At first Gris painted in the analytic style of Cubism, but after 1913 he began his conversion to synthetic Cubism, of which he became a steadfast interpreter, with extensive use of papier collé or, collage.

Wider views of Cubism include artists who were later associated with the ‘ Salle 41 ’ artists, e. g., Francis Picabia ; the brothers Jacques Villon, Raymond Duchamp-Villon and Marcel Duchamp, who from late 1911 formed the core of the Section d ' Or ( or the Puteaux Group ); the sculptors Alexander Archipenko, Joseph Csaky and Ossip Zadkine as well as Jacques Lipchitz and Henri Laurens ; and painters such as Louis Marcoussis, Roger de La Fresnaye, František Kupka, Diego Rivera, Léopold Survage, Auguste Herbin, André Lhote, Gino Severini ( after 1916 ), María Blanchard ( after 1916 ) and Georges Valmier ( after 1918 ).

Many Cubists, including Picasso, Braque, Gris, Léger, Gleizes and Metzinger, while developing other styles, returned periodically to Cubism, even well after 1925.

In Europe after the war there was the continuation of Surrealism, Cubism, Dada and the works of Matisse.

The Vorticism group began with the Rebel Art Centre which Wyndham Lewis and others established after disagreeing with Omega Workshops founder Roger Fry, and has roots in the Bloomsbury Group, Cubism, and Futurism.

In their eyes, Seurat had " taken a fundamental step toward Cubism by restoring intellect and order to art, after Impressionism had denied them " ( to use the words of Herbert ).

Roberts was intrigued by Post-impressionism and Cubism, an interest fuelled by his friendships at the Slade ( in particular with Bomberg ) as well as by his travels in France and Italy after leaving the Slade in 1913.

Even after historians began their attempts to analyze the vital role played by Cubism, the name of Albert Gleizes was always mentioned because of his early and important participation in the movement.

The initial influence of Impressionism and Post-Impressionism visible in paintings that he sent to the Salon des Indépendants in 1906 gradually gave way to an involvement with Cubism after his move in 1909 to the Bateau-Lavoir studios, where he met Pablo Picasso, Georges Braque and Juan Gris ; he was also encouraged by his friendship with Wilhelm Uhde.

The paintings he produced during the years 1918 – 1924 were influenced by Futurism and by the offshoot of Cubism practiced by Metzinger.

These works, including House with Palm tree ( 1918 ), Nude with a Mirror ( 1919 ), and The Table-Still Life with Rabbit ( 1920 ), show the clear influence of Cubism, although in a restrained way, being applied to only a proportion of the subject.

Metzinger's departure from Cubism circa 1918 would leave open the ' spatial ' susceptibility to classical observation, but the ' form ' could only be grasped by the ' intelligence ' of the observer, something that escaped classical observation.

Between 1918 and 1923 Metzinger moved away from Cubism towards realism, while still retaining elements of Cubist style.

Her painting The Violin of 1914 suggests the development from Cubism towards the " painterly architectonics " series of 1916 – 1918.

In 1918 Schad began experimenting by making cameraless photographic images inspired by Cubism.

Though there are many points of intersection between Cubism and architecture, only a few direct links between them can be drawn.

These stream-of-consciousness experiments, rhythmical essays or " portraits ", were designed to evoke " the excitingness of pure being " and can be seen as literature's answer to Cubism, plasticity, and collage.

Indeed, the geometrization of space that would characterize Cubism can already be observed in his works as early as 1905, following the lead of Seurat and Cézanne.

On the question as to whether creativity in the domain of science has ever been influenced by art, Arthur I. Miller, author of Einstein, Picasso: Space, Time and the Beauty that Causes Havoc ( 2002 ), answers: " Cubism directly helped Niels Bohr discover the principle of complementarity in quantum theory, which says that something can be a particle and a wave at the same time, but it will always be measured to be either one or the other.

Johnson, an in-depth analysis of Metzinger's Pre-Cubist period — his first artistic peak —" can only class that painter, in spite of his youth, as being already one of the leading artistic personalities in that period directly preceding Cubism.

Laurencin's insistence on the creation of a visual vocabulary of femininity, which characterized her art until the end of her life, can be seen as a response to what some consider to be the arrogant masculinity of Cubism.

The influence and experimentation of Cubism can be seen in works like this by overlapping facets of colour, ( like Cézanne ) and a flattened, broken picture plane.

The body parts are stylized into abstract geometric shapes, yet still too realistic to be concretely abstract ; this work has a feel of early Cubism.

But " this view of Cubism is associated with a distinctly restrictive definition of which artists are properly to be called Cubists ," writes the art historian Christopher Green: " Marginalizing the contribution of the artists who exhibited at the Salon des Indépendants in 1911 [...]"

Contemporary views of Cubism are complex, formed to some extent in response to the ‘ Salle 41 ’ Cubists, whose methods were too distinct from those of Picasso and Braque to be considered merely secondary to them.

It is difficult to apply to painters such as Jean Metzinger, Albert Gleizes, Robert Delaunay and Henri Le Fauconnier, whose fundamental differences from traditional Cubism compelled Kahnweiler to question their right to be called Cubists at all.

According to Daniel Robbins, " To suggest that merely because these artists developed differently or varied from the traditional pattern they deserved to be relegated to a secondary or satellite role in Cubism is a profound mistake.

Working during that fertile period of “ isms ,” Cubism, Dadaism, Surrealism, Futurism, Modigliani did not choose to be categorized within any of these prevailing, defining confines.

Around 1910 he began to experiment with Orphism, an offshoot of Cubism, and a style that would be enhanced by his association in New York City with Marcel Duchamp and Francis Picabia.

Writing in 1906, Louis Chassevent recognized the difference ( and as Daniel Robbins pointed out in his Gleizes catalogue, used the word " cube " which later would be taken up by Louis Vauxelles to baptize Cubism ): " M. Metzinger is a mosaicist like M. Signac but he brings more precision to the cutting of his cubes of color which appear to have been made mechanically [...]".

Even so, the lessons of Cubism would not be forgotten.

What made Cubism progressive and truly modern, according to Metzinger and Gleizes, was its the new geometric armature ; with that it broke free from the immobility of 3-dimensional Euclidean geometry and attained a dynamic representation of the 4-dimensional continuum in which we live, a better representation of reality, of life's experience, something that could be grasped through the senses ( not through the eye ) and expressed onto a canvas.

Metzinger had already written in 1910 of ' mobile perspective ', as an interpretation of what would soon be dubbed " Cubism " with respect to Picasso, Braque, Delaunay and Le Fauconnier ( Metzinger, Note sur la peinture, Pan, Paris, Oct-Nov 1910 ).

After Nicholson's first exhibition of figurative works in London in 1922, his work began to be influenced by Synthetic Cubism, and later by the primitive style of Rousseau.

The resulting surfaces of the paintings resembled mosaics, and the works may be seen as precursors to Fauvism and Cubism.

Cubism is the most radical departure from Western forms of art, with the proposed purpose of forcing the viewer to discover less unstable elements of the object to be represented.

* The American television comedy show Saturday Night Live once had a skit that featured her work, during the time when it was thought to be by her husband, as a parody of the reaction against modern art ( e. g., Cubism or the New York Armory Show ).

Picasso's paintings of 1907 have been characterized as Protocubism, as notably seen in Les Demoiselles d ' Avignon, the antecedent of Cubism.

For Bowness and his contributors as well as for Rewald, ' Cubism ' was an absolutely fresh start, and so Cubism has been seen in France since the beginning, and later in Anglosaxonia.

Lam's work went from showing the influence of Matisse seen in his still lifes, landscapes and simplified portraits to being influenced by Cubism.

Although Les Demoiselles is seen as the first Cubist work, Picasso continued to develop a style derived from African art before beginning the Analytic Cubism phase of his painting in 1910.