Brussels the Brussels-Capital Region, is a region of Belgium comprising 19 municipalities, including the City of Brussels, the capital of Belgium. The Brussels-Capital Region is located in the central portion of the country and is a part of both the French Community of Belgium and the Flemish Community, but is separate from the Flemish Region and the Walloon Region. Brussels is the most densely populated and the richest region in Belgium in terms of GDP per capita, it covers 161 km2, a small area compared to the two other regions, has a population of 1.2 million. The metropolitan area of Brussels counts over 2.1 million people, which makes it the largest in Belgium. It is part of a large conurbation extending towards Ghent, Antwerp and Walloon Brabant, home to over 5 million people. Brussels grew from a small rural settlement on the river Senne to become an important city-region in Europe. Since the end of the Second World War, it has been a major centre for international politics and the home of numerous international organisations, politicians and civil servants.
Brussels is the de facto capital of the European Union, as it hosts a number of principal EU institutions, including its administrative-legislative, executive-political, legislative branches and its name is sometimes used metonymically to describe the EU and its institutions. The secretariat of the Benelux and headquarters of NATO are located in Brussels; as the economic capital of Belgium and one of the top financial centres of Western Europe with Euronext Brussels, it is classified as an Alpha global city. Brussels is a hub for rail and air traffic, sometimes earning the moniker "Crossroads of Europe"; the Brussels Metro is the only rapid transit system in Belgium. In addition, both its airport and railway stations are the busiest in the country. Dutch-speaking, Brussels saw a language shift to French from the late 19th century; the Brussels-Capital Region is bilingual in French and Dutch though French is now the de facto main language with over 90% of the population speaking it. Brussels is increasingly becoming multilingual.
English is spoken as a second language by nearly a third of the population and a large number of migrants and expatriates speak other languages. Brussels is known for its cuisine and gastronomy, as well as its historical and architectural landmarks. Main attractions include its historic Grand Place, Manneken Pis and cultural institutions such as La Monnaie and the Museums of Art and History; because of its long tradition of Belgian comics, Brussels is hailed as a capital of the comic strip. The most common theory of the origin of the name Brussels is that it derives from the Old Dutch Bruocsella, Broekzele or Broeksel, meaning "marsh" and "home" or "home in the marsh". Saint Vindicianus, the bishop of Cambrai, made the first recorded reference to the place Brosella in 695, when it was still a hamlet; the names of all the municipalities in the Brussels-Capital Region are of Dutch origin, except for Evere, Celtic. In French, Bruxelles is pronounced and in Dutch, Brussel is pronounced. Inhabitants of Brussels are known in French in Dutch as Brusselaars.
In the Brabantian dialect of Brussels, they are called Brusseleirs. The written x noted the group. In the Belgian French pronunciation as well as in Dutch, the k disappeared and z became s, as reflected in the current Dutch spelling, whereas in the more conservative French form, the spelling remained; the pronunciation in French only dates from the 18th century, but this modification did not affect the traditional Brussels' usage. In France, the pronunciations and are heard, but are rather rare in Belgium. See also: History of Brussels The history of Brussels is linked to that of Western Europe. Traces of human settlement go back to the Stone Age, with vestiges and place-names related to the civilisation of megaliths and standing stones. During late antiquity, the region was home to Roman occupation, as attested by archaeological evidence discovered near the centre. Following the decline of the Western Roman Empire, it was incorporated into the Frankish Empire; the origin of the settlement, to become Brussels lies in Saint Gaugericus' construction of a chapel on an island in the river Senne around 580.
The official founding of Brussels is situated around 979, when Duke Charles of Lower Lotharingia transferred the relics of Saint Gudula from Moorsel to the Saint Gaugericus chapel. Charles would construct the first permanent fortification in the city, doing so on that same island. Lambert I of Leuven, Count of Leuven, gained the County of Brussels around 1000, by marrying Charles' daughter; because of its location on the shores of the Senne, on an important trade route between Bruges and Ghent, Cologne, Brussels became a commercial centre specialised in the textile trade. The town grew quite and extended towards the upper town, where there was a smaller risk of floods; as it grew to a population of around 30,000, the surrounding marshes were drained to allow for further expansion. Around
Contemporary art is the art of today, produced in the second half of the 20th century or in the 21st century. Contemporary artists work in a globally influenced, culturally diverse, technologically advancing world, their art is a dynamic combination of materials, methods and subjects that continue the challenging of boundaries, well underway in the 20th century. Diverse and eclectic, contemporary art as a whole is distinguished by the lack of a uniform, organising principle, ideology, or "-ism". Contemporary art is part of a cultural dialogue that concerns larger contextual frameworks such as personal and cultural identity, family and nationality. In vernacular English and contemporary are synonyms, resulting in some conflation of the terms modern art and contemporary art by non-specialists; some define contemporary art as art produced within "our lifetime," recognising that lifetimes and life spans vary. However, there is a recognition; the classification of "contemporary art" as a special type of art, rather than a general adjectival phrase, goes back to the beginnings of Modernism in the English-speaking world.
In London, the Contemporary Art Society was founded in 1910 by the critic Roger Fry and others, as a private society for buying works of art to place in public museums. A number of other institutions using the term were founded in the 1930s, such as in 1938 the Contemporary Art Society of Adelaide, an increasing number after 1945. Many, like the Institute of Contemporary Art, Boston changed their names from ones using "Modern art" in this period, as Modernism became defined as a historical art movement, much "modern" art ceased to be "contemporary"; the definition of what is contemporary is always on the move, anchored in the present with a start date that moves forward, the works the Contemporary Art Society bought in 1910 could no longer be described as contemporary. Particular points that have been seen as marking a change in art styles include the end of World War II and the 1960s. There has been a lack of natural break points since the 1960s, definitions of what constitutes "contemporary art" in the 2010s vary, are imprecise.
Art from the past 20 years is likely to be included, definitions include art going back to about 1970. And early 21st cent. Both an outgrowth and a rejection of modern art". Many use the formulation "Contemporary Art", which avoids this problem. Smaller commercial galleries and other sources may use stricter definitions restricting the "contemporary" to work from 2000 onwards. Artists who are still productive after a long career, ongoing art movements, may present a particular issue. Sociologist Nathalie Heinich draws a distinction between modern and contemporary art, describing them as two different paradigms which overlap historically, she found that while "modern art" challenges the conventions of representation, "contemporary art" challenges the notion of an artwork. She regards Duchamp's Fountain as the starting point of contemporary art, which gained momentum after World War II with Gutai's performances, Yves Klein's monochromes and Rauschenberg's Erased de Kooning Drawing. One of the difficulties many people have in approaching contemporary artwork is its diversity—diversity of material, subject matter, time periods.
It is "distinguished by the lack of a uniform organizing principle, ideology, or -ism" that we so see in other, oftentimes more familiar, art periods and movements. Broadly speaking, we see Modernism as looking at modernist principles—the focus of the work is self-referential, investigating its own materials. Impressionism looks at our perception of a moment through light and color as opposed to attempts at stark realism. Contemporary art, on the other hand, does not have single objective or point of view, its view instead is unclear reflective of the world today. It can be, contradictory and open-ended. There are, however, a number of common themes. While these are not exhaustive, notable themes include: identity politics, the body and migration, contemporary society and culture and memory, institutional and political critique. Post-modern, post-structuralist and Marxist theory have played important roles in the development of contemporary theories of art; the functioning of the art world is dependent on art institutions, ranging from major museums to private galleries, non-profit spaces, art schools and publishers, the practices of individual artists, writers and philanthropists.
A major division in the art world is between the for-profit and non-profit sectors, although in recent years the boundaries between for-profit private and non-profit public institutions have become blurred. Most well-known contemporary art is exhibited by professional artists at commercial contemporary art galleries, by private collectors, art auctions, corporation
José Victoriano González-Pérez, better known as Juan Gris, was a Spanish painter born in Madrid who lived and worked in France most of his life. Connected to the innovative artistic genre Cubism, his works are among the movement's most distinctive. Gris was born in Madrid and studied engineering at the Madrid School of Arts and Sciences. There, from 1902 to 1904, he contributed drawings to local periodicals. From 1904 to 1905, he studied painting with the academic artist José Moreno Carbonero, it was in 1905. In 1906 he moved to Paris and became friends with the poets Guillaume Apollinaire, Max Jacob, artists Henri Matisse, Georges Braque, Fernand Léger and Jean Metzinger, he submitted darkly humorous illustrations to journals such as the anarchist satirical magazine L'Assiette au Beurre, Le Rire, Le Charivari, Le Cri de Paris. In Paris, Gris followed the lead of Metzinger and another friend and fellow countryman, Pablo Picasso. Gris began to paint in 1911, developing at this time a personal Cubist style.
In A Life of Picasso, John Richardson writes that Jean Metzinger's 1911 work, Le goûter, persuaded Juan Gris of the importance of mathematics in painting. Gris exhibited for the first time at the 1912 Salon des Indépendants."He appears with two styles", writes art historian Peter Brooke, "In one of them a grid structure appears, reminiscent of the Goûter and of Metzinger's work in 1912." In the other, Brooke continues, "the grid is still present but the lines are not stated and their continuity is broken. Their presence is suggested by the heavy triangular, shading of the angles between them... Both styles are distinguished from the work of Picasso and Braque by their clear and measurable quality." Although Gris regarded Picasso as a teacher, Gertrude Stein wrote in The Autobiography of Alice B. Toklas that "Juan Gris was the only person whom Picasso wished away". In 1912 Gris exhibited at the Exposicío d'art cubista, Galeries Dalmau in Barcelona, the first declared group exhibition of Cubism worldwide.
Gris, in that same year, signed a contract that gave Daniel-Henry Kahnweiler exclusive rights to his work. At first Gris painted in the style of Analytical Cubism, a term he himself coined, 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. Unlike Picasso and Braque, whose Cubist works were monochromatic, Gris painted with bright harmonious colors in daring, novel combinations in the manner of his friend Matisse. Gris exhibited with the painters of the Puteaux Group in the Salon de la Section d'Or in 1912, his preference for clarity and order influenced the Purist style of Amédée Ozenfant and Charles Edouard Jeanneret, made Gris an important exemplar of the post-war "return to order" movement. In 1915 he was painted by Amedeo Modigliani. In November 1917 he made one of the polychrome plaster Harlequin. Gris's works from late 1916 through 1917 exhibit a greater simplification of geometric structure, a blurring of the distinction between objects and setting, between subject matter and background.
The oblique overlapping planar constructions, tending away from equilibrium, can best be seen in Woman with Mandolin, after Corot and in its epilogue, Portrait of Josette Gris. The clear-cut underlying geometric framework of these works controls the finer elements of the compositions. Though Gris had planned the representation of his chosen subject matter, the abstract armature serves as the starting point; the geometric structure of Juan Gris's Crystal period is palpable in Still Life before an Open Window, Place Ravignan. The overlapping elemental planar structure of the composition serves as a foundation to flatten the individual elements onto a unifying surface, foretelling the shape of things to come. In 1919 and 1920, artists and critics began to write conspicuously about this'synthetic' approach, to assert its importance in the overall scheme of advanced Cubism. In 1924, he designed ballet costumes for Sergei Diaghilev and the famous Ballets Russes. Gris articulated most of his aesthetic theories during 1924 and 1925.
He delivered his definitive lecture, Des possibilités de la peinture, at the Sorbonne in 1924. Major Gris exhibitions took place at the Galerie Simon in Paris and the Galerie Flechtheim in Berlin in 1923 and at the Galerie Flechtheim in Düsseldorf in 1925. After October 1925, Gris was ill with bouts of uremia and cardiac problems, he died of renal failure in Boulogne-sur-Seine on 11 May 1927, at the age of 40, leaving a wife, a son, Georges. The top auction price for a Gris work is $57.1 million, achieved for his 1915 painting Nature morte à la nappe à carreaux. This surpassed previous records of $20.8 million for his 1915 still life Livre, pipe et verres, $28.6 million for the 1913 artwork Violon et guitare and $31.8 million for The musician's table, now in the Met. Violin Hanging on a Wall. Guggenheim Museum, New York Pears and Grapes on a Table. Metropolitan
An art museum or art gallery is a building or space for the display of art from the museum's own collection. It might be in public or private ownership and may be accessible to all or have restrictions in place. Although concerned with visual art, art galleries are used as a venue for other cultural exchanges and artistic activities, such as performance arts, music concerts, or poetry readings. Art museums frequently host themed temporary exhibitions which include items on loan from other collections. In distinction to a commercial art gallery, run by an art dealer, the primary purpose of an art museum is not the sale of the items on show. Throughout history and expensive works of art have been commissioned by religious institutions and monarchs and been displayed in temples and palaces. Although these collections of art were private, they were made available for viewing for a portion of the public. In classical times, religious institutions began to function as an early form of art gallery. Wealthy Roman collectors of engraved gems and other precious objects donated their collections to temples.
It is unclear. In Europe, from the Late Medieval period onwards, areas in royal palaces and large country houses of the social elite were made accessible to sections of the public, where art collections could be viewed. At the Palace of Versailles, entrance was restricted to people wearing the proper apparel – the appropriate accessories could be hired from shops outside; the treasuries of cathedrals and large churches, or parts of them, were set out for public display. Many of the grander English country houses could be toured by the respectable for a tip to the housekeeper, during the long periods when the family were not in residence. Special arrangements were made to allow the public to see many royal or private collections placed in galleries, as with most of the paintings of the Orleans Collection, which were housed in a wing of the Palais-Royal in Paris and could be visited for most of the 18th century. In Italy, the art tourism of the Grand Tour became a major industry from the 18th century onwards, cities made efforts to make their key works accessible.
The Capitoline Museums began in 1471 with a donation of classical sculpture to the city of Rome by the Papacy, while the Vatican Museums, whose collections are still owned by the Pope, trace their foundation to 1506, when the discovered Laocoön and His Sons was put on public display. A series of museums on different subjects were opened over subsequent centuries, many of the buildings of the Vatican were purpose-built as galleries. An early royal treasury opened to the public was the Grünes Gewölbe of the Kingdom of Saxony in the 1720s. Established museums open to the public began to be established from the 17th century onwards based around a collection of the cabinet of curiosities type; the first such museum was the Ashmolean Museum in Oxford, opened in 1683 to house and display the artefacts of Elias Ashmole that were given to Oxford University in a bequest. In the second half of the eighteenth century, many private collections of art were opened to the public, during and after the French Revolution and Napoleonic Wars many royal collections were nationalized where the monarchy remained in place, as in Spain and Bavaria.
In 1753, the British Museum was established and the Old Royal Library collection of manuscripts was donated to it for public viewing. In 1777, a proposal to the British government was put forward by MP John Wilkes to buy the art collection of the late Sir Robert Walpole who had amassed one of the greatest such collections in Europe, house it in a specially built wing of the British Museum for public viewing. After much debate, the idea was abandoned due to the great expense, twenty years the collection was bought by Tsaritsa Catherine the Great of Russia and housed in the State Hermitage Museum in Saint Petersburg; the Bavarian royal collection was opened to the public in 1779 and the Medici collection in Florence around 1789. The opening of the Musée du Louvre during the French Revolution in 1793 as a public museum for much of the former French royal collection marked an important stage in the development of public access to art by transferring the ownership to a republican state; the building now occupied by the Prado in Madrid was built before the French Revolution for the public display of parts of the royal art collection, similar royal galleries were opened to the public in Vienna and other capitals.
In Great Britain, the corresponding Royal Collection remained in the private hands of the monarch and the first purpose-built national art galleries were the Dulwich Picture Gallery, founded in 1814 and the National Gallery opened to the public a decade in 1824. University art museums and galleries constitute collections of art developed and maintained by all kinds of schools, community colleges and universities; this phenomenon exists in the East, making it a global practice. Although overlooked, there are over 700 university art museums in the US alone; this number, compared to other kinds of art museums, makes university art museums the largest category of art museums in the country. While the first of these collections can be traced to learning collections developed in art academies in Western Europe, they are now associated with and housed in centers of higher education of all types; the word gallery being an archite
The Louvre, or the Louvre Museum, is the world's largest art museum and a historic monument in Paris, France. A central landmark of the city, it is located on the Right Bank of the Seine in the city's 1st arrondissement. 38,000 objects from prehistory to the 21st century are exhibited over an area of 72,735 square metres. In 2018, the Louvre was the world's most visited art museum; the museum is housed in the Louvre Palace built as the Louvre castle in the late 12th to 13th century under Philip II. Remnants of the fortress are visible in the basement of the museum. Due to the urban expansion of the city, the fortress lost its defensive function and, in 1546, was converted by Francis I into the main residence of the French Kings; the building was extended many times to form the present Louvre Palace. In 1682, Louis XIV chose the Palace of Versailles for his household, leaving the Louvre as a place to display the royal collection, from 1692, a collection of ancient Greek and Roman sculpture. In 1692, the building was occupied by the Académie des Inscriptions et Belles-Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons.
The Académie remained at the Louvre for 100 years. During the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nation's masterpieces; the museum opened on 10 August 1793 with an exhibition of 537 paintings, the majority of the works being royal and confiscated church property. Because of structural problems with the building, the museum was closed in 1796 until 1801; the collection was increased under Napoleon and the museum was renamed Musée Napoléon, but after Napoleon's abdication many works seized by his armies were returned to their original owners. The collection was further increased during the reigns of Louis XVIII and Charles X, during the Second French Empire the museum gained 20,000 pieces. Holdings have grown through donations and bequests since the Third Republic; the collection is divided among eight curatorial departments: Egyptian Antiquities. The Louvre Palace, which houses the museum, was begun as a fortress by Philip II in the 12th century to protect the city from English soldiers which were in Normandy.
Remnants of this castle are still visible in the crypt. Whether this was the first building on that spot is not known. According to the authoritative Grand Larousse encyclopédique, the name derives from an association with wolf hunting den. In the 7th century, St. Fare, an abbess in Meaux, left part of her "Villa called Luvra situated in the region of Paris" to a monastery.. The Louvre Palace was altered throughout the Middle Ages. In the 14th century, Charles V converted the building into a residence and in 1546, Francis I renovated the site in French Renaissance style. Francis acquired what would become the nucleus of the Louvre's holdings, his acquisitions including Leonardo da Vinci's Mona Lisa. After Louis XIV chose Versailles as his residence in 1682, constructions slowed. Four generations of Boulle were granted Royal patronage and resided in the Louvre in the following order: Pierre Boulle, Jean Boulle, Andre-Charles Boulle and his four sons, after him. André-Charles Boulle is the most famous French cabinetmaker and the preeminent artist in the field of marquetry known as "Inlay".
Boulle was "the most remarkable of all French cabinetmakers". He was commended to Louis XIV of France, the "Sun King", by Jean-Baptiste Colbert as being "the most skilled craftsman in his profession". Before the fire of 1720 destroyed them, André-Charles Boulle held priceless works of art in the Louvre, including forty-eight drawings by Raphael'. By the mid-18th century there were an increasing number of proposals to create a public gallery, with the art critic La Font de Saint-Yenne publishing, in 1747, a call for a display of the royal collection. On 14 October 1750, Louis XV agreed and sanctioned a display of 96 pieces from the royal collection, mounted in the Galerie royale de peinture of the Luxembourg Palace. A hall was opened by Le Normant de Tournehem and the Marquis de Marigny for public viewing of the Tableaux du Roy on Wednesdays and Saturdays, contained Andrea del Sarto's Charity and works by Raphael. Under Louis XVI, the royal museum idea became policy; the comte d'Angiviller broadened the collection and in 1776 proposed conversion of the Grande Galerie of the Louvre – which contained maps – into the "French Museum".
Many proposals were offered for the Louvre's renovation into a museum. Hence the museum remained incomplete until the French Revolution. During the French Revolution the Louvre was transformed into a public museum. In May 1791, the Assembly declared that the Louvre would be "a place for bringing together monuments of all the sciences and arts". On 10 August 1792, Louis XVI was imprisoned and the royal collection i
The Trocadéro, site of the Palais de Chaillot, is an area of Paris, France, in the 16th arrondissement, across the Seine from the Eiffel Tower. It is the name of the 1878 palace, demolished in 1937 to make way for the Palais de Chaillot; the hill of the Trocadéro is the hill of a former village. The place was named in honour of the Battle of Trocadero, in which the fortified Isla del Trocadero, in southern Spain, was captured by French forces led by the Duc d'Angoulême, son of the future King of France, Charles X, on August 31, 1823. France had intervened on behalf of King Ferdinand VII of Spain, whose rule was contested by a liberal rebellion. After the battle, the autocratic Spanish Bourbon Ferdinand VII was restored to the throne of Spain. François-René de Chateaubriand said "To stride across the lands of Spain at one go, to succeed there, where Bonaparte had failed, to triumph on that same soil where the arms of the fantastic man suffered reverses, to do in six months what he couldn't do in seven years, prodigious!"Nowadays the square is named Place du Trocadéro et du 11 Novembre, although it is simply called the Place du Trocadéro.
The hill of Chaillot was first arranged for the 1867 World's Fair. For the 1878 World's Fair, the Palais du Trocadéro was built here; the palace's form was that of a large concert hall with two towers. The architect was Gabriel Davioud; the concert hall contained a large organ built by Aristide Cavaillé-Coll. The organ was inaugurated during the 1878 World Fair with a concert in which Charles Marie Widor played the premiere of his Symphony for Organ No. 6. The building proved unpopular, but the cost expended in its construction delayed its replacement for nearly fifty years. Below the building in the space left by former underground quarries, a large aquarium was built to contain fish of French rivers, it was renovated in 1937 but closed again for renovation from 1985 until May 22, 2006. The space between the palais and the Seine is set with gardens, designed by Jean-Charles Alphand, an array of fountains. Within its garden, the old palace contained two large animal statues, of a rhinoceros and an elephant, which were removed and stored during the demolition of the old Trocadero palace, have been located next to the entrance of the Musée d'Orsay since 1986.
For the Exposition Internationale of 1937, the old Palais du Trocadéro was demolished and rebuilt as the Palais de Chaillot which now tops the hill. It was designed in classicizing "moderne" style by architects Louis-Hippolyte Boileau, Jacques Carlu and Léon Azéma. Like the old palais, the Palais de Chaillot features two wings shaped to form a wide arc. However, unlike the old palais, the wings are independent buildings and there is no central element to connect them: instead, a wide esplanade leaves an open view from the place du Trocadéro to the Eiffel Tower and beyond; the buildings are decorated with quotations by Paul Valéry, sculptural groups at the attic level by Raymond Delamarre, Carlo Sarrabezolles and Alfred Bottiau. The eight gilded figures on the terrace of the Rights of Man are attributed to the sculptors Alexandre Descatoire, Marcel Gimond, Jean Paris dit Pryas, Paul Cornet, Lucien Brasseur, Robert Couturier, Paul Niclausse, Félix-Alexandre Desruelles; the buildings now house a number of museums: the Musée national de la Marine and the Musée de l'Homme in the southern wing.
The Cité de l'Architecture et du Patrimoine, including the Musée national des Monuments Français, in the eastern wing, from which one enters the Théâtre national de Chaillot, a theater below the esplanade. It was on the front terrace of the palace that Adolf Hitler was pictured during his short tour of the city in 1940, with the Eiffel Tower in the background; this became an iconic image of the Second World War. It is in the Palais de Chaillot that the United Nations General Assembly adopted the Universal Declaration of Human Rights on December 10, 1948; this event is now commemorated by a stone, the esplanade is known as the esplanade des droits de l'homme. The Palais de Chaillot was the initial headquarters of NATO, while the "Palais de l'OTAN" was being built; the Jardins du Trocadéro occupy the open space bounded to the northwest by the wings of the Palais de Chaillot and to the southeast by the Seine and the Pont d'Iéna. The present garden has an area of 93,930 square metres and was created for the Exposition Internationale des Arts et Techniques dans la Vie Moderne, on the design of architect Roger-Henri Expert.
The entire site was the garden of the old Palais du Trocadéro, laid out by Jean-Charles Alphand. Five avenues originate in the Trocadéro: the Avenue Henri-Martin, which links the Trocadéro with the Porte de la Muette and passes in front of the Lycée Janson de Sailly. There is a large municipal
Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, inspired related movements in music and architecture. Cubism has been considered the most influential art movement of the 20th century; the term is broadly used in association with a wide variety of art produced in Paris during the 1910s and throughout the 1920s. The movement was pioneered by Pablo Picasso and Georges Braque, joined by Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger. One primary influence that led to Cubism was the representation of three-dimensional form in the late works of Paul Cézanne. A retrospective of Cézanne's paintings had been held at the Salon d'Automne of 1904, current works were displayed at the 1905 and 1906 Salon d'Automne, followed by two commemorative retrospectives after his death in 1907. In Cubist artwork, objects are analyzed, broken up and reassembled in an abstracted form—instead of depicting objects from a single viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context.
In France, offshoots of Cubism developed, including Orphism, Abstract art and Purism. The impact of Cubism was wide-ranging. In other countries Futurism, Dada, Constructivism, De Stijl and Art Deco developed in response to Cubism. Early Futurist paintings hold in common with Cubism the fusing of the past and the present, the representation of different views of the subject pictured at the same time called multiple perspective, simultaneity or multiplicity, while Constructivism was influenced by Picasso's technique of constructing sculpture from separate elements. Other common threads between these disparate movements include the faceting or simplification of geometric forms, the association of mechanization and modern life. Historians have divided the history of Cubism into phases. In one scheme, the first phase of Cubism, known as Analytic Cubism, a phrase coined by Juan Gris a posteriori, was both radical and influential as a short but significant art movement between 1910 and 1912 in France.
A second phase, Synthetic Cubism, remained vital until around 1919, when the Surrealist movement gained popularity. English art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch. According to Cooper there was "Early Cubism", when the movement was developed in the studios of Picasso and Braque. Douglas Cooper's restrictive use of these terms to distinguish the work of Braque, Gris and Léger implied an intentional value judgement. Cubism burgeoned between 1907 and 1911. Pablo Picasso's 1907 painting Les Demoiselles d'Avignon has been considered a proto-Cubist work. In 1908, in his review of Georges Braque's exhibition at Kahnweiler's gallery, the critic Louis Vauxcelles called Braque a daring man who despises form, "reducing everything, places and a figures and houses, to geometric schemas, to cubes". Vauxcelles recounted how Matisse told him at the time, "Braque has just sent in a painting made of little cubes"; the critic Charles Morice spoke of Braque's little cubes.
The motif of the viaduct at l'Estaque had inspired Braque to produce three paintings marked by the simplification of form and deconstruction of perspective. Georges Braque's 1908 Houses at L’Estaque prompted Vauxcelles, in Gil Blas, 25 March 1909, to refer to bizarreries cubiques. Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro, as the first Cubist paintings; the first organized group exhibition by Cubists took place at the Salon des Indépendants in Paris during the spring of 1911 in a room called'Salle 41'. By 1911 Picasso was recognized as the inventor of Cubism, while Braque's importance and precedence was argued with respect to his treatment of space and mass in the L’Estaque landscapes, but "this view of Cubism is associated with a distinctly restrictive definition of which artists are properly to be called Cubists," wrote the art historian Christopher Green: "Marginalizing the contribution of the artists who exhibited at the Salon des Indépendants in 1911 "The assertion that the Cubist depiction of space, mass and volume supports the flatness of the canvas was made by Daniel-Henry Kahnweiler as early as 1920, but it was subject to criticism in the 1950s and 1960s by Clement Greenberg.
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 secondary to them. Alternative interpretations of Cubism have therefore developed. Wider views of Cubism include artists who were associated with the "Salle 41" artists, e.g. Francis Picabia.