. In Robert Delaunay's "The Cardiff Team", the painting brings a distinct subject to the ranking, with enough presence and light to avoid the impression of a simple decorative variant. In Robert Delaunay's "The Cardiff Team", the painting brings a distinct subject to the ranking, with enough presence and light to avoid the impression of a simple decorative variant. Robert Delaunay's "Cardiff Team", the painting brings a distinct subject to the ranking, with enough presence and light to avoid the impression of a simple decorative variant. Robert Delaunay's "Cardiff Team", the painting brings a distinct subject to the ranking, with enough presence and light to avoid
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#29
Landscape with a village, the hills beyond Meulan
In "Landscape with a village, the hills beyond Meulan", Roger de La Fresnaye gives the gaze a clear entry point; the painted surface retains a tension that the subject alone would not explain. In "Landscape with a village, the hills beyond Meulan" by Roger de La Fresnaye, the architectural landmark gives the painting a backbone: monument, bridge, village or house stabilize the composition and prevent the effect of vague mist. The interest of "Landscape with a village, the hills beyond Meulan" by Roger de La Fresnaye, the architectural landmark gives the painting a backbone: monument, bridge, village or house stabilize the composition and prevent the effect of vague mist. The interest of "Landscape with a village, the hills beyond Meulan" by Roger de La Fresnaye is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#30
Fantomas
In "Fantomas", Juan Gris avoids the interchangeable image and asserts a tone of his own; the diagonals give the subject an energy that does not hold in place. For "Fantomas" by Juan Gris, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Fantomas" by Juan Gris, here, the reading begins with the subject, then moves towards the light and general balance; this is often where the painting gains its character. In "Fantomas" by Juan Gris, here, the reading begins with the subject, then moves towards the light and general balance; this is often where the painting gains its character. "Fantomas" by Juan Gris, here, the reading begins with the subject, then moves towards the light and general balance; this is often where the painting gains its character. "Fantomas" by Juan Gris, here, the reading begins with the subject, then moves towards the light and general balance; this is often where the painting gains its character. "Fantomas" by Juan Gris, here, the reading begins with the subject, then moves towards the light and general balance; this is often where the painting gains its character. "Fantomas" by Juan Gris thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
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#31
The Hunt
In "The Hunt", Albert Gleizes transforms pose or gesture into true architecture; the gaze circulates between structure, material and small expressive gaps. For "The Hunt" by Albert Gleizes, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. The interest of "The Hunt" by Albert Gleizes lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#32
The city
In "La Ville", Fernand Léger gives everyday life a density that he had not asked for; the masses give the composition its internal rhythm. For "La Ville" by Fernand Léger, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too much-squeezed glances. We can love "La Ville" for its calm or its brilliance, but its hold comes above all from the way in which Fernand Léger organizes the look.
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#33
Circular shapes
In "Circular Forms", Robert Delaunay constructs a scene with an immediately sensitive character; the framing tightens what really deserves attention. For "Circular Forms" by Robert Delaunay, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. We can like "Circular Forms" for its calm or its brilliance, but its hold comes mainly from the way in which Robert Delaunay organizes the gaze.
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#34
The table
In "La Table", Louis Marcoussis starts from a clearly identified subject; the color then regulates the temperature of the whole. For "La Table" by Louis Marcoussis, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. "La Table" by Louis Marcoussis brings its own mood to the journey; the canvas breathes, but it did not come just to open the window.
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#35
Mujer con abanico (Woman with a fan)
In "Mujer con abanico (Woman with a Fan)", Maria Blanchard leads the eye through a series of perfectly visible decisions; the details delay reading just enough to make it interesting. For "Mujer con abanico (Woman with a Fan)" by Maria Blanchard, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Mujer con abanico (Woman with a Fan)" by Maria Blanchard, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Mujer con abanico (Woman with a Fan)" by Maria Blanchard, the figure comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Mujer con abanico (Woman with a Fan)" by Maria Blanchard, the figure comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Mujer con abanico (Woman with a Fan)" by Maria Blanchard, the figure comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Mujer con abanico (Woman with a fan)" by Maria Blanchard brings her own mood to the journey; the canvas breathes, but it did not come just to open the window.
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#36
Composicion cubista (Cubist composition)
In "Composicion cubista (Cubist Composition)", Maria Blanchard seeks a presence that resists the simple title; the details delay reading just enough to make it interesting. For "Composicion cubista (Cubist Composition)" by Maria Blanchard, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "Composicion cubista (Cubist Composition)" by Maria Blanchard, the painting does not only seek to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "Composicion cubista (Cubist Composition)" by Maria Blanchard, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. We can like "Composicion cubista (Cubist Composition) "for her calm or her brilliance, but her outfit comes mainly from the way Maria Blanchard organizes the look.
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#37
Abundance
In "L'Abondance", Henri Le Fauconnier starts from a clearly identified subject; the voids count as much as the figures and avoid any heaviness. For "L'Abondance" by Henri Le Fauconnier, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. Henri Le Fauconnier's "L'Abondance", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. Henri Le Fauconnier's "L'Abondance", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. Henri Le Fauconnier's "L'Abondance", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. Henri Le Fauconnier's "L'Abondance", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. Henri Le Fauconnier's "L'Abondance", the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. Henri Le Fauconnier's "L'Abond
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#38
The Montagnards attacked by bears
In "The Montagnards attacked by bears", Henri Le Fauconnier gives everyday life a density that he had not asked for; the pictorial material gives weight to the quietest areas. For "The Montagnards attacked by bears" by Henri Le Fauconnier, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "The Montagnards attacked by bears" by Henri Le Fauconnier, this work is worth as much for its precise motif as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the route. We can love "The Montagnards attacked by bears" for its calm or its brilliance, but its outfit comes mainly from the way in which Henri Le Fauconnier organizes the gaze.
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#39
The traveler
In "The Traveler", Lyubov Popova constructs a scene with an immediately sensitive character; the masses give the composition its internal rhythm. In "The Traveler" by Lyubov Popova, the painting avoids anonymity because it carries a recognizable subject; the light, framing and material then give it its own personality. We can love "The Traveler" for its calm or brilliance, but its outfit comes mainly from the way in which Lyubov Popova organizes the look.
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#40
Venice
In "Venice", Alexandra Exter makes the motif a visual event rather than just a label; the point of view transforms a familiar observation into a lasting surprise. For "Venice" by Alexandra Exter, strength comes less from a stroke of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Venice" by Alexandra Exter, we are here on the side of travel: architecture, relief or Mediterranean memory give the painting a clear geographical landmark, not just a friendly atmosphere. "Venice" by Alexandra Exter, we are here on the side of travel: architecture, relief or Mediterranean souvenir give the painting a clear geographical landmark, not just a friendly atmosphere. Alexandra Exter's "Venice", we are here on the side of travel: architecture, relief or Mediterranean souvenir give the painting a clear geographical landmark, not just a friendly atmosphere. Alexandra Exter's "Venice", we are here on the side of travel: architecture, relief or Mediterranean souvenir give the painting a clear geographical landmark, not just a friendly atmosphere. Alexandra Exter's "Venice", we are here on the side of travel: architecture, relief or Mediterranean souvenir give the painting a clear geographical landmark, not just a friendly atmosphere. Alexandra Exter's "Venice", we are here on the side of travel: architecture, relief or Mediterranean souvenir give the painting a clear geographical landmark, not just a
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#41
Florence
In "Florence", Alexandra Exter puts the subject to the test of a very personal framing; the diagonals give the subject an energy that does not hold in place. For "Florence" by Alexandra Exter, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "Florence" by Alexandra Exter, we are here on the side of travel: architecture, relief or Mediterranean souvenir give the painting a clear geographical landmark, not just a friendly atmosphere. The interest of "Florence" at Alexandra Exter, we are here on the side of travel: architecture, relief or Mediterranean souvenir give the painting a clear geographical landmark, not just a friendly atmosphere. The interest of "Florence" at Alexandra Exter, we are here on the side of travel: architecture, relief or Mediterranean souvenir give the painting a clear geographical landmark, not just a friendly atmosphere. The interest of "Florence" at Alexandra Exter, we are here on the side of travel: architecture, relief or Mediterranean souvenir give the painting a clear geographical landmark, not just a friendly atmosphere. The interest of "Florence" at Alexandra Exter, we are here on the side of travel: architecture, relief or Mediterranean souvenir give the painting a clear geographical landmark, not just a friendly atmosphere. The interest of "Florence" at Alexandra Exter, we are here on the side of travel:
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#42
The sailor
In "The Sailor", Vladimir Tatlin starts from a clearly identified subject; the palette brings the shots together without flattening the scene. For "The Sailor" by Vladimir Tatlin, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "The Sailor" by Vladimir Tatlin, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "The Sailor" by Vladimir Tatlin, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "The Sailor" by Vladimir Tatlin, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "The Sailor" by Vladimir Tatlin, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "The Sailor" by Vladimir Tatlin brings his own mood to the journey; the canvas breathes, but it did not come just to open the window.
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#43
Gelmeroda IV
In "Gelmeroda IV", Lyonel Feininger transforms a recognizable pattern into a gaze experience; color then adjusts the temperature of the whole. For "Gelmeroda IV" by Lyonel Feininger, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Gelmeroda IV" by Lyonel Feininger, this work is worth less for its precise pattern than for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the course. In "Gelmeroda IV" by Lyonel Feininger, this work is as valuable for its precise pattern as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the course. In "Gelmeroda IV" by Lyonel Feininger, this work is as valuable for its precise pattern as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the course. In "Gelmeroda IV" by Lyonel Feininger, this work is as valuable for its precise pattern as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the course. "Gelmeroda IV" by Lyonel Feininger, this work is as valuable for its precise pattern as for its light and its atmosphere; it is not there to fill a box
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#44
The Port Bar
In "Le Bar du port", Louis Marcoussis seeks a presence that resists the simple title; the painted surface retains a tension that the subject alone would not explain. In "Le Bar du port" by Louis Marcoussis, the architectural landmark gives the painting a backbone: monument, bridge, village or house stabilize the composition and prevent the effect of vague mist. We can like "Le Bar du port" for its calm or its brilliance, but its hold comes mainly from the way in which Louis Marcoussis organizes the look.
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#45
Harlequin on guitar
In "Harlequin on Guitar", Juan Gris organizes the motif without reducing it to a pretext; the details delay reading just enough to make it interesting. For "Harlequin on Guitar" by Juan Gris, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Harlequin on Guitar" by Juan Gris, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "Harlequin on Guitar" by Juan Gris, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "Harlequin on Guitar" by Juan Gris, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "Harlequin on Guitar" by Juan Gris, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "Harlequin on Guitar" by Juan Gris, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. "Harlequin on Guitar" by Juan Gris, the title acts as a little starting point
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#46
Woman on guitar
In "Woman on Guitar", Maria Blanchard makes the motif a visual event rather than a simple label; the painted surface retains a tension that the subject alone would not explain. For "Woman on Guitar" by Maria Blanchard, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Woman on Guitar" by Maria Blanchard, the human subject finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Woman on Guitar" by Maria Blanchard, the human subject allows Maria Blanchard to be followed as close as possible to a presence which looks, reads, waits or stays at a distance. In "Woman on Guitar" by Maria Blanchard, the human subject allows María Blanchard to follow as close as possible to a presence which looks, reads, waits or stays at a distance. In "Woman on Guitar" by Maria Blanchard, the human subject allows us to follow Maria Blanchard as close as possible to a presence which looks, reads, waits or stays at a distance. In "Woman on Guitar" by Maria Blanchard, the human subject allows us to follow Maria Blanchard as close as possible to a presence which looks, reads, waits or stays at a distance. In "Woman on Guitar" by Maria Blanchard, the human subject allows us
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#47
Edtaonisl (ecclesiastic)
In "Edtaonisl (ecclesiastical)", Francis Picabia transforms a recognizable motif into a gaze experience; the point of view transforms a familiar observation into a lasting surprise. For "Edtaonisl (ecclesiastical)" by Francis Picabia, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Edtaonisl (ecclesiastical)" by Francis Picabia, this work is worth its precise motif as much as its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. In "Edtaonisl (ecclesiastical)" by Francis Picabia, this work is as valuable for its precise motif as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. In "Edtaonisl (ecclesiastical)" by Francis Picabia, this work is as valuable for its precise motif as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. In "Edtaonisl (ecclesiastical)" by Francis Picabia, this work is as valuable for its precise motif as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. In "Ed
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#48
Pictorial architectonics (black, red, gray)
In "Pictorial Architectonics (black, red, gray)", Lyubov Popova moves a concrete subject towards a more ambiguous image; voids count as much as figures and avoid any heaviness. For "Pictorial Architectonics (black, red, gray)" by Lyubov Popova, the painting does not only seek to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. The interest of "Pictorial Architectonics (black, red, gray)" by Lyubov Popova, the painting does not only seek to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. The interest of "Pictorial Architectonics (black, red, gray)" by Lyubov Popova, the painting does not only seek to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. The interest of "Pictorial Architectonics (black, red, gray)" by Lyubov Popova is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#49
The city at night
In "The City at Night", Alexandra Exter leads the eye through a series of perfectly visible decisions; the point of view transforms a familiar observation into a lasting surprise. For "The City at Night" by Alexandra Exter, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "The City at Night" by Alexandra Exter, the light serves as a main reference point: it transforms a simple subject into a long-term experience, as if the painting kept the exact time in its pocket. In "The City at Night" by Alexandra Exter, the light serves as a main reference point: it transforms a simple subject into a long-term experience, as if the painting kept the exact time in its pocket. In "The City at Night" by Alexandra Exter, the light serves as a main reference point: it transforms a simple subject into a long-term experience, as if the painting kept the exact time in its pocket. In "The City at Night" by Alexandra Exter, the light serves as a main reference point: it transforms a simple subject into a long-term experience, as if the painting kept the exact time in its pocket. In "The City at Night" by Alexandra Exter, the light serves as a main reference point: it transforms a simple subject into a long-term experience, as if the painting kept the exact time in its pocket. In "The City at Night" by Alexandra Exter, the light serves as a main
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#50
female model
In "female model", Vladimir Tatlin organizes the motif without reducing it to a pretext; light distributes roles with quiet authority. For "female model" by Vladimir Tatlin, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "female model" by Vladimir Tatlin, the title already gives a concrete reference point for reading the image: enough structure to guide the eye, enough breathing to let the scene live. In "female model" by Vladimir Tatlin, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work.
Discover →Cubist language travels, colors and meets very different temperaments.
#51
Abstraction
In "Abstraction", Juan Gris avoids the interchangeable image and asserts a tone of his own; the masses give the composition its internal rhythm. For "Abstraction" by Juan Gris, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Abstraction" by Juan Gris, this work is valid in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Abstraction" by Juan Gris, this work is valid for its precise motif as much as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. In "Abstraction" by Juan Gris, this work is valid for its precise motif as much as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. "Abstraction" by Juan Gris, this work is valid for its precise motif as much as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. "Abstraction" by Juan Gris, this work is valid for its precise motif as much as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. "Abstraction" by Juan Gris, this work is valid for its precise motif
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#52
Harlequin
In "Harlequin", Juan Gris gives everyday life a density that he had not asked for; the pictorial material gives weight to the quietest areas. For "Harlequin" by Juan Gris, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. We can love "Harlequin" for its calm or its brilliance, but its hold comes mainly from the way in which Juan Gris organizes the gaze.
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#53
Portrait of a philosopher
In "Portrait of a Philosopher", Lyubov Popova leads the eye through a series of perfectly visible decisions; the details delay the reading just enough to make it interesting. For "Portrait of a Philosopher" by Lyubov Popova, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Portrait of a Philosopher" by Lyubov Popova, the human subject allows Liubov Popova to be followed as close as possible to a presence that looks, reads, waits or stays at a distance. In "Portrait of a Philosopher" by Lyubov Popova, the human subject allows you to follow Lyubov Popova as close as possible to a presence that looks, reads, waits or stays at a distance. In "Portrait of a Philosopher" by Lyubov Popova, the human subject allows you to follow Lyubov Popova as close as possible to a presence that looks, reads, waits or stays at a distance. In "Portrait of a Philosopher" by Lyubov Popova, the human subject allows you to follow Lyubov Popova as close as possible to a presence that looks, reads, waits or stays at a distance. In "Portrait of a Philosopher" by Lyubov Popova, the human subject allows you to follow Lyubov Popova as close as possible to a presence that looks, reads, waits or stays
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#54
Seated harlequin
In "Sitting Harlequin", Juan Gris establishes a discreet tension from the first glance; the gaze circulates between structure, material and small expressive gaps. For "Sitting Harlequin" by Juan Gris, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Sitting Harlequin" by Juan Gris, this work is as valuable for its precise pattern as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. In "Sitting Harlequin" by Juan Gris, this work is as valuable for its precise pattern as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the course. In "Sitting Harlequin" by Juan Gris, this work is as valuable for its precise pattern as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the course. We can love "Sitting Harlequin" for its calm or its brilliance, but its hold comes mainly from the way in which Juan Gris organizes the look.
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#55
Harlequin sitting with a guitar
In "Harlequin Sitting with a Guitar", Juan Gris seeks a presence that resists the simple title; the point of view transforms a familiar observation into a lasting surprise. For "Harlequin Sitting with a Guitar" by Juan Gris, the painting not only seeks to be pretty; it documents a way of seeing, which is significantly stronger than a pretty undocumented mist. In "Harlequin Sitting with a Guitar" by Juan Gris, the painting avoids anonymity because it carries a pretty undocumented mist. In "Harlequin Sitting with a Guitar" by Juan Gris, the painting avoids anonymity because it carries a recognizable subject; the light, framing and material then give it its own personality. We can like "Harlequin Sitting with a Guitar" for its calm or brilliance, but its hold then gives it its own personality. We can like "Harlequin Sitting with a Guitar" for its calm or brilliance, but its hold then gives it its own personality. We can like "Harlequin Sitting with a Guitar" for its calm or brilliance, but its hold then gives it its own personality. We can like "Harlequin Sitting with a Guitar" for its calm or brilliance, but its hold then gives it its own personality. We can like "Harlequin Sitting with a Guitar" for its calm or brilliance, but its hold then gives it its own personality.
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#56
Simultaneous circles
In "Circles Simultaneous", Robert Delaunay establishes a discreet tension from the first glance; the tone ratios establish a depth without noise. For "Circles Simultaneous" by Robert Delaunay, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too much-pressed glances. We can like "Circles simultaneous" for its calm or its brilliance, but its hold comes mainly from the way in which Robert Delaunay organizes the look.
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#57
Harlequin on the violin
In "Harlequin on the Violin", Juan Gris constructs a scene with an immediately sensitive character; secondary gestures tell almost as much as the main subject. For "Harlequin on the Violin" by Juan Gris, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. We can love "Harlequin on the Violin" for its calm or its brilliance, but its hold comes mainly from the way in which Juan Gris organizes the gaze.
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#58
Spanish dancer
In "Spanish Dancer", Albert Gleizes gives the gaze a clear entry point; the drawing maintains the whole while the atmosphere takes some liberties. In "Spanish Dancer" by Albert Gleizes, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. The interest of "Spanish Dancer" by Albert Gleizes is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#59
Simultaneous disk
In "Simultaneous Disc", Robert Delaunay moves a concrete subject towards a more ambiguous image; secondary gestures tell almost as much as the main subject. The interest of "Simultaneous Disc" in Robert Delaunay lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#60
Window with orange curtains
In "Window with Orange Curtains", Robert Delaunay transforms pose or gesture into real architecture; the details delay reading just enough to make it interesting. In "Window with Orange Curtains" by Robert Delaunay, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. The interest of "Window with Orange Curtains" by Robert Delaunay, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. The interest of "Window with Orange Curtains" by Robert Delaunay is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#61
N° 9, Spanish Still Life
In "N° 9, Spanish Still Life", Diego Rivera organizes the motif without reducing it to a pretext; secondary gestures tell almost as much as the main subject. For "N° 9, Spanish Still Life" by Diego Rivera, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "N° 9, Spanish Still Life" by Diego Rivera, this work is worth less for its precise motif than for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the course. In "N° 9, Spanish Still Life" by Diego Rivera, this work is as valuable for its precise motif as for its light and its atmosphere; she is not there to fill a box: she adds an identifiable nuance to the course. In "N° 9, Spanish Still Life" by Diego Rivera, this work is worth for its precise motif as much as for its light and its atmosphere; she is not there to fill a box: she adds an identifiable nuance to the course. "N° 9, Spanish Still Life" by Diego Rivera, this work is worth for its precise motif as much as for its light and its atmosphere; she is not there to fill a box: she adds an identifiable nuance to the course. "N° 9, Spanish Still Life" by Diego Rivera, this work is worth for its precise motif as much as for its light and its
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#62
Window on the city n° 3
In "Window on the city n° 3", Robert Delaunay starts from a clearly identified subject; light distributes roles with quiet authority. For "Window on the city n° 3" by Robert Delaunay, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Window on the city n° 3" by Robert Delaunay, the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. In "Window on the city n° 3" by Robert Delaunay, the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. In "Window on the city n° 3" by Robert Delaunay, the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. in "Window on the city n° 3" by Robert Delaunay, the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. light, framing and material then give it its own personality. "light, framing and material then give it its own personality. "light, framing and material then give it its own personality; light, framing and material then give it its own personality. "light, framing and material then give it its own personality; light, framing and material then give
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#63
Bermuda shorts
In "Bermuda", Albert Gleizes makes the motif a visual event rather than a simple label; the gaze circulates between structure, material and small expressive gaps. For "Bermuda" by Albert Gleizes, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. "Bermuda" by Albert Gleizes brings its own mood to the journey; the canvas breathes, but it did not come just to open the window.
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#64
Brooklyn Bridge
In "Brooklyn Bridge", Albert Gleizes seeks a presence that resists the simple title; the details delay reading just enough to make it interesting. For "Brooklyn Bridge" by Albert Gleizes, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too much-squeezed glances. In "Brooklyn Bridge" by Albert Gleizes, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Brooklyn Bridge" by Albert Gleizes, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Brooklyn Bridge" by Albert Gleizes, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Brooklyn Bridge" by Albert Gleizes, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Brooklyn Bridge" by Albert Gleizes, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Brooklyn Bridge" by Albert Gleizes, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Brook
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#65
Fireplace
In "Chimney", Diego Rivera avoids the interchangeable image and asserts a clean tone; the pictorial material gives weight to the quietest areas. For Diego Rivera's "Chimney", the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. Diego Rivera's "Chimney", the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. Diego Rivera's "Chimney" thus maintains a clear visual identity, without the need for a great rhetorical effect to make it interesting.
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#66
Chal Post
In "Chal Post", Albert Gleizes establishes a discreet tension from the first glance; the framing tightens what really deserves attention. For "Chal Post" by Albert Gleizes, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too eager glances. In "Chal Post" by Albert Gleizes, this work is worth a lot for its precise pattern as much as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. In "Chal Post" by Albert Gleizes, this work is as valuable for its precise pattern as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. We can love "Chal Post" for its calm or its brilliance, but its hold comes mainly from the way in which Albert Gleizes organizes the look.
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#67
Fischstillleben mit Zitrone
In "Fischstillleben mit Zitrone", Henri Le Fauconnier seeks a presence that resists the simple title; the framing tightens what really deserves attention. For "Fischstillleben mit Zitrone" by Henri Le Fauconnier, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too eager glances. In "Fischstillleben mit Zitrone" by Henri Le Fauconnier, on the scale of the image, this singularity already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. In "Fischstillleben mit Zitrone" by Henri Le Fauconnier, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. In "Fischstillleben mit Zitrone" by Henri Le Fauconnier, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. We can like "Fischstillleben mit Zitrone" for its calm or its brilliance, but its hold comes mainly from the way in which Henri Le Fauconnier organizes the gaze.
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#68
The Hunter
In "The Hunter", Henri Le Fauconnier gives everyday life a density that he had not asked for; the secondary gestures tell almost as much as the main subject. In "The Hunter" by Henri Le Fauconnier, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. We can love "The Hunter" for its calm or its brilliance, but its hold comes mainly from the way in which Henri Le Fauconnier organizes the look.
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#69
Checkered still life, rum, bass
In "Checkered still life, rum, bass", Louis Marcoussis transforms pose or gesture into real architecture; the painted surface retains a tension that the subject alone would not explain. For "Checkered still life, rum, bass" by Louis Marcoussis, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "Checkered still life, rum, bass" by Louis Marcoussis, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. The interest of "Checkered still life, rum, bass" by Louis Marcoussis, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. The interest of "Checkered still life, rum, bass" by Louis Marcoussis, the title already gives a concrete reference point for reading the image: which is clearly more solid than a pretty undocumented mist. In "Checkered still life, rum, bass" by Louis Marcoussis, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. Marcoussis is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#70
The Poet Paul Castiaux
In "The Poet Paul Castiaux", Henri Le Fauconnier retains a moment whose painting extends its duration; the masses give the composition its internal rhythm. For "Le Poète Paul Castiaux" by Henri Le Fauconnier, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "Le Poète Paul Castiaux" by Henri Le Fauconnier, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "Le Poète Paul Castiaux" by Henri Le Fauconnier, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "Le Poète Paul Castiaux" by Henri Le Fauconnier thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
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#71
Little schoolgirl
In "Little Schoolgirl", Henri Le Fauconnier makes the motif a visual event rather than a simple label; the painted surface retains a tension that the subject alone would not explain. For "Little Schoolgirl" by Henri Le Fauconnier, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Little Schoolgirl" by Henri Le Fauconnier, this painting provides a simple but useful reference point: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Little Schoolgirl" by Henri Le Fauconnier, this painting provides a simple but useful reference point: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Little Schoolgirl" by Henri Le Fauconnier, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. "Little Schoolgirl" by Henri Le Fauconnier, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. "Little Schoolgirl" by Henri Le Fauconnier, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. "Little Schoolgirl" by Henri Le Fauconnier, this painting brings a simple but useful reference point: a clear pattern, a
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#72
Abstraction
In "Abstraction", Fernand Léger leads the eye through a series of perfectly visible decisions; the palette brings the shots together without flattening the scene. For "Abstraction" by Fernand Léger, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Abstraction" by Fernand Léger, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. In "Abstraction" by Fernand Léger, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. In "Abstraction" by Fernand Léger, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. "Abstraction" by Fernand Léger, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. "Abstraction" by Fernand Léger, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. "Abstraction" by Fernand Léger, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. "Abstraction" by Fernand Léger, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. "Abstraction" by Fernand Léger, the painting
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#73
Pictorial architectonics
In "Pictorial Architectonics", Lyubov Popova transforms a recognizable motif into a viewing experience; the tone ratios establish a depth without noise. For "Pictorial Architectonics" by Lyubov Popova, the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. "Pictorial Architectonics" by Lyubov Popova thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
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#74
Venice Carnival
In "Venice Carnival", Alexandra Exter starts from a clearly identified subject; the contours alternate precision and freedom with a beautiful confidence. For "Venice Carnival" by Alexandra Exter, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Venice Carnival" by Alexandra Exter, the title places the work in Alexandra Exter's large Italian notebook, with a precise location that serves to test the light, the shots and the solidity of the motif. "Venice Carnival" by Alexandra Exter, the title places the work in Alexandra Exter's large Italian notebook, with a precise location that serves to test the light, the shots and the solidity of the motif. Alexandra Exter's "Venice Carnival", the title places the work in Alexandra Exter's large Italian notebook, with a precise location that serves to test the light, the shots and the solidity of the motif. Alexandra Exter's "Venice Carnival", the title places the work in Alexandra Exter's large Italian notebook, with a precise location that serves to test the light, the shots and the solidity of the motif. Alexandra Exter's "Venice Carnival", the title places the work in Alexandra Exter's large Italian notebook, with a precise location that serves to test the light, the shots and the solidity of the motif. Alexandra Exter's "Venice
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#75
Cubist still life
In "Cubist Still Life", Maria Blanchard avoids the interchangeable image and asserts a tone of her own; the framing tightens what really deserves attention. For "Cubist Still Life" by Maria Blanchard, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. "Cubist still life" by Maria Blanchard, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. "Cubist still life" by Maria Blanchard thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
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#76
Still life
In "Still Life", Alexandra Exter starts from a clearly identified subject; the pictorial material gives weight to the quietest areas. For "Still Life" by Alexandra Exter, the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. Alexandra Exter's "Still Life", the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. Alexandra Exter's "Still Life" brings its own mood to the journey; the canvas breathes, but it did not come just to open the window.
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#77
Composition
In "Composition", Robert Delaunay puts the subject to the test of a very personal framing; light distributes roles with quiet authority. For "Composition" by Robert Delaunay, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Composition" by Robert Delaunay, the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. The interest of "Composition" in Robert Delaunay is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#78
Geometric still life I
In "Geometric Still Life I", Georges Valmier transforms a recognizable pattern into a gaze experience; the gaze circulates between structure, material and small expressive gaps. For "Geometric Still Life I" by Georges Valmier, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Geometric Still Life I" by Georges Valmier, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "Geometric Still Life I" by Georges Valmier, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "Geometric Still Life I" by Georges Valmier, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "Geometric Still Life I" by Georges Valmier, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "Geometric Still Life I" by Georges Valmier, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "Geometric Still Life I" by Georges Valmier, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. "Geometric Still Life I" by Georges Valmier
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#79
Untitled compositions
In "Untitled Compositions", Lyubov Popova makes the motif a visual event rather than a simple label; the contours alternate precision and freedom with a beautiful plumbness. For "Untitled Compositions" by Lyubov Popova, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Untitled Compositions" by Lyubov Popova, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of leading the eye without making large reels. In "Untitled Compositions" by Lyubov Popova, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of leading the eye without making large reels. "Untitled Compositions" by Lyubov Popova, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of leading the eye without making large reels. "Untitled Compositions" by Lyubov Popova, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of leading the eye without making large reels. "Untitled Compositions" by Lyubov Popova, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of leading the eye without making large reels. "Untitled Compositions" by Lyubov Popova, this painting brings a simple but useful
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#80
Counter-relief
In "Counter-relief", Vladimir Tatlin gives the gaze a clear entry point; the gaze circulates between structure, material and small expressive gaps. For "Counter-relief" by Vladimir Tatlin, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Counter-relief" by Vladimir Tatlin, the title acts as a small starting point: it announces a motif interchangeable effect, this great disease of overly hurried glances. In "Counter-relief" by Vladimir Tatlin, the title acts as a small starting point: it announces a motif, a situation or a presence that painting then transforms into a visual experience. In "Counter-relief" by Vladimir Tatlin, the title acts as a small starting point: it announces a motif, a situation or a presence that painting then transforms into a visual experience. In "Counter-relief" by Vladimir Tatlin, the title acts as a small starting point: it announces a motif, a situation or a presence that painting then transforms into a visual experience. In "Counter-relief" by Vladimir Tatlin, the title acts as a small starting point: it announces a motif, a situation or a presence that painting then transforms into a visual experience. In "Counter-relief" by Vladimir Tatlin, the title acts as a small starting point: it announces a motif, a situation or a presence that painting then transforms into a visual experience. In "Counter-
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#81
Corner counter-relief
In "Corner Counter-Relief", Vladimir Tatlin avoids the interchangeable image and asserts a clean tone; light distributes roles with quiet authority. For "Corner Counter-Relief" by Vladimir Tatlin, the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Corner Counter-Relief" by Vladimir Tatlin, this painting provides a simple but useful reference: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Corner Counter-Relief" by Vladimir Tatlin, this painting provides a simple but useful reference: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Corner Counter-Relief" by Vladimir Tatlin, this painting provides a simple but useful reference: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Corner Counter-Relief" by Vladimir Tatlin, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. "Corner counter-relief" by Vladimir Tatlin, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. "Corner counter-relief" by Vladimir Tatlin, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way
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#82
Lady on guitar
In "Lady on the Guitar", Lyubov Popova chooses a specific situation and pushes it beyond the anecdote; the contrast organizes the scene before we even read the details. For "Lady on the Guitar" by Lyubov Popova, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "Lady on the Guitar" by Lyubov Popova, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "Lady on the Guitar" by Lyubov Popova, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "Lady on the Guitar" by Lyubov Popova thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
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#83
Composition dancer
In "Composition Dancer", Sonia Delaunay makes the motif a visual event rather than a simple label; the point of view transforms a familiar observation into a lasting surprise. For "Composition Dancer" by Sonia Delaunay, the eye finds a precise reason to slow down: a line, an edge, a profile or a contrast which gives the painting its little authority. In "Composition Dancer" by Sonia Delaunay, this painting provides a simple but useful reference point: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Composition Dancer" by Sonia Delaunay, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. "Composition Dancer" by Sonia Delaunay, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. "Composition Dancer" by Sonia Delaunay, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. "Composition Dancer" by Sonia Delaunay, this painting brings a simple but useful reference point: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. "Composition Dancer" by Sonia Delaunay, this painting brings a simple but useful reference point: a clear pattern, a clean
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#84
The Procession, Seville
In "The Procession, Seville", Francis Picabia establishes a discreet tension from the first glance; the diagonals give the subject an energy that does not hold in place. We can love "The Procession, Seville" for its calm or its brilliance, but its hold comes mainly from the way in which Francis Picabia organizes the gaze.
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#85
The Louis-Philippe table
In "La table Louis-Philippe", Roger de La Fresnaye makes the motif a visual event rather than a simple label; the point of view transforms a familiar observation into a lasting surprise. For "La table Louis-Philippe" by Roger de La Fresnaye, strength comes less from a stroke of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "La table Louis-Philippe" by Roger de La Fresnaye, this work comes less from a stroke of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "La table Louis-Philippe" by Roger de La Fresnaye, this work is worth as much for its precise motif as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the course. "La table Louis-Philippe" by Roger de La Fresnaye, this work is worth its precise motif as much as its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the course. "La table Louis-Philippe" by Roger de La Fresnaye, this work is worth its precise motif as much as its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the course. "La table Louis-Philippe" by Roger de La Fresnaye, this work is worth its precise motif as much as for its light and its atmosphere; own mood along the way; the canvas breathes, but it did not come just to open the window.
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#86
Composition with clock
In "Composition with Clock", Diego Rivera chooses a specific situation and pushes it beyond the anecdote; the drawing maintains the whole while the atmosphere takes some liberties. For "Composition with Clock" by Diego Rivera, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. Diego Rivera's "Composition with Clock", the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. Diego Rivera's "Composition with Clock" thus maintains a clear visual identity, without the need for a great rhetorical effect to make it interesting.
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#87
The sailor
In "The Sailor", Georges Valmier retains a moment whose painting extends its duration; the painted surface retains a tension that the subject alone would not explain. For "The Sailor" by Georges Valmier, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "The Sailor" by Georges Valmier, the title acts as a small starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "The Sailor" by Georges Valmier, the title acts as a small starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "The Sailor" by Georges Valmier, the title acts as a small starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "The Sailor" by Georges Valmier, the title acts as a small starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "The Sailor" by Georges Valmier, the title acts as a small starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "The Sailor" by Georges Valmier, the title acts as a small starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience.
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#88
Composition for "Jazz"
In "Composition for "Jazz"", Albert Gleizes transforms pose or gesture into real architecture; the point of view transforms a familiar observation into a lasting surprise. For "Composition for "Jazz" by Albert Gleizes, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "Composition for "Jazz" by Albert Gleizes, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "Composition for "Jazz" by Albert Gleizes, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. The interest of "Composition for "Jazz" by Albert Gleizes acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. The interest of "Composition for "Jazz" by Albert Gleizes acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. The interest of "Composition for "Jazz" by Albert Gleizes is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#89
The violin
In "The Violin", Lyubov Popova gives everyday life a density that he had not asked for; the masses give the composition its internal rhythm. For "The Violin" by Lyubov Popova, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "The Violin" by Lyubov Popova, here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. We can love "The Violin" for its calm or brilliance, but its hold comes mainly from the way in which Lyubov Popova organizes the look.
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#90
Ceiling: The birds
In "Ceiling: The Birds", Georges Braque transforms a recognizable pattern into a viewing experience; the contours alternate precision and freedom with beautiful aplomb. For "Ceiling: The Birds" by Georges Braque, strength comes less from a burst of brilliance than from balance: enough structure to guide the eye, enough breathing to let the scene live. In "Ceiling: The Birds" by Georges Braque, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "Ceiling: The Birds" by Georges Braque, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "Ceiling: The Birds" by Georges Braque, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "Ceiling: The Birds" by Georges Braque, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. "Ceiling: The Birds" by Georges Braque, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. "Ceiling: The Birds" by Georges Braque, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. "Ceiling: The Birds" by Georges Braque, the painting brings to the
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#91
Pictorial masses in movement
In "Pictorial Masses in Motion", Kazimir Malevich moves a concrete subject towards a more ambiguous image; the painted surface retains a tension that the subject alone would not explain. In "Pictorial Masses in Motion" by Kazimir Malevich, here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. The interest of "Pictorial Masses in Motion" in Kazimir Malevich is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#92
Still life
In "Still Life", Diego Rivera moves a concrete subject towards a more ambiguous image; the palette brings the shots together without flattening the scene. For "Still Life" by Diego Rivera, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too much-squeezed glances. In "Still Life" by Diego Rivera, the title acts as a small starting point: it announces a motif, a situation or a presence that painting then transforms into a visual experience. In "Still Life" by Diego Rivera, the title acts as a small starting point: it announces a motif, a situation or a presence that painting then transforms into a visual experience. In "Still Life" by Diego Rivera, the title acts as a small starting point: it announces a motif, a situation or a presence that painting then transforms into a visual experience. In "Still Life" by Diego Rivera, the title acts as a small starting point: it announces a motif, a situation or a presence that painting then transforms into a visual experience. In "Still Life" by Diego Rivera, the title acts as a small starting point: it announces a motif, a situation or a presence that painting then transforms into a visual experience. The interest of "Still Life" in Diego Rivera is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#93
Cubist nude
In "Nude Cubist", Alexandra Exter organizes the motif without reducing it to a pretext; the contrast organizes the scene before we even read the details. For "Nude Cubist" by Alexandra Exter, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Nude Cubist" by Alexandra Exter, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "Nude Cubist" by Alexandra Exter, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "Nude Cubist" by Alexandra Exter, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "Nude Cubist" by Alexandra Exter, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "Nude Cubist" by Alexandra Exter, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "Nude Cubist" by Alexandra Exter, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience.
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#94
Urban landscape
In "Urban Landscape", Alexandra Exter seeks a presence that resists the simple title; the gaze circulates between structure, material and small expressive gaps. For "Urban Landscape" by Alexandra Exter, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too much-pressured glances. We can love "Urban Landscape" for its calm or its brilliance, but its hold comes mainly from the way in which Alexandra Exter organizes the gaze.
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#95
Architectural painting
In "Architectural Painting", Lyubov Popova organizes the motif without reducing it to a pretext; the point of view transforms a familiar observation into a lasting surprise. For "Architectural Painting" by Lyubov Popova, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Architectural Painting" by Lyubov Popova, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Architectural Painting" by Lyubov Popova, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Architectural Painting" by Lyubov Popova, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Architectural Painting" by Lyubov Popova, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Architectural Painting" by Lyubov Popova, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. "Architectural Painting" by
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#96
Pitcher on a table
In "Pitcher on a Table", Lyubov Popova transforms a recognizable motif into a viewing experience; light distributes roles with quiet authority. For "Pitcher on a Table" by Lyubov Popova, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "Pitcher on a Table" by Lyubov Popova, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "Pitcher on a Table" by Lyubov Popova thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
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#97
Pictorial realism of a football player
In "Pictorial Realism of a Football Player", Kazimir Malevich moves a concrete subject towards a more ambiguous image; voids count as much as figures and avoid any heaviness. For "Pictorial Realism of a Football Player" by Kazimir Malevich, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Pictorial Realism of a Football Player" by Kazimir Malevich, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Pictorial Realism of a Football Player" by Kazimir Malevich, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Pictorial Realism of a Football Player" by Kazimir Malevich, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. The interest of "Pictorial realism of a player football" for Kazimir Malevich is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#98
Table n° 1, Staro-Basman
In "Table n° 1, Staro-Basman", Vladimir Tatlin retains a moment whose painting extends its duration; the masses give the composition its internal rhythm. For "Table n° 1, Staro-Basman" by Vladimir Tatlin, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. "Table n° 1, Staro-Basman" by Vladimir Tatlin, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. "Table n° 1, Staro-Basman" by Vladimir Tatlin thus maintains a clear visual identity, without the need for a great rhetorical effect to make it interesting.
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#99
Italian seaside town
In "Italian City by the Sea", Alexandra Exter constructs a scene with an immediately sensitive character; the tonal relationships establish a depth without noise. In "Italian City by the Sea" by Alexandra Exter, the Italian scene allows us to read the painting as a study of place as much as as a poetic image: the decor has an address, and that changes everything. We can love "Italian City by the Sea" for its calm or its brilliance, but its outfit comes mainly from the way in which Alexandra Exter organizes the look.
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#100
At the opening of the navigation season
In "At the Opening of the Navigation Season", Vladimir Tatlin transforms a recognizable pattern into a viewing experience; the contours alternate precision and freedom with a beautiful plumbness. For "At the opening of the navigation season" by Vladimir Tatlin, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "At the Opening of the Navigation Season" by Vladimir Tatlin, the painting avoids anonymity because it carries a recognizable subject; in "At the Opening of the Navigation Season" by Vladimir Tatlin, the painting avoids anonymity because it carries a recognizable subject; the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. "At the opening of the navigation season" by Vladimir Tatlin thus a clear visual identity, without needing a great rhetorical effect to make it interesting.
Discover →What the ranking reveals
One hundred paintings, three ideas that remain
After a hundred works, Cubism seems less mysterious: it simply refuses to choose a single angle when several have something interesting to tell. A reasonable ambition, except for tables that hoped to go unnoticed.
The point of view is moving
The eye circulates around the subject; the canvas brings together several moments in the same image.
Everyday life becomes architecture
Guitars, newspapers, bottles and faces are constructed like buildings of plans and signs.
Color takes over
From analytical grays to Delaunay flashes, color ceases to be a simple, well-ironed coat.
Exploded chronology
Five dates, no really straight lines
Les Demoiselles d'Avignon shake up the representation inherited from the Renaissance.
Braque paints L’Estaque; the word cubism begins to stick to the shapes.
The Salon des Indépendants exposes the movement to a wider audience.
Papers, letters and textures enter the table without asking permission.
The war interrupted trade, but Cubist language continued on its way.
Deep movement
Why did Cubism change painting?
Cubism overturns an ancient habit: painting the world as if the eye remained fixed, polished, seated in the center of the room. Artists prefer to show several angles at once, cut out volumes, recompose plans and transform the subject into construction. The result may seem confusing at first glance, but it is often the beginning of the pleasure: the painting asks the visitor to participate, which is more stimulating than a wall that only nods.
Juan Gris gives cubism a very particular clarity. His still lifes, portraits and compositions maintain an almost musical elegance: the shapes fit together, the colors respond to each other, the objects remain readable while becoming intelligent. At Gris, cubism does not break things for pleasure; he reorganizes them like a table set by someone who has also read a treatise on perspective at breakfast.
Jean Metzinger and Albert Gleizes play a major theoretical and pictorial role. Their figures, cyclists, dancers and seated characters give the impression that the gaze revolves around the subject. They show that modernity is not only in locomotives or cafes: it is also in the way of seeing. The canvas becomes a small laboratory, with less white coat and much more rhythm.
Robert Delaunay opens Cubism towards color, the city, the Eiffel Tower, windows and simultaneous circles. It keeps the fragmentation of shapes, but adds a luminous vibration which already announces other abstract adventures. Fernand Léger gives the volumes more robust power: cylinders, bodies, machines, players and cities seem built with industrial energy. Painting begins to speak modern without asking for instructions.
Cubism is also a wonderful terrain for still lifes. Bottles, glasses, newspapers, guitars, cards and tablecloths become heroic subjects, which is a fairly spectacular promotion for table objects. By fragmenting these ordinary things, artists show that a simple violin can contain enough planes, tensions and balances to occupy the eye for a very long time.
In a decoration, a cubist painting brings structure. It works very well in an office, an entrance, a library or a contemporary living room, especially when the room needs a strong image without falling into pure decorative. Cubist angles bring order, but an order that has a sense of humor: even straight lines seem to have a little interior life.
This Top highlights works where construction, fragmentation, superimposed planes and modern energy play a central role. Some images remain close to the figure or still life, others slide towards abstraction. They all share this powerful idea: looking differently is not losing the subject, it is giving it more space to exist. And sometimes, yes, a bottle comes out with more personality than when entering.
Four reading keys
Watch without putting the pieces back too quickly
Each painting distributes its clues differently. The pleasure comes less from immediately finding the object than from understanding how the image organizes its little revolution.
Identify what is resisting
A profile, a guitar or a window is often enough to give the thread of the painting.
Follow the surfaces
The shapes move forward, backward and overlap like a very lively conversation.
Read the fragments
Letters, motifs and partial objects connect painting to the everyday world.
Observe the manufacturing
Texture, collage and touch remind us that the image is also a constructed object.
Route library
Continue without losing track
Collections, artists, museums and references extend the subject with identified links, because a good outing is better than a door painted on the wall.
In Alpha Reproduction
01Juan GreyThe masters of Cubism02Albert GleizesThe masters of Cubism03Fernand LégerThe masters of Cubism04Robert DelaunayThe masters of Cubism05Roger de La FresnayeThe masters of Cubism06Jean MetzingerThe masters of Cubism07Francis PicabiaThe masters of Cubism08Louis MarcoussisThe masters of Cubism09Maria BlanchardThe masters of Cubism10Henri Le FauconnierThe masters of Cubism11CubismCollections & guides12Cubist reproductionsCollections & guides13Famous paintingsCollections & guides14All the famous top paintingsCollections & guides15Juan Gris reproductionsCollections & guides16Robert Delaunay reproductionsCollections & guides17Reproductions Jean MetzingerCollections & guides18All reproductions of paintingsCollections & guidesMuseums and references
01Wikipedia - CubismMuseum & reference02Wikidata - CubismMuseum & reference03Wikimedia Commons - Cubist paintingsMuseum & reference04MoMA - CubismMuseum & reference05The Met - CubismMuseum & reference06Center Pompidou - CubismMuseum & reference07Philadelphia Museum of Art - Albert GleizesMuseum & reference08Guggenheim - Robert DelaunayMuseum & reference09Britannica - CubismMuseum & referenceFrequently asked questions
Cubism without blind spots
The essential answers to return to the ranking with a slightly more mobile eye.
What is Cubism?
It is a modern movement that fragments shapes and shows several points of view in the same image. It transforms the painting into a visual construction rather than a simple realistic window.
Why is Cubism so important?
Because it radically changes the way of representing space. After him, painting can organize forms freely, simplify, decompose, recompose and pave the way for much modern art.
Who are the great pioneers of Cubism?
Picasso and Braque opened the way in Paris around 1907, before Juan Gris, Metzinger, Gleizes, Léger, Delaunay, La Fresnaye, Marcoussis and Blanchard gave the movement very different voices. Cubism begins as a dialogue, then quickly becomes a conversation from several angles.
What is the difference between analytical cubism and synthetic cubism?
Analytical cubism fragments shapes in often sober tones. Synthetic cubism reintroduces more colors, signs, glued papers and more readable compositions.
Why are still lifes so common?
Because bottles, guitars, newspapers and tables offer perfect shapes for experimenting with plans and volumes. A cubist lemon can get surprisingly serious, but it's still frequentable.
Is Cubism suitable for modern decoration?
Yes very good. Its graphic structure works with sober interiors, wood, metal, white walls or bold colors. It sets rhythm without needing to speak loudly.
Which cubist artist to choose first?
Juan Gris for the constructed elegance, Delaunay for the color and the city, Léger for the powerful volumes, Metzinger or Gleizes for the movement of the shots. The choice depends on the wall, and sometimes the wall tastes very good.
Why does Cubism sometimes seem difficult?
Because he refuses the single point of view. But once you agree to look in pieces, the image becomes clearer. It's a puzzle that decided to be a painting, and it does very well.
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