Analytic cubism is a term that was introduced by Picasso. This term arises from the ‘analysis of objects in space’. In partnership with Braque, Picasso was able to find a way to see objects in details without actually examining them these two artists were the first people to use this term. Braque made a painting called Palette and violin in 1909 (John 45). This painting was meant to represent the whole instrument though in actual terms it did not. It showed lines of strings that were short but had spiral spins to represent the neck of the violin. They were therefore made only of signs. This made this painting impossible to figure out. Consequently, this term emanated from here. The abstract imagery used by the painter made it impossible. There was therefore need to observe this picture in space and to find out what it was. This word, ‘analytic cubism’ was thus introduced. However, the person that really made it popular was Carl Einstein in his publication of ‘documents’ in 1929. The following picture from the art foundation shows an example of analytic cubism.
Synthetic cubism on the other hand, was developed by Pablo Picasso. Just like ‘analytic cubism’, it emanated from one of his paintings. The difference between this term and ‘analytic cubism’ is that this term grew from ‘’analytic cubism’. After repeating their work many times, these two painters realized that their work became ‘analytic signs’. For instance, if there was a drawing of a pieces of object, repeated analysis made the plain sheets of paper to overlap and it replaced he actual drawing. This therefore became a depiction of the real painting. Another example is music. After repeatedly hearing pieces of music, the fragments became representatives of the actual pieces. Other examples are, pieces of paper, cigarettes packs, playing cards and many more drawings. The following picture from the art foundation shows an example of synthetic cubism.
When collage was invented in 1912, synthetic cubism took center stage. Picasso made a painting of a pasted paper whilst Braque made a painting of a fruit dish. Analysis of these paintings had to be done with precision (Alfred and Barr 37). That is when the difference between the two types of cubism had to be made. Analytic cubism refers to analysis and investigation of the actual painting. As said above, synthetic cubism arose from analytic cubism. Therefore, most scholars have rightly called analytic cubism the first phase of paint analysis whilst the synthetic cubism the second phase. It must be noted that both these types of cubism were invented in 1912.
In 1921, a good example of synthetic cubism was created. This was the painting of the three musicians by Picasso. This painting was about the bohemian culture. Picasso wanted to capture the culture of this group of people. This particular painting has been pasted after being cut very many times by very skillful craftsmen. Scholars have deduced that the three musicians massaged the alter ego of Picasso, thus the reason why he painted them. All in all, the difference between these two types of cubism is obvious. Analytic cubism examines pictorial elements of a painting. Nevertheless, this contrasts with synthetic cubism that does not deal with this. In synthetic cubism, pictorial elements are not considered. This analysis is on the acute angles and lines with which it was drawn. When these angles and straight lines were repeatedly analyzed, a crystal and mystical effect was created. Small amounts of hues occurred and a dark background was a result. Synthetic cubism uses the help of paper in order to show and reveal the pictures and the image.
The difference discussed above is something that can be seen by the naked eye. However, there are scholars who have the opinion that when Picasso and Braque were inventing these two types of analyses, they had something different in mind. The two analyses helped them in many ways. They analyzed their paintings. These very paintings were also analyzed by others. Therefore, even in modern world of art and architecture, these types of analyses are still very important. Without them, ordinary paint and drawing lovers cannot analyze them. One would require to go to school and acquire specialized skills so that they can be able to study drawings and paintings. Nevertheless, it is not so presently. With the two kinds of analyses, details of drawings and paintings can be studied without specialized training. It must be noted that the main difference between the two types of cubism is that Analytic cubism examines pictorial elements of a painting. This contrasts with synthetic cubism that does not deal with this. In synthetic cubism, pictorial elements are not considered. This analysis is on the acute angles and lines with which it was drawn. When these angles and straight lines were repeatedly analyzed, a crystal and mystical effect was created.
Another difference to note about the two types of cubism is that Analytic Cubism provided a break from the ideals that existed in the renaissance period. It made analysis of objects relatively easy since it concentrated on style rather than intellectuality. In addition, this type of cubism concentrated on visual aesthetics. Foundations that gave rise to both synthetic and Analytical cubism are widely seen to be the first scholarly analyses of architectural designs. Architects are therefore not only supposed to concentrate on design, but also color. That is where another difference between the two comes in. Analytical cubism even considers color. Synthetic cubism does not. Since lac of color in any image or drawing, or even painting makes it flat, scholars still prefer the latter.
The next difference between the two is that analytical cubism considers the visual perspective of the image. Synthetic does not. In analytical, what the mind has seen and analyzed is not important. The one important thing is what the eye has seen and analyzed. The most common question which normally arises is ‘how are the objects contained in the borders?’ Even if the image continues on and on, Synthetic cubism does not need analysis of the continuance. Analytic Cubism provides a break from the ideals that existed in the renaissance period. It makes analysis of objects relatively easy since it concentrated on style rather than intellectuality. In synthetic analysis, the analysis was on the acute angles and lines with which it was drawn (Adriana 36). When these angles and straight lines were repeatedly analyzed, a crystal and mystical effect was created. Small amounts of hues occurred and a dark background was a result. Thus, from the explanation, it is clear that synthetic cubism is better than analytic cubism.
Works Cited
Adriana. "The Influence of Art History on Modern Design - Cubism - Pixel77." N.p., 12 Aug. 2010. Web. 4 Feb. 2014. <http://www.pixel77.com/the-influence-of-art-history-on-modern-design-cubism/>.
Alfred H. Barr, Jr., Cubism and Abstract Art, New York: Museum of Modern Art, 1936.
John Golding, Cubism: A History and an Analysis, 1907-1914, New York: Wittenborn, 1959.
The Art Story Foundation. "Cubism Movement, Artists and Major Works | The Art Story." N.p., 2014. Web. 4 Feb. 2014. <http://www.theartstory.org/movement-cubism.htm>.
