Synthetic Cubism Was The Second Phase

Synthetic Cubism Was The Second Phase is the ninth interesting fact about Cubism. Synthetic Cubism is the name given to the second stage of the Cubism movement, which started in 1912. Picasso and Braque noticed that their work became more generic, geometrically simplified, and flatter as a result of the repetition of "analytic" indications. Because it rejected the notion of three dimensions in their work, this elevated what they were creating during the Analytic Cubism phase to a new level.

Works from this phase place a strong emphasis on the synthesis, or combining, of the picture's shapes. In these pieces, color plays a significant role, and the shapes, while still broken and flat, are larger and more ornamental. It is possible to contrast smooth and rough surfaces, and foreign objects, like newspapers or cigarette wrappers, are regularly pasted on the canvas alongside painted sections. Collage is a method that highlights texture contrasts even more while simultaneously raising the question of what is genuine and what is an illusion.

The color scheme is the most obvious departure from Analytic Cubism at first inspection. The paintings from the preceding era had a lot of earth tones and fairly muted colors. Bold hues dominated Synthetic Cubism. This more recent piece was strongly highlighted by vibrant reds, greens, blues, and yellows.

The artists used a range of methods to accomplish their objectives in their experiments. A passage is created when overlapping planes have the same hue, and they frequently use passages. Real pieces of paper were used in place of painted flat images of paper, and actual musical scores were used in place of drawn musical notation. Additionally, the painters were known to incorporate anything into their works, from cigarette packs and playing cards to newspaper scraps and advertisements. In an effort to fully integrate reality and art, these were either actual or painted objects that interacted on the flat surface of the canvas.